## **THE HIGHGATE CHORAL SOCIETY TRUSTEES’ REPORT 2022/23** 

## **Charitable Objects** 

The objects of the Charity are the advancement of arts and culture, in particular the art and culture of music, by the presentation of concerts and other ancillary activities. The Charity pursues its objects principally through holding public concerts, but also undertakes additional activities to support the local community and engage with other charities and schools in our area. The Trustees of the Charity are aware of the general guidance issued by the Charity Commission on public benefit. They have regard to this guidance in deciding what activities the Charity should undertake. 

## **Constitution** 

Highgate Choral Society, originally founded in 1878, has been registered in its current form as a Charitable Incorporated Organisation (CIO) with the Charity Commissioners under charity registration number 1191240 since 11[th] September 2020. 

## **Musical Activities** 

After a somewhat nerve-racking 2021/22 season – thanks to the continuing presence of Covid, I am delighted to report that Highgate Choral Society’s 2022/23 season ran smoothly. As well as our usual five concerts, we held a successful international singing tour to Leiden and Delft in the Netherlands, we sang in several concerts in central London for commercial promoter Raymond Gubbay and we joined the North London Symphony Orchestra as guest choir for a performance of Beethoven’s Ninth in June. 

As usual, our repertoire over the season included a mix of popular choral works and lesserknown pieces – including Ralph Vaughan Williams’ _The Garden of Proserpine_ , a rarely performed work which we sang in celebration of the 150[th] anniversary of the composer’s birth. We also premièred two pieces, both composed by our musical director and conductor, Ronald Corp OBE. The first was the world première of his _Symphony No 3_ : the second, a first performance for HCS of _Music_ , a short piece with words taken from a poem by Walter de la Mare. 

We are particularly grateful to Ron for his boundless patience, enthusiasm and inspirational musical direction over the year. He challenges us with his varied programme selections and we benefit so much from his extraordinary musical knowledge and the insights he gives us, both in rehearsals and in his pre-concert talks, into the works we perform. We are also grateful to Alexander Wells, our accompanist, not just for his piano-playing talents, but for rising above the inadequacies of the piano he has to play on. 

Our first concert of the 2022/23 season was held on Saturday 12[th] November 2022 at All Hallows’ Church, Gospel Oak. In honour of the 150[th] anniversary of Vaughan Williams’ birth, we sang _The Garden of Proserpine_ , a rarely performed piece in which the composer sets Swinburne’s tragic pre-Raphaelite poem to music. We are deeply grateful to the Vaughan Williams Charitable Trust for their generosity in supporting our performance. 



HCS musical director Ron Corp then conducted the world première of his _Symphony No 3_ .  The piece, which is dedicated to the memory of his late friend and long-time HCS member Naomi Lobbenberg, deals with the darkness and grief he experienced at her passing. 

The final piece, sung by the choir, was Mozart’s _Requiem in D minor_ (K626). The composer was writing this beautiful piece of music as he lay dying and, although it was commissioned by Count Franz von Walsegg to commemorate the first anniversary of the death of his young wife, Mozart came to believe that the music was for his own funeral. Indeed, the opening _Requiem aeternam_ and _Kyrie_ movements were virtually complete at the time of Mozart’s death, and it is thought they were performed at his own requiem in Vienna. Mozart’s wife, Constanze, then commissioned Mozart’s pupil Franz Süssmayr to complete the work. 

For the concert, we were joined by the New London Orchestra and talented soloists Eleanor Pennell-Briggs (soprano), Emma Jüngling (mezzo soprano), Henry Ross (tenor) and Sam Evans (bass). 

Our second concert, on Saturday 3[rd] December 2022, was our ever-popular, sell-out Family Carols where we sing together with the choir of St Michael’s Church of England Primary School. They brought a particularly joyous and enthusiastic element to the concert and their contribution was enjoyed by one and all. At the end of the concert, we held a bucket collection for two local charities nominated by choir members, Food Bank Aid and Highgate Newtown Community Centre. Thanks to the generosity of choir members and our audience, they managed to raise an astonishing £1,410 – a record for us – and each went home with £705 for their coffers. 

