## **Sinfonietta Productions Limited (Limited by Guarantee)** 


## **Report and Accounts** 

## **Year to 30 September 2025** 

Company registration No: 00926551 

Charity No: 255095 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Contents** 

|**Contents**||
|---|---|
||Page|
|Reference and Administrative Details|3|
|Report of the Chair of Trustees|4|
|Report of the Council of Trustees||
|Strategic Report|6|
|Statement of Accounting and Reporting Responsibilities|19|
|Independent Auditors’ Report|20|
|Statement of Financial Activities|23|
|Balance Sheet|24|
|Statement of Cashflows|25|
|Notes to the Accounts|26 – 35|



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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Reference and Administrative Details** 

|**Trustees**|Fiona Thompson, Chair||
|---|---|---|
||Sudeep Basu||
||Andrew Burke||
||Timothy Gill||
||Annabel Graham Paul||
||Kathryn Knight||
||Arbër Koci||
||Stephen Reid||
||Paul Silverthorne (resigned 31 March 2026)||
||Justin Spooner (co-opted 24 March 2025)||
||Fay Sweet||
||James Thomas||
||Mark Van de Wiel||
||Ben Weston (resigned 10 December 2025)||
|**Secretary**|Elizabeth Davies||
|**Chief Executive &**|Andrew Burke||
|**Artistic Director**|||
|**Key Management**|Andrew Burke, Frances Bryant, Elizabeth|Davies, Natalie Galer (née|
|**Personnel**|Marchant) and Holly Isherwood||
|**Registered office and**|Theatro Technis||
|**administrative address**|26 Crowndale Road||
||London||
||NW1 1TT||
|**Auditors**|MGR Weston Kay LLP||
||Chartered Accountants and Statutory Auditors||
||55 Loudoun Road||
||St John’s Wood||
||London NW8 0DL||
|**Bankers**|Lloyds TSB plc|CCLA Fund Managers Limited|
||London Bridge Branch|COIF Charity Funds|
||69 Borough High Street|One Angel Lane|
||London|London|
||SE1 1NQ|EC4R 3AB|
|**Registered numbers**|Company no 00926551|Charity no 255095|



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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Report of the Chair of Trustees For the year ended 30 September 2025** 

Our Report on the 12 months to 30 September 2025 reflects continuing intense work and artistic activity aimed at realising a more resilient organisation and evolving the business model to deliver our strategic objectives. It is clear that this is an ongoing process which will take a longer time-period to fully unfold but the last year represents a significant step towards a more sustainable future. 

The Trustees, players and management continue to believe that the London Sinfonietta makes a significant contribution to the creative and musical life of London and this country and delivers strongly against Arts Council England’s _Let’s Create_ as a National Portfolio Organisation. 

In line with our strategic aims, the artistic season presented a balanced mix of classic 20[th] and 21[st] century repertoire (such as _Schoenberg: Reshaping Tradition_ in October 2024 and _The Boulez/Cage Letters_ in March 2025), collaborations with artists from different musical and artistic worlds (including _Refracted Sound_ in November 2024 and _In C: Sasha Waltz & Guests_ in April 2025) and newly commissioned works. Laurence Osborn’s new piece _Mute_ , the first of eight commissions supported by Cockayne – Grants for the Arts, was one of several which received its premiere during the period. 

We continued to work with long-standing partner venues and promoters including Southbank Centre (for our main concert season), Turner Sims (Southampton) and Music @ Malling (Kent). It was a quieter year for overseas touring with the most significant performance outside the UK taking place in Poland as part of the Warsaw Autumn Festival in September 2025. 

Culminating as usual at the annual _Sound Out!_ concert at Royal Festival Hall (March 2025), the organisation’s schools’ programme continued its work in key locations across the UK and piloted _Composition Challenges_ activity in our local area of Camden, London. Supported by a grant from Arts Council England, the organisation also took the _Sound Out!_ concert format on tour with 13 additional performances for schools in Enfield (London), Isle of Wight, Southampton, Aldershot and Bristol, reaching many more enthusiastic children and young people and opening their ears to the possibilities of creating and performing new music. 

Our talent development work continued with _Playing the Future_ (our programme of activity for emerging performing talent) and the continuation of the _Writing the Future_ programme for early career music creators. The fifth edition of _Writing the Future_ came to fruition in 2024-25 with performances of new works by a diverse set of composers/creators: Pablo Martinez, Rocky Sun Keting and Omri Kochavi (a final work by Ashkan Layegh will be premiered in November 2025). 

Progressing the _Transform Two_ project (supported by funding from Arts Council England) formed a significant focus for our energy during the period, with strands of activity around refreshing the organisation’s brand, exploring the most effective ways to adapt our business model,  developing new touring relationships with promoters in the UK and overseas, re-developing our individual giving scheme to grow donor engagement and income, and looking at ways to reduce our cost base (including a reduction in employee numbers). Although the _Transform Two_ funding came to an end in March 2026, we recognise that this is a long-term journey which will take continued effort. However, this work is already bearing fruit, with touring activity growing in future seasons and the launch of the refreshed brand and new individual giving scheme taking place in April 2026. These are significant milestones and the Trustees thank the management team for the huge amount of ongoing work, delivered by a smaller team. We face the future with confidence that we can continue delivering against our mission. 

We continue to be incredibly grateful to the many funders, supporters and partners who share our passion for bringing the music of today into being and presenting it to audiences and participants. The success of our concerts, projects and programmes is only possible due to the generosity of numerous Trusts and Foundations including long-term and major funders Cockayne – Grants for the Arts, The Ernst von Siemens Music Foundation, Garfield Weston Foundation, John Ellerman Foundation, Jerwood Arts, Karlsson Játiva Charitable Foundation and a host of others. And we continue to be hugely grateful to the many individual donors who support our work. 

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## **Sinfonietta Productions Limited (a company limited by guarantee)** 

We are pleased that the Charity was able to generate a small surplus of £1,031 on General Funds, with Designated and Restricted Funds also supporting strategic activity during a busy period. 

The Charity continues to find new ways for contemporary music to tell the stories of our lives, create diverse and powerful artistic experiences, connect us to the bigger issues we all face and engage audiences, including children and young people, with breathtaking performances. The thrill of experiencing musical creativity in all its many forms has the power to change lives and we are grateful for the loyalty and openness of all those who come with us on this journey. 

As ever, we are grateful to the many talented and inspiring players, artists and music creators who have helped to bring such diverse new music projects to audiences and participants during the period. 


Fiona Thompson Chair of Trustees 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Report of the Council of Trustees For the year ended 30 September 2025** 

The Trustees are pleased to present their annual report together with the financial statements of the Charity for the year ended 30 September 2025, which are also prepared to meet the requirements of a Directors’ report and accounts for Companies Act purposes. 