For our March concert, which took place on Saturday 11[th] March 2023, we sang Johann Sebastian Bach’s magnificent choral work, the _St John Passion_ . 

In 1723 Bach moved to Leipzig where his duties as newly appointed Kantor included composing the music for the city’s two principal Lutheran churches. Written probably during Lent in 1724, his _St John Passion_ was first performed in the church of St Nicholas on Good Friday, 7th April 1724. It was heard four times during Bach’s lifetime, each time with substantial alterations. 

The _St John Passion_ sets the dramatic Passion story of Christ’s trial and crucifixion as told in the Gospel of St John. The Biblical text at its core is drawn from the Lutheran translation and is sung by the tenor taking the role of the Evangelist. 

Scored for mixed choir, soloists and orchestra, the rich structure of this ‘oratorio-Passion’ includes: two monumental choruses that open and close the work; the Gospel narrative describing scenes in the Kidron Valley, Caiaphas’ palace, the Garden of Gethsemane, Pilate’s quarters, Golgotha and the burial site; solo arias that contemplate and comment on the unfolding events; and simpler chorales representing the response of ordinary congregations hearing the Passion story. 

The choir was joined by the New London Orchestra, soprano Lucy Hall, mezzo soprano Catherine Hopper, tenor William Morgan, baritone Timothy Nelson and bass Dingle Yandell. 

Moving on to our Spring concert, we sang a mix of French, German and English music, including the ever-popular Duruflé Requiem, on Saturday 20[th] May at St Michael’s Church, Highgate. The choral work, dedicated to the memory of Duruflé’s father, is an adaptation of 



the Gregorian _Missa pro defunctis_ (Mass for the Dead) that draws its musical themes from the original Gregorian chant. It was completed in September 1947 and was first heard two months later on French Radio. Modelled to some extent on Fauré’s _Requiem_ , the work is in nine movements and is distinguished by its calm, meditative atmosphere and subtle, richly expressive modal harmonies. With its emphasis on ‘the idea of peace, of faith and of hope’, Duruflé omitted most of the liturgical _Dies irae_ , but included part of the _Pie Jesu_ , as well as the _Libera me_ and _In paradisum_ from the burial service. Duruflé’s sensuous harmonies suffuse every note with feeling; and while the fluid rhythm of plainsong is essentially incompatible with modern bar-lines, the composer instinctively overcame this obstacle to create a work of unimpeachable integrity, a miraculous synthesis of old and new. ‘This Requiem is not an ethereal work which sings of detachment from human concerns,’ he said. ‘It reflects, in the unchanging form of Christian prayer, the anguish of man faced with the mystery of his final end.’ 

Like the Mozart _Requiem_ , Duruflé’s version was performed at his own memorial service in 1986 as a tribute to his life and work. 

The choir also sang _God is Gone Up_ by Gerald Finzi, Duruflé’s _Ubi Caritas et Amor_ , _Parry’s Blest Pair of Sirens_ , and Brahms’ _Geistliches Lied_ . 

Our two young soloists, mezzo soprano Carolyn Holt and baritone Mark Nathan, both sang solos: Carolyn performed _Softly and Gently_ from Elgar’s _Dream of Gerontius_ while Mark sang _Lord God of Israel_ from Mendelssohn’s _Elijah_ . Edward Batting, our organist for the concert, also played two organ solos: _Es ist ein Ros entsprungen_ by Brahms and _Chorale prelude St Ann’s_ by Parry. 

Our last concert, on Saturday 9[th] July 2023 at All Hallows, was an eclectic mix of comparatively recent music. As a choir, we sang that beautifully engaging jazz mass – Will Todd’s _Mass in Blue_ – accompanied by the outstanding vocals of soprano Sarah Gabriel, and backed by double bass, drums and piano. We also sang – for the first time – _Music_ , our musical director, Ron Corp’s lovely setting of a Walter de la Mare poem. We were also treated to an opportunity to hear Simon Blendis, leader of the London Mozart Players and one of the UK's most sought-after violinists, accompanied by his wife Saoko on piano, introducing and playing a selection of Max Jaffa Favourites on Max's own violin made in 1704. 

The concert was dedicated to Father David Houlding who was retiring as vicar of All Hallows', Gospel Oak, after nearly forty years in the parish. 