The financial statements have been prepared in accordance with the accounting policies set out on pages 26-27 of the attached accounts and comply with the charitable company’s Memorandum and Articles of Association, the Companies Act 2006, the Charities Act 2011, other applicable laws, the requirements of the Statement of Recommended Practice for Charities effective for all periods commencing on 1 January 2019 (October 2019 SORP) and the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102). 

## **STRATEGIC REPORT** 

## **Purposes** 

The purposes of the Charitable Company, as stated in its governing documents, are to advance and encourage public education in the performing arts, particularly music. From its earliest days in 1968 the Charity set out to commission and premiere new works from living composers and creators, performing them with the most talented musicians and taking the art-form to national and international audiences as well as into schools and community settings. 

## **Vision** 

The London Sinfonietta’s Vision is for new music to be an indispensable and valued part of contemporary society, education and community life, causing positive change in these areas. Experiencing world-class new music produces powerful, positive collective experiences for individuals, audiences and communities. The messages that such art communicates can provoke empathy for others, a reflection on contemporary society and promote equality of opportunity. Musical creativity and performance are fundamentally important for young people and will significantly improve their education and chances in life. Public participation in the creation and performance of new music can provide a catalyst for personal growth and positive community change. We work towards realising, and advocating for, these ideals. 

## **Mission** 

We produce world-class new music projects and performances that engage with today’s society, involving and inspiring the lives of individuals, audiences, communities and artists. 

## **Activity Areas** 

The Charity identifies six main areas of activity, through which it delivers its Mission, and its budgets and accounts are structured to reflect these six activity areas: 

- 1.) **Own and co-promoted concerts** which form its main season of performances and events 

- 2.) **Commissioning** composers and artists and supporting the development of **New Work** through collaborative processes and programmes such as _Writing the Future_ 

- 3.) A programme of **Participation & Learning** work, offering children, young people and the public the opportunity to experience and be creatively involved in live music-making and supporting the development of musical talent 

- 4.) **Digital Engagement** projects and recordings which engage the audience, as well as promoting and enhancing the experience at live events 

- 5.) **Engagements** to perform on tour across the UK 

- 6.) **Overseas Engagements** to perform in Europe and the rest of the world 

## **Strategy** 

In February 2022, the organisation developed a 10-year framework strategy which included four main Aims (see below) and since then Business Plans have been written and updated each year based on this strategy. 

Subsequently, in November 2022, we received the unexpected news that our Arts Council England grant (regular funding as a National Portfolio Organisation) was to reduce by 41% to £300,000 per annum from 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

April 2023. The organisation acted quickly and a successful application to Arts Council England’s _Transform One_ funding programme provided immediate support during the period from April to July 2023. 

The organisation subsequently applied successfully to Arts Council England’s _Transform Two_ funding programme which has supported the organisation up to March 2026 as we started to evolve the business model and develop new income streams to become more self-reliant in the longer-term. This is a significant ongoing project for the Charity. The _Transform Two_ grant has also provided a tapering level of support for ongoing activity and overhead costs whilst the business development project has been running. The 202-25 financial year therefore constituted Year 2 of this activity. 

The overall 10-year Strategy is unchanged and retains the same four Aims, but the focus and emphasis are undoubtedly impacted by the Transform project (much of which sits most naturally under Aim 1 and Aim 4). Our response to the Strategy will continue to evolve yearly as the Transform project continues. 

The Aims in the 10-Year strategy are: 

1. To make a 21st century new music programme that is relevant and accessible to a wider audience 

2. To create social impact through our activities 

3. To evolve an effective, inclusive and equitable organisation and ensemble of artists 

4. To evolve a resilient, sustainable organisation 

The London Sinfonietta’s progress during the 2024-25 financial year against the Strategic Aims above (and the Objectives which sit under them) is summarised later in this Report. 

## **Public Benefit** 

The Trustees have had regard to the Charity Commission’s general guidance on public benefit when reviewing the aims, objectives and activities of the Charity. 

As described in its Mission Statement and Strategic Aims, the London Sinfonietta aims to engage a wide and diverse audience with a varied and inspiring programme of contemporary classical music, placing it at the heart of today’s culture. To make its programme of live events accessible to all, the organisation balances the need to earn box office income with audience development initiatives, including discounted ticket offers and promotions. Those that are unable to attend these live performances can listen to or watch selected concerts or archive performances for free on YouTube or on BBC Radio 3. The organisation continues to offer a range of free digital content through the ‘LS Digital Channel’ on its website including podcasts, films and audio recordings, and a large catalogue of London Sinfonietta’s recordings on CDs or digital downloads are available to purchase. 

The organisation offers unique opportunities to emerging composers, conductors and players, supporting them as they develop the skills necessary for their professional careers. In addition, the Participation & Learning programme offers a wide range of opportunities to individuals of all ages and from diverse backgrounds to engage with contemporary classical music through performance and music creation. This includes projects and concerts designed especially for school children, interactive music events for families and community projects (during the period, in Enfield). We also provide opportunities for the public to participate in the creative process and live performance of new music. 

## **ACHIEVEMENTS AND PERFORMANCE** 

An overview of our programme of activity and progress against our strategic aims and objectives in 2024-25 is outlined below: 

## **Own/co-promotions** 

Overall, the season comprised eight own or co-promotions, most of which were at Southbank Centre as part of our Residency. This included four concerts at the Queen Elizabeth Hall ( _Schoenberg: Reshaping Tradition, Refracted Sound, Hidden Voices_ and _In C: Sasha Waltz & Guests_ ), and two at the Purcell Room ( _The Boulez/Cage Letters_ and _Humans_ ). There was also one performance at Kings Place ( _Love Lines_ as part of their _Scotland Unwrapped_ series) and a performance of Omri Kochavi’s 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Report of the Council of Trustees (continued)** 

new work _Ladies in Bloomers_ , which was due to take place at the Story Garden, British Library but moved at the last minute to Regent Theatre due to poor weather. 

## **Composer commissions and new work** 

A new work by Electra Perivolaris _A Wave of Voices_ received its premiere at _Love Lines_ in December 2024. Later in the season, a new work by Robin Haigh was premiered at the _Sound Out!_ Schools concert (March 2025) and _Hidden_ (April 2025) saw the world premiere of a commission from Laurence Osborn (supported by Cockayne – Grant for the Arts: a donor advised fund held at The London Community Foundation). The same concert also featured the UK premiere of Hannah Kendall’s _shouting forever into the receiver_ , winner of the 2023 Ivor Novello Award for Best Large Ensemble Work. 

New work created and developed through the organisation’s _Writing the Future_ scheme was the main focus for _Humans_ (June 2025) with two new works; _Just for Today_ by Pablo Martinez and _Conduit_ by Rocky Sun Keting. A further _Writing the Future_ outcome received its premiere in September 2025. Omri Kochavi’s _Ladies in Bloomers_ explored pioneering female gardeners. Ashkan Layegh, the final composer currently participating in _Writing the Future_ , will see his new work performed in the early part of the 2025-26 season. 

## **Participation and Learning** 

Our successful Schools’ Programme continued with the Composition Challenges project, which as usual culminated in the annual _Sound Out!_ Schools’ Concert in March 2025 at the Royal Festival Hall, London. We were also successful in applying for a grant from Arts Council England to take _Sound Out!_ on tour in June/July 2025. This resulted in 13 additional performances for schools in Enfield (London), Isle of Wight, Southampton, Aldershot and Bristol. 

The final activity as part of our three-year community residency in Enfield took place during the period. The organisation will now focus on developing activity in Camden where its offices are situated. 

In terms of talent development work, the _Playing the Future_ programme (previously titled _Academy Pathways_ ) continued, with the aim of finding the next generation of players to perform with the ensemble. 

## **Digital engagement** 

The organisation continued to release new digital content at regular intervals across the year, to inform and engage audiences about the contemporary music performed during the season. Altogether, 10 separate pieces of digital content were launched during the period. 

## **UK engagements** 

Key engagements during the year included a performance at Turner Sims (Southampton), an engagement to perform with _Maya Dunietz & Friends_ at Southbank Centre, a workshop with the Royal Overseas League and a repeat performance of _The Boulez/Cage Letters_ as part of the Music @ Malling Festival in Kent. 

## **Overseas engagements** 

During the period the partnerships with Sinfonietta Cracovia (which began in February 2024) was completed, with two further London Sinfonietta players performing in Poland at different concerts. 

Our main overseas project for the year was a performance of mainly Polish repertoire at the Warsaw Autumn Festival in September 2025 (which is linked to a concert which includes the same repertoire at Huddersfield Contemporary Music Festival in the 2025-26 period). 

Overall, the London Sinfonietta’s live performances during the year to 30 September 2025 reached **26,903** people (2024 – 26,362) with **34 live performances and events** (2024 - 30) in venues and online, including nine own and co-promotions, four UK engagements, two overseas engagements and 19 events for schools and communities. The organisation delivered one performance streamed ‘as live’ and four performances were pre-recorded for delayed broadcast or as a separate digital production for use on the LS Channel. One 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

London Sinfonietta concert was broadcast on radio, with an estimated **500,000 listeners** for the ensemble’s work across the year. 

The Participation and Learning programme performed live to 18,334 people (2024 – 16,873) attending **schools concerts** at venues including Royal Festival Hall and on Isle of Wight, Southampton, Alderton and Bristol. We reached **1,897 children** across **57 workshops** , workshop **-** rehearsals and other participatory sessions, both in-person and online. In terms of work with higher education instrumentalists we worked with **77 students** across **14 workshops** , rehearsals and side-by-side sessions with the Royal Academy of Music, Trinity Laban Conservatoire and Trinity Laban Juniors composer’s ensemble, as part of our _Playing the Future_ programme. In line with our new focus on the local area of Camden, we developed a new relationship with Camden Music Service, whilst strengthening established partnerships with the North London Music Hub, Music Services in Gloucestershire, Southampton, Portsmouth, and others throughout the country. 

Across all its live and broadcast work, the London Sinfonietta gave **20** (2024 – 20) world premiere and UK premiere performances, which included **13** (2024 – 6) works that were commissioned by or developed collaboratively with the ensemble. 

In terms of digital reach, there were **109,902** (2024 – 106,965) unique views of the Charity’s website during the period, **7.46m** (2024 – 6.4m) listens on Spotify and **117,000** (2024 – 226,963) views on YouTube during the period. We have steadily gained followers on YouTube, Spotify and Tiktok over the year making a total subscriber and follower base on these platforms of **14,249** (2024 – 12,973). The Charity also sustained its social media following at **20,472** (2024 – 20,443) followers on Facebook and **6,255** (2024 – 5,192) on Instagram. The Charity made a strategic decision not to focus on gaining followers on Twitter. 

Overall, the London Sinfonietta reached an estimated **8.12 million people** (7.69 million in the year to 30 September 2024) with its work. The variance is mainly due to the large number of Spotify streaming listens which fluctuate significantly year on year. Additionally, access to the ensemble’s significant recorded legacy through radio station relays, on-demand services and activity on streaming platforms contributes hugely each year to the organisation’s reach. 

## **PROGRESS AGAINST STRATEGIC AIMS AND OBJECTIVES** 

## **Aim 1: To make a 21st century new music programme relevant & accessible to a wider audience** 

- _Curate a high-quality artistic programme to build and engage our audience, which includes Commissions, Collaborations and Classics_ 

- _Produce more projects that can tour, and capitalise on our current work, via an expanded network in the UK and abroad_ 

- _Redefine London Sinfonietta’s vision, mission and brand_ 

The artistic programme in 2024-25 presented a variety of high-quality concerts which included new commissions and premieres, collaborative projects developed with artists or in partnership with other promoters and the representation of classic 20[th] century repertoire. Some programmes focussed on one of these objectives while others achieved a mix of these ambitions in a single concert. 

The first part of the season included two sell-out concerts which allowed audiences to revisit ‘classics’ from contemporary music’s back catalogue, including a programme of works by the pioneering Arnold Schoenberg in celebration of his 150[th] anniversary year (October 2024). This was followed by a pairing of American modernist Morton Feldman’s tribute _For Samuel Beckett_ presented alongside the playwright’s mysterious works for dancers and ensemble _Quad I + II_ . This project came together in collaboration with dancers from Trinity Laban and musicians from the Royal Academy of Music Manson Ensemble, working alongside London Sinfonietta players. Further ‘classic’ repertoire across the rest of the season included an evening exploring the relationship in letters between composers Pierre Boulez and John Cage. 

In terms of new work, three pieces from the organisation’s _Writing the Future_ scheme came to fruition and were presented to London audiences. Pablo Martinez’s _Just for Today_ was paired with Sun Keting’s _Conduit_ and performed at the _Humans_ concert in June 2025. Both were conceived as collaborative works, involving 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Report of the Council of Trustees (continued)** 

a dancer, set designer, soprano and director as well as conductor and lighting/sound design across both pieces. In September 2025, Omri Kochavi’s dramatic stage-piece _Ladies in Bloomers_ explored the stories of pioneering women gardeners from the early 20[th] century in a theatrical work involving a female chorus (Exaudi) and live, on-stage gardeners reading the lines of these long-forgotten horticulturists. 

## **Aim 2. To create social impact through our activities** 

- _Consolidate and nurture our work to support composition and creativity in schools_ 

- _Produce projects that support place-making work with communities_ 

- _Use our art form to engage audiences and the public in major societal issues including the climate emergency_ 

The London Sinfonietta’s school and community work continued to grow this year, reaching thousands of primary school-aged children and supporting composition and creativity in schools across the UK. In 202425 our six partnership areas were Gloucestershire, Southampton & Isle of Wight, Portsmouth and the London Boroughs of Waltham Forest, Enfield and Haringey – all areas of low investment and engagement which have either been identified as government ‘Levelling up for Culture Places’ or as an Arts Council England ‘Priority Place’. In addition, the fifth Composition Challenge resource was released in November 2024. With 59 schools responding to this creative call, we received over 236 compositions from all around the UK. Student compositions were included in London Sinfonietta’s programme throughout the year, including our flagship _Sound Out!_ concert at the Royal Festival Hall in March 2025 and _Sound Out!_ Tour concerts in June-July 2025. 

As usual, the culmination of our work in schools was the _Sound Out!_ concert which this year took place on 28 March 2025 at the Royal Festival Hall to a live audience of school children and subsequently made available to schools online. Composer and presenter Patrick Bailey took the audience on a whistle-stop tour of contemporary music and composition, featuring 11 pieces of contemporary music, including three world premieres, two of which were by young people who participated in our Composition Challenges project. London Sinfonietta players were joined for three pieces by a youth ensemble, made up of 35 instrumentalists from the London Boroughs of Haringey, Enfield and Waltham Forest. An audience of 2,056 audience children and teachers attended the live concert, and the online recording of the concert reached 854 views. 

Following a pilot in Enfield in 2024, we were successful in being awarded a grant from Arts Council England which enabled us to take _Sound Out!_ on tour outside London for the first time, giving 13 concerts at venues in Enfield, Isle of Wight, Southampton, Hampshire and Bristol. In total these concerts reached an audience of 2,681 young people, involved 195 children who took part in Composition Workshops across six schools in the lead up to the tour and 139 young instrumentalists who played alongside London Sinfonietta musicians. Alongside the _Composition Challenges_ workshops, teachers were invited to engage with continuing professional development (CPD) workshops, with provision in each of our partnership areas. 

This season _Academy Pathways_ evolved into a new programme _Playing the Future_ , featuring a side-by-side project with the Royal Academy of Music and various small-scale projects with all ages from Trinity Laban Conservatoire of Music and Dance Junior, Undergraduate, Postgraduate and Graduate musicians. In November 2024 London Sinfonietta worked side-by-side with the Royal Academy of Music’s Manson Ensemble to play Morton Feldman’s _For Samuel Beckett_ in the concert _Refracted Sound_ (November 2024). A series of four workshops and one performance took place with the Trinity Laban Junior Conservatoire Composers Ensemble and London Sinfonietta musicians supported the Trinity Laban Chamber Orchestra to record third year composition students’ new works. For many of the composition students, this was the first time writing for a full orchestral line up. London Sinfonietta musicians also worked with five alumni from Trinity Laban Conservatoire of Music and Dance who were awarded a fellowship to explore contemporary classical music. 

2024-25 also saw the completion of our _In Town_ programme in the London Borough of Enfield with a final residency at St Ignatius College, this time linked to the performance of Terry Riley’s _In C_ with the Sasha Waltz Dance Company during the Southbank Centre’s _Multitudes_ festival in late April 2025. 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Aim 3. To evolve an effective, inclusive and equitable organisation and ensemble of artists** 

- _Provide inclusive pathways for emerging talent, including via our artist development schemes_ 

- _Create effective structures for the Ensemble, Council and Staff that will enable the representation of a variety of skills, genders, ages, ethnicities, disabilities and socio-economic backgrounds_ 

- _Establish a positive, inclusive and supportive working culture_ 

The organisation’s approach to effectiveness, inclusivity and equitability is now part of our regular thinking, planning and project implementation. 

With regard to pathways for emerging talent, we progressed the 5[th] edition of our composer development scheme _Writing the Future_ , having selected four composers from the largest and most diverse application pool we have ever achieved (over 250 applicants with 22% of applicants identified as being of a Global Majority background, 55% identified as non-heterosexual, 19% as disabled and 57% as neurodivergent. Applications were also more gender-balanced with 51% men and 49% women or gender minorities). From this pool we selected four composers who all represented different aspects of the Global Majority (Rocky Sun Keting, Pablo Martinez, Omri Kochavi and Ashkan Layegh) and then worked with them on their projects across the 2024-25 year, seeing the culmination of three of those works in professional performances as part of our main series of concerts. 

Our talent development programmes have continued to support the performing skills of young players on the verge of entering professional careers. We decided after 14 editions to end our own Academy programme partly because many more colleges of music now run contemporary ensembles providing this training opportunity for young people. The most valuable offer we could continue has been side-by-side working for young players as part of our new _Playing the Future_ scheme. Student musicians from the Royal Academy of Music joined us on-stage performing side-by-side with London Sinfonietta musicians in Morton Feldman’s classic _For Samuel Beckett_ , while four movement / dance artists from Trinity Laban appeared in the same programme, enacting the very rarely seen TV play _Quad II_ by Samuel Beckett. The success of such ventures is not only in giving professional experience to the next generation, but in generating audiences for what was a sold-out house (see also under Aim 1). 

The organisation continues to work on increasing representation in all key areas as part of our Inclusivity and Relevance Action Plan. Having received a grant from the Cockayne Foundation of £100,000 towards commissioning, eight composers were offered new works in the 2024-25 year (to be performed in future seasons), of which four are men, four women, three represent the Global Majority and one identifies as disabled. This spread of gender, ethnicity and disability is an example of the balance that we are seeking to apply to our programming, on stage artists and organisational make-up. 

## **Aim 4: To evolve a resilient, sustainable organisation** 

- _Maximise income from individual giving, box office and profitability from touring_ 

- _Build new, sustainable income streams including from online transactional relationships_ 

- _Create efficiencies from more integrated project working and finding a lower-cost office base and archive_ 

- _Embed a framework of training, policies, technology and systems to underpin and develop the organisation_ 

During the period, the organisation continued working to achieve these objectives, supported by the _Transform Two_ grant (from Arts Council England) and led by the Income Generation Committee (board subcommittee). The period saw a series of sessions with a consultant to work on the longer-term evolution of the business model, a successful fundraising event at Theatro Technis (the building in which our office is situated) which explored several new formats and income generating ideas, the redevelopment of our individual donor schemes (for relaunch in 2026) and the completion of a major brand refresh to promote better engagement with audiences (also to be launched in 2026). In addition, we moved forward with a project to explore a permanent, long-term solution for housing the organisation’s archive (which would save the cost of storing it) and continued to invest in developing touring relationships with promoters in the UK and overseas. All these initiatives are aimed at helping us to reduce our cost base and grow existing or develop new income streams. 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

Box office income, especially for events in the quarter October to December 2024, saw a positive increase with audiences keen to hear classic repertoire such as Schoenberg. The combination of Morton Feldman’s music with a rare performance of _Quad I + II_ by Samuel Beckett also attracted a large audience of music and theatre/dance aficionados. 

The organisation continued to work towards its goal of Environmental Responsibility, developing ideas for maximising sustainability around its artistic programme. In line with the organisation’s cycle of funding and reporting to Arts Council England the Environmental Policy and Action Plan was re-written in March 2025 for the period to March 2026. A key focus during the period was the dramatic piece _Ladies in Bloomers_ project (September 2025) where we aimed to embed sustainability in the production planning. Unfortunately, due to adverse weather, we were unable to perform outside in the British Library’s Story Garden as originally intended and had to compromise on some of our original aims in terms of reducing carbon emissions by using natural light and limited amplification. The performance went ahead indoors using nearby Regent School’s theatre. We were still able to incorporate elements such as a team of community gardeners, who were an integral part of the live performance, and audience engagements elements such as printing the programmes on paper embedded with wildflower seeds. The management team continues to explore more efficient ways to collect Greenhouse Gas emissions data which falls under Scope 3, such as the emissions arising from business travel and touring, and to develop new initiatives to better understand and reduce the Charity’s carbon footprint. 

In terms of developing the organisation, research into new finance software options was completed during the period and the migration to Xero took place in February 2026. The change to Xero will reduce our budget for software licenses and also allow us to create efficiencies in our workflows and processes. 

## **Evaluation and Review** 

The Charity’s monitoring and evaluation framework encompasses quantitative and qualitative data collection using formal and informal evaluation methods, centered on a cycle of regular internal meetings, reports and reviews. Quantitative data collection takes place across key activity areas, and management staff report to the board on a quarterly basis, including progress against Business Plan objectives and key performance indicators. The management team imports, extracts and analyses data from Exchequer (finance), ArtsVision (performances and repertoire) and Tessitura (ticketing, customer and donor data). 

Qualitative data is captured from internal evaluation of events and external customer surveys and focus groups, and informal feedback via social media. A full audience ‘Ambition & Quality’ survey was undertaken in Summer 2025 and will continue to be repeated annually. Critical feedback from press reviews and industry peers is regularly compiled to gain a rounded view of how projects are received and to inform future artistic planning, and the organisation uses tools such as Impact & Insight surveys via the Culture Counts online platform to collect customer and peer feedback on selected events. 

We continue to upload data to the Arts Council England-mandated audience insights platform Illuminate, which entails quarterly uploads of activity surveys and box office data. An annual statistical data survey is also required by ACE. The organisation monitors and evaluates its progress against the requirements of ACE National Portfolio Organisation funding including ACE Activities & Outcomes and ACE Investment Principles, via the internal management team, Council (board) meetings and the board committees. ACE issue a quarterly risk assessment, and every year an evaluation is provided by the ACE relationship manager on the organisation’s progress against objectives. 

## **Financial review and Key Performance Indicators** 

The Charity is pleased to report a surplus on General Unrestricted Funds for the year of £1,031 (£1,653 – 2024).  The Revenue Reserve shows a balance of £4,685 (£3,654 – 2024) and the Contingency Reserve remained at £130,000 (£130,000 - 2024). At the end of the period, the balance on Restricted Funds was £189,782 (£174,492 - 2024) and the balance on Designated Funds reduced to £54,078 (£94,078 - 2024) with £40,000 disbursed from the Strategic Projects Fund to support activity during the year. 

The Statement of Financial Activities shows net expenditure on Total Funds (before transfers) of £23,679 (net expenditure of £69,530 – 2024). This is made up of the surplus on General Funds of £1,031, a decrease on Designated Funds of £40,000 and an increase on Restricted Funds of £15,290. The movement on Restricted Funds represents a net increase in funds held for activity which will take place in a future period. 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

Total incoming resources in the year were £1,193,161 (£1,172,479 - 2024). This figure includes £497,614 of funding from Arts Council England (£469,558 - 2024); income of £407,222 (£328,337– 2024) from other fundraised sources such as trusts, foundations and individuals and £157,671 (£235,109 - 2024) earned from the Charity’s activities (principally engagement fees and box office income). 

Full details of all the figures are shown in the Statement of Financial Activities and the Notes. Further details of the Charity’s activities are shown in the Achievements and Performance section of the Strategic Report. 

## **Funds** 

The charity’s funds fall into two groups: 

|**_Restricted Funds_**|– funds which are earmarked for a particular purpose by those who provide|
|---|---|
||them (including Future Project Funds)|
|**_Unrestricted Funds_**||
|_Designated Funds_|_–_funds which the Council earmarks for specific strategic purposes|
|_Contingency Reserve_|– funds held to provide for contingencies that may arise in the future|
|_Revenue Reserve_|_–_the balance carried forward on the Statement of Financial Activities|
||consisting of funds available for use by the organisation to contribute towards|
||its ongoing future artistic activity|



## **Reserves Policy** 

A key element in the management of financial risk is the regular review of the Charity’s policy on reserves. The Trustees aim to build up a Contingency Reserve at an appropriate level to provide for unforeseen liabilities and mitigate risks that may arise, whilst also giving the Charity the confidence to fulfil its artistic ambition to continue to innovate and invest. 

In March 2026 the Trustees reviewed the Reserves Policy and agreed that the target set in September 2023 of £150,000 continued to be a prudent amount to build towards to mitigate key potential financial risks (such as a loss from delayed or non-payment of a fee on a large-scale artistic project or withdrawal of a significant grant). The target has been set on the basis of a risk-based analysis and is broadly equivalent to three months’ operating costs while also reflecting risks to the Charity taking into account the current external environment and the organisation’s core funding. The timetable for meeting this target was originally set at five years (from September 2023) but due to budgetary constraints the Trustees have agreed to adjust this timetable to allow the target to be met at a more sustainable pace. The Charity now aims to meet the target of £150,000 by 30 September 2030. At 30 September 2025 the Contingency Reserve remained at £130,000 (£130,000 - 2024). 

## **Going Concern** 

The Trustees consider that, at the date of the signing of the Report and Accounts, the Charity is a going concern, based on their review of existing funds, secured income for future periods and expected cash flows. This takes into account the impact of the reduced level of grant from Arts Council England and the ongoing evolution of our business model. 

## **Risk Management** 

The Council of Trustees is ultimately responsible for the management of risks and this focus is driven by the Finance, Risk & Audit Committee. The Charity has a Risk Register which identifies the major risks to which it may be exposed and assesses these by likelihood and impact as well as summarising controls in place to mitigate each risk. These risks and any newly arising risks are reviewed and discussed regularly at Council meetings and the Risk Register is revised in the light of changes and developments. 

The Charity’s controls are designed to provide reasonable but not absolute assurance against material misstatement, loss or exposure to risk. Activities are largely project-based, and systems are in place to ensure that the Charity’s exposure is kept in line with secured core and project funding. The Trustees are satisfied that the systems developed will mitigate exposure to major risks and believe that risk management is a tool that assists the Charity in promoting its charitable purposes. 

A key risk area faced by the organisation currently is the successful evolution of its business model. This risk is well mitigated by the funding from Transform Two which provides tapering support across the period to March 2026 for ongoing activities and aims to underpin the organisation as it explores new business models 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

and income streams. From the 2026-27 financial year, the organisation’s plans have been rebuilt around a reduced core funding base and greater reliance on income from Trusts & Foundations, individual donations and engagement income (from touring in the UK and overseas). The _Transform Two_ project has supported the organisation to become more resilient and sustainable for the future. 

As identified in the Risk Register, the Charity considers the key risks at the current time to be as follows: 

|**Risk identified**|**Action taken to mitigate risk**|
|---|---|
|Continuing to adapt our business model and<br>balance our budgets with rising costs and fixed<br>ACE grant funding.|Recent funding under ACE’s Transform Two<br>programme has helped kickstart the development of<br>new income streams and the evolution of a new<br>business model. We continue to work to build<br>resilience and long-term sustainability.|
|Income targets from fundraising or earned<br>sources are not met which threatens the Charity’s<br>financial stability.|As above, the organisation is working to diversify its<br>income streams and innovate its business model.<br>In the short term, the Reserves target has recently<br>been reviewed and the organisation is working<br>towards achieving a new target. Careful forward<br>planning takes account of income which is<br>unconfirmed and ensures that activity takes place in<br>line with this.|
|Risks arising from cyber security, cyber-crime and<br>the impact of AI, including malicious attacks<br>resulting in fraud and/or damage to IT systems<br>and/or loss of data or intellectual property leading<br>to financial liabilities, operational difficulties and<br>potential damage to reputation.|IT support company advises on and manages<br>security and back up procedures. Relevant<br>Employee Policies are in place to help safeguard IT<br>security and data and staff receive training on<br>spotting potential cyber risks. Cyber Security<br>insurance is in place. Charity is in process of<br>developing a strategy/policy around use of AI.|
|Simultaneous loss of multiple, senior level<br>management personnel.|Sufficient notice periods included in contracts,<br>handovers planned with outgoing managers and<br>documentation of key systems and processes in<br>place. The organisation has a successful track<br>record of attracting strong candidates and strives to<br>be a welcoming and inclusive place to work, which<br>pays equitably.|
|Risks arising from a sudden major catastrophic<br>event (such as a weather event, pandemic, war,<br>terrorism) causing the cancellation of events or<br>the closure of the LS office.|The pandemic has helped us to put in place better<br>business continuity plans and the ability to work<br>effectively remotely. Promoter contracts include<br>Force Majeure clauses to reduce potential liabilities<br>and cancellation insurance policies are taken out<br>where appropriate.|



Other risks identified at the current time arise from uncertainties in the external environment, such as the conflicts in Ukraine and the Middle East, government policies on funding and support for the arts, increased costs due to high inflation in recent years and increased competition for private funds (e.g. from Trusts & Foundations). This means that while costs continue to rise for the Charity it is becoming harder to secure grant funding. The Charity’s ability to adapt quickly and flexibly will continue to help mitigate risks arising from external change. 

## **Funders and supporters** 

The organisation continues to be supported by Arts Council England as a National Portfolio Organisation and as part of its _Transform Two_ funding programme which aims to support organisations which received a significant grant cut from April 2023. The _Transform Two_ funding can be used to support some core costs but at least 50% of the total grant is to be spent on researching and implementing a refreshed business model, diversifying income streams and developing the organisation to become sustainable and resilient for the long term. At the time of writing, this project is just concluding (see Progress Against Strategic Aims and Objectives, Aim 4 for further details of activity in the 2024-25 financial year). 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

The London Sinfonietta is grateful to Arts Council England for its continued support as a National Portfolio Organisation and through its _Transform_ programme. 

We would also like to gratefully acknowledge the support of other key funders including Art Mentor Foundation Lucerne, The Arts Council of Ireland, Barbara Whatmore Charitable Trust, Big Give Arts for Impact Fund, Boris Karloff Charitable Foundation, Cockayne Grants for the Arts: a donor advised fund held at The London Community Foundation, Cuddigan Oliver Trust, De Laszlo Foundation, Ernst von Siemens Music Foundation, Finzi Trust, Garrick Charitable Trust, Garfield Weston Foundation, Hodge Foundation, Jerwood Foundation John Ellerman Foundation, John Lyon's Charity, John S Cohen Foundation, Karlsson Játiva Charitable Foundation's Signatur Programme, Leche Trust, Marchus Trust, Margaret Engering Music Trust, Patrick Rowland Foundation, PRS Foundation, Radcliffe Trust, Royal Philharmonic Society, Samuel Gardner Memorial Trust, Summerfield Charitable Trust, Simon Gibson Charitable Trust, Steven R. Gerber Trust, Thistle Trust, Three Monkies Trust, Thriplow Charitable Trust, Vaughan Williams Foundation and Victoria Wood Foundation. 

The organisation acknowledges with much gratitude the many donations from individual supporters which help us to achieve our goals, particularly in supporting the development of new commissions and the continuation of its schools’ programme. 

The London Sinfonietta was a member of the Fundraising Regulator during this financial year. 

## **PLANS FOR 2025-26 AND THE FUTURE** 

With the _Transform Two_ funding now fully committed (at April 2026), the organisation will be completing its transition to a new lower funding base and continuing to evolve the income mix during the 2025-26 season and beyond. Artistic activity for the 2025-26 period includes: 

## **Own/co-promotions (London and UK)** 

A full season of live concerts at Southbank Centre including: 

- _Boulez: Sonic Structures_ at the Queen Elizabeth Hall in October 2025, a tribute to Pierre Boulez in his centenary year. 

- _London Sinfonietta & Marius Neset_ in November 2025 features _Changes_ , a new commission from Marius Neset which fuses ecstatic jazz with the pulse and precision of the London Sinfonietta. This was paired with a new work by Ashkan Layegh _Ephemerality and Recurrence_ , commissioned through the organisation’s _Writing the Future_ scheme. 

- _Grisey: Quatre Chants_ at the Queen Elizabeth Hall in late November 2025 explored this pioneering figure in the spectral music movement alongside younger generation composers influenced by him. 

- _Toru Takemitsu: Between Music and Silence_ took place in the Purcell Room in February 2026, a repeat of the programme performed at Portsmouth Guildhall. 

- _Pulse and Presence_ at the Queen Elizabeth Hall in March 2026 saw the UK premiere of Alex Paxton’s _Scrunchy Touch Sweetly to Fall_ and the London premiere of Tansy Davies’s _Soul Canoe_ alongside Louis Andriessen’s _Zilver_ and John Adam’s witty, energetic _Chamber Symphony_ . 

- _Sympoesia_ at Queen Elizabeth Hall in April 2026, a co-promotion with Southbank Centre, weaves together music and poetry. 

- _Time Entwined_ also at the Queen Elizabeth Hall in June 2026 celebrates the Southbank Centre’s 75[th] anniversary and presents the world premiere of new commissions from James B Wilson (written for young musicians from the North London Music Hub, who perform side by side with London Sinfonietta players) and Florence Anna Maunders alongside Christian Mason’s _In Time Entwined, In Space Enlaced_ and Harrison’s Birtwistle _Secret Theatre_ . 

- _Reich @ 90_ in September 2026 at Royal Festival Hall celebrates the birthday of iconic American composer Steve Reich with an overview of his music including works commissioned by the ensemble in the past. 

## **Composer commissions and new work** 

Commissions and co-commissions premiered in the 2025-26 season include: 

- Marius Neset’s _Changes_ (supported by Cockayne – Grants for the Arts) and Ashkan Layegh’s _Ephemerality and Recurrence_ (developed through the _Writing the Future_ scheme) 

- A new commission for the _Sound Out!_ Schools Concert, _Mach 5 (Supersonic)_ by Gillian Walker 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

- A new commission from Florence Anna Maunders supported by the Steven R Gerber Trust 

- James B Wilson’s new work (also supported by Cockayne – Grants for the Arts) 

- A new piece by Louise Drewett (supported by the Cuddigan Oliver Trust) to be performed at the Aldeburgh Festival 

- New works by Nathalie Joachim and Klein, co-commissioned with the Holland Festival 

## **Participation and learning** 

In terms of the organisation’s programme for schools, in the 2025-26 season we continue to deliver _Composition Challenges_ activity in our key partnership areas (Haringey, Enfield, Islington, Barnet, Southampton & Isle of Wight and Gloucestershire) through workshops and teacher CPD. The organisation has also expanded this activity to work in depth with three schools in the area closest to its office in St Pancras and Somers Town, Camden. This activity culminated at our annual _Sound Out!_ Schools Concert at the Royal Festival Hall in March 2026 which provided an opportunity to celebrate young people as composers and performers. Our _Time Entwined_ concert (June 2026) will also include young musicians from the North London Hub Partners (11-18 year olds) performing a new work by James B Wilson. 

In our talent developing strand, a further performance of new work from our _Writing the Future_ scheme (by Ashkan Layegh) took place in November 2025, and we continue to offer work to emerging performers through our _Playing the Future_ programme, with young players from Royal Academy of Music performing side-by-side with London Sinfonietta players at three concerts during the season. 

A project in collaboration with Britten Pears Arts will see Aldeburgh Young Musicians (supported by the London Sinfonietta) write a new protest song inspired by Henze’s _Voices_ , which the ensemble will perform at the Aldeburgh Festival in June 2026. 

## **Digital engagement** 

The organisation continues to release a range of digital content to introduce audiences to composers and artists programmed in its main season of concerts. 

## **UK engagements** 

An engagement with Boston Consulting Group to deliver a training workshop to professionals took place in October 2025 and the ensemble returned to Huddersfield Contemporary Music Festival with a programme of new works from Poland in November 2025 (linked to our concert at Warsaw Autumn Festival in 2024-25 financial year). 

A performance of music by Steve Reich took place at Southbank Centre in February 2026 as part of their _Classical Mix Tape_ event, showcasing all the resident orchestras. We returned to Portsmouth Guildhall in February 2026 to explore _Takemitsu: music shaped by silence and nature_ , featuring the music of Toru Takemitsu alongside other 20[th] Century composers who responded to nature in their music (Claude Debussy, Olivier Messiaen and Anton Webern). 

An engagement to appear at the Aldeburgh Festival, performing Henze’s iconic masterpiece _Voices_ alongside a new commission by Louise Drewett, takes place in June 2026, and a further performance at Music @ Malling Festival is planned for September 2026, following our success there last season. 

## **Overseas engagements** 

The organisation continues its efforts to strengthen existing relationships and develop new links with overseas promoters. We were pleased to return to Mexico and renew our relationship with the Cervantino Festival in October 2025. In January 2026 the ensemble gave repeat performances of Marius Neset’s new commission _Changes_ at three venues in Norway (Cosmopolite Scene, Harstadt Kulturhaus and Tromsø Kulturhaus), following its premiere in London in November 2025. 

A project with Musikene (a Spanish promoter) sees the ensemble working with young composers to develop new works for performance in April 2026 in San Sebastian. The ensemble will then travel to perform at the Holland Festival in June 2026 with a repeat performance of Henze’s _Voices_ alongside new works by Nathalie Joachim and Klein. 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Report of the Council of Trustees (continued)** 

## **STRUCTURE, GOVERNANCE AND MANAGEMENT** 

## **Legal status** 

Sinfonietta Productions Ltd (working as the London Sinfonietta) is registered as a Company limited by guarantee (Company number 00926551) and as a charity with the Charity Commission (Charity number 255095). The Charity’s Trustees, also Directors of the Company, are called the Council.  The Charity was founded in 1968 and is governed by its Memorandum and Articles of Association. Membership of the Company consists of the current Directors. Members are co-opted by the Council and stand for election by the Members at the following general meeting of the Company. 

## **Appointment of Trustees** 

As set out in the Articles of Association, the number of Trustees shall be not less than five and shall not exceed 18. This includes at least two and no more than four Trustees who are Principal Players with the London Sinfonietta. The Trustees can co-opt additional Trustees who will stand for formal appointment at the subsequent general meeting.  A skills audit of existing Trustees is undertaken regularly to identify specialist skills needed. All Trustees can nominate potential new Trustees for consideration, and the Council advertises publicly for them as required. 

A third of Trustees are required to retire from office at each Annual General Meeting and are eligible for reelection. Trustees can serve three terms of three years, a maximum of nine consecutive years, and retire by rotation in accordance with the Articles of Association. 

An induction process is in place for new Trustees which includes spending time with the Chair and the Chief Executive as well as receiving relevant information about the organisation and their responsibilities as Company Directors and Charity Trustees. The Council of Trustees meets at least four times a year and they are encouraged to attend the organisation’s programme of concerts, events and projects. Trustees also sit on board committees and may participate in ad hoc working groups involving the management team where they can bring advice to particular areas of the operation. Trustees are also encouraged to attend appropriate external training events where these will facilitate their role. The Council regularly undertakes SelfAssessment to gain an understanding of any skill gaps. This last took place in Summer 2024 and has been used to help prioritise skills sought in recruitment processes since. 

The organisation continues to ensure that there is regular rotation of Trustees in line with its governing documents. Following the appointment of two new Trustees in 2024-25, three Trustees will either step down or are due to retire in 2025-26. The organisation is therefore recruiting for further new Trustees at the time of writing, including one from the Principal Players to represent the ensemble. 

Ultimate responsibility for the Charity rests with the Council of Trustees. The Trustees during the year are listed on page 3 and details of the Trustees’ responsibilities are set out on page 19. 

## **Organisation and Management** 

The day-to-day running of the organisation is managed by the Chief Executive & Artistic Director, Andrew Burke, working closely with the Head of Finance, Head of Development, Head of Concerts & Production, Head of Participation & Learning and other members of staff to deliver the programme of work. Over the period, the Charity has had a team of five full-time and six part-time salaried staff members (on average) as well as support from freelancers. Two employees were made redundant in Autumn 2024 and remaining roles were revised in order to streamline the team further. This included the evolution of the General Manager role into a new Head of Development role with a much greater focus on income generation, in particular fundraised income. 

The Chief Executive is a member of the Council of Trustees and reports to it, as well as maintaining regular contact with the Chair. Budgets are set by the Chief Executive and Head of Finance and ratified by the Council. The organisation’s Strategic Aims and Objectives describe the Charity's ambitions; annual and threeyear Business Plans outline activity in all areas, including artistic planning, participation and learning, digital projects development, financial planning and organisational development. In all matters, the Council monitors progress and delivery against the Business Plan aims. 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

The Council has three Committees. The Finance, Risk & Audit Committee meets at least four times a year to review financial planning and reporting in advance of Council meetings and to consider the organisation’s financial, strategic and operational risks as well as overviewing compliance in other areas. The Programme Strategy Committee meets at least twice a year to review past and future artistic plans including those of our public engagement programme. Lastly, the Income Generation Committee meets to consider fundraising, development of new income streams and business model innovation. Other ad-hoc working groups are set up from time to time to work on specific, short-term projects. 

Third Party Indemnity insurance was in force during the year for the benefit of all Trustees/Directors of the Charity and the management team. 

## **Remuneration Policy for Senior Management Personnel** 

The senior management team comprises the key management personnel of the Charity, in charge of directing and controlling, running and operating the Charity on a day-to-day basis. During the year ended 30 September 2025, the senior management team were the Chief Executive & Artistic Director, the General Manager (until December 2024, when this role changed), the Head of Finance, the Head of Development (from December 2024) the Head of Concerts and Production and the Head of Participation & Learning. Their remuneration, along with that of all staff, is reviewed annually and increased when appropriate, taking into account affordability, inflation and market practice. The Charity regularly benchmarks pay levels against other charities of similar size and purpose. 

No Trustees received remuneration during the period, except as authorised by the Company’s Memorandum & Articles of Association. Where Trustees receive remuneration for other services provided to the Charity, these are detailed under Note 12. During the year, this included the Chief Executive & Artistic Director and three Principal Players. 

## **STATEMENT OF TRUSTEES’ RESPONSIBILITIES IN RELATION TO THE FINANCIAL STATEMENTS** 

The Charity Trustees (who are also Directors of Sinfonietta Productions Ltd for the purposes of Company Law) are responsible for preparing a Trustees’ annual report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (Generally Accepted Accounting Practice). 

Company law requires the Trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charitable company and of the surplus or deficit, profit or loss of the charitable company for that period. 

In preparing those financial statements, the Trustees are required to: 

- select suitable accounting policies and then apply them consistently; 

- observe methods and principles in the Charities SORP; 

- make judgments and accounting estimates that are reasonable and prudent; 

- state whether applicable accounting standards have been followed, subject to any material departures disclosed and explained in the financial statements 

- prepare the financial statements on the going concern basis unless it is inappropriate to presume that the company will continue in business. 

The Trustees are also responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. 

The Trustees acknowledge their responsibility for the maintenance and integrity of the corporate and financial information included on the charity’s website. 

So far as the Trustees are aware, there is no relevant audit information (information needed by the company’s auditors in connection with preparing their report) of which the company’s auditors are unaware, and each 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

Trustee has taken all the steps that he ought to have taken as a Trustee in order to make himself aware of any relevant audit information and to establish that the company’s auditors are aware of that information. 

## **Auditors** 

A Resolution will be placed before the Members at the Annual General Meeting to approve the reappointment of MGR Weston Kay LLP as Auditors of the Company in accordance with the Companies Act 2006. 

This Report, relating to the reporting period ended 30 September 2025, was approved by the Council of Trustees on 28 April 2026 and signed on their behalf by: 



**F Thompson** Chair of Trustees 

**A Burke** Chief Executive 

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**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Independent Auditors’ Report to the Members of Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Opinion** 

We have audited the accounts of Sinfonietta Productions Limited for the year ended 30 September 2025 which comprise the Statement of Financial Activities, the Balance Sheet, the Statement of Cash Flows and Notes to the accounts, including a summary of significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including FRS 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice). 

In our opinion the accounts: 

- give a true and fair view of the state of the charitable company's affairs as at 30 September 2025 and of its incoming resources and application of resources, including its income and expenditure, for the year then ended; 

- have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice; and 

- have been prepared in accordance with the requirements of the Companies Act 2006. 

## **Basis for opinion** 

We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor's responsibilities for the audit of accounts section of our report. We are independent of the charitable company in accordance with the ethical requirements that are relevant to our audit of the accounts in the UK, including the FRC’s Ethical Standard, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. 

## **Conclusions relating to going concern** 

In auditing these accounts, we have concluded that the trustees’ use of the going concern basis of accounting in the preparation of the financial statements is appropriate. 

Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on the charitable company's ability to continue as a going concern for a period of at least twelve months from when the financial statements are authorised for issue. 

Our responsibilities and the responsibilities of the trustees with respect to going concern are described in the relevant sections of this report. 

## **Other information** 

The other information comprises the information included in the annual report other than the accounts and our auditor's report thereon. The trustees are responsible for the other information contained within the annual report. Our opinion on the accounts does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon. 

In connection with our audit of the accounts, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the accounts or our knowledge obtained in the course of the audit, or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether there is a material misstatement in the accounts or a material misstatement of the other information. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. 

We have nothing to report in this regard. 

## **Opinions on other matters prescribed by the Companies Act 2006** 