Summing up the concert, Ron Corp said: "This was a wonderfully joyous finish to our busy year. We are very lucky to have been able to include Simon and Saoko's unique insight into the world of Max Jaffa and have them perform six of his greatest numbers, that many people will remember from the days of the Palm Court Orchestra broadcast on the BBC. 

"We are also delighted to be performing Will Todd's _Mass in Blue_ which is a particular favourite of the choir and to be celebrating with Father Houlding who will be sadly missed by all who have worked with him in the All Hallows' area." 

Another highlight of the 2022/23 season was the HCS tour to Leiden and Delft where we sang in three stunning churches – the Hooglandeskerk and Hartebrugkerk in Leiden, and the Maria van Jessekerk in Delft. The trip was a huge success, thanks to a team of very hard-working 



choir members led by trustees Ursula Taylor and Emily Finch, and in fact our soloist on the trip, mezzo soprano Emma Brown, who lives in Leiden, came to the UK and sang the alto part in Mendelssohn’s _Elijah_ at our November 2023 concert. 

HCS members also sang in various Gubbay events, including _The Messiah_ at the Royal Festival Hall and Beethoven’s Ninth at the Barbican. 

Overall, audience attendance was similar to the previous year but perhaps had not continued to revive quite as fulsomely as we had hoped post-Covid. 

## **Governance** 

The administration of the Charity is the responsibility of the Trustees who are all unpaid members of the Charity elected by its members in accordance with the constitution. 

During the year Charlotte Goss had resigned as a Trustee and at the AGM on Monday 15[th] May five others resigned and did not choose to stand for re-election – Julia Irvine, Andrea Sylvester, Siobhan D’Gama, Andrea Sabbadini and Cindy Walters.   Four new Trustees were elected – Michael Church, Michaela Drapes, Felicity Dirmeik and Janet Floyd.   This brings the current number of Trustees to thirteen. 

The Trustees meet regularly amongst themselves, and also with our Musical Director who is not a Trustee, but is invited to attend our meetings. The Trustees have met throughout the year both in person and virtually. 

The Trustees met six times during the year to consider and make decisions on future musical plans, the financial position of the charity, the membership, operational matters and key policies appropriate to the running of the choir. 

## **Membership** 

Membership numbers ended up at a very healthy 197, slightly ahead of the previous year.   It seems that any uncertainty born of Covid has largely been left behind.  Of these 155 were full paying members for the whole year, the balance comprising those who joined part way through the year or took advantage of our under 35 and unwaged subscription rates. 

## **Finance** 

The result for the year was a very satisfactory surplus of £3,381, allowing us to carry forward a cumulative reserve of £48,702 and a Commissioning Fund balance of £13,881.  Ticket prices remained the same, whilst subscription rates rose by 4%.  As ever, the Trustees are mindful of the inexorable rise of costs and the limitations on being able to increase income commensurately. 

## **Independent Examiner** 

We are very grateful to chartered accountant Richard Morris, our independent examiner, for all the support and advice he has given us over the year. 

## **Acknowledgements** 

At the end of my first year as Chair, I would like to express my grateful thanks to the many Trustees and other choir members whose voluntary labours keep us running to such high levels 



of achievement. But above all may I thank Andrea Sylvester for her 13 long years of service to the choir in many roles and as Trustee and, in particular, Julia Irvine of equal longevity in as many roles and latterly as Chair overseeing our transition from unincorporated to incorporated charity and steering us through the vicissitudes of Covid so seamlessly.  I am also most grateful to Julia for agreeing to and continuing to write the weekly newsletter which is the highlight of our week. 

Last but not least I would like to thank all of our members who have given me such encouragement and welcome as Chair.  My thanks to all of you for helping to make this such a lovely and rewarding choir to belong to. 

## **Conclusion** 

This has been a good year for the choir. We have sung some great music, and we have had a successful and enjoyable tour to the Netherlands. We look forward to continuing our efforts to reach the highest standards in musicality, and to bring our music to as wide and diverse an audience as possible. 

Ashitey Ollennu Chair Highgate Choral Society 10[th] March 2024 



, CHARNY (oMM￿S1O￿
FOR ENGLAND AND WAiES
Highgate Choral SOc￿ty
Charity NO
Annual accounts for the
nod
1 st Sepiember 2022
31st August 2023
1191240
Section A
Statement of financial activities
D•51gnat•d
Comml••ionlng
Fund
Total
Fund•
L•￿ Y•ar
G•n•ral
Fund•
T4)ts1
Fund•
Conc4n T￿k•1 Sal
mmè Sabas
ramme Ajlvertssi
MemtW8hi
Subo(
Frtends
Donat￿n
sor3hl
Gift Atd Tax Roco
Bar Sa
Retre5hrneniS N81 IrKon
Nlusic Hirg Incorne
Extemal Concert Prc¥notOf8 IncLfft•
8en81ow weeker￿ Income
Income
Commlssjoni
Sundry Incof
24.731
1.654
2030
41.074
2.160
IDO
24 731
1.654
S35
2.160
3100
8,840
3.767
305
3.265
2.920
2.920
4.570
43.244
43,244
FWKI Incry
52C,
141205
520
275
103.1fi2
141.205
fturn
conc￿ Coy
mm• Co#
Rehearsal Costs
8ar Costl
MUS￿ Htre C08ts
Bank & Card Cha
PRS Ro altio•
InsuraDces
Makin
MUSK AMU* subs￿ I
Extern41 Concen PrNnotefS Costs
68nslow We6keThd Cos15
Tour Costs
CommissM)ni
Do
rocIat￿)n
Sund Cosls
Tol•l Exp•ndftur•
58.113
40n
64.189
4.072
972
972
less InlW8SI
123
123
249
323
365
323
307
365
Fund CcAts
5*4
2 183
li7824
514
2183
13-, 824
475
1 01Q
111 523
3.38.,
3.381
8361
Pl•1 In fvnd•
3.381
3381
8.361
Funds urrf•d lornrd
48 702
13 881
2583
59 302

Section B
Balance sheet
Fw¥
L•# Y•w
2007
170
56 420
ti3Y9
i64ro
?)￿1
9,351
9JS1
e.914
47 ITB
1388.
6T.LNh)
57 10$
48 7 92
1.2 583
13.8E'
13 381
48.702
13.48.
L?.583
59.20i
CC17• IEX

CHARITY COMMISSION
FOR ENGLAND AND WALES
Independent examiner's report on the
accounts
Section A
Independent Examiner's Report
Report to the trustsos
Thè Highgatè Chordl Society
On accounts for the year
ended
31st August 2023
Charity no
(if any)
1191240
Set out on pages
I report to the trustees on my examination of the accounts of the above
chartty {Ihe Trust") for tr￿ year ended 3110812023.
Responsibilities and
basis of report
As the charitys trustees. you are responsib￿ for the preparation of the
accounts in accordance with the requirements of the Charities Act 2011
('the Ad").
I report in resFed of my examination of the TTUSt's accounts carried OLrt
under section 145 of the 2011 Act and in carying out my examination, I
have followed all the apklicable Directions 9iven by the Charity Commission
under section 145{5}{b) of the Act.
Independent I have completed my examination. I confinn that no material matters have
examinerfs statement come to my attention in conr)ection with the examination which gives me
cause to believe that in, any material respect..
the accounting recorts ￿re not kept in a¢cordance with section 130
of the Chanties Act., or
the accounts did not accord wth the accourrting records., or
the a￿￿untS did not comply with the applicable requirements
conceming the fom) and content of accounts set out in the Charities
(Accounts and Reports) Regulations 2008 other than any requirement
that the accounts give a Irue and fairf view which is not a matter
considered as part of an independent examination.
I have no concems and have come across no other matters in connection
wttb the examinatio
to which attention should te drawn in this report in
ordèr to enable a pr
per understanding of the accounts to be reached..
Signed:
I IC L£11
23 December 2023
Nam•:
Richard Morris
Relevant professional
qualification(s} or body
(if any):
Assooate member of the Institute of Chartered A(￿untants in ErvJland arKI
Wales
AddrvJs:
8 Holt Close
London
N10 3HW
IER
Oct 2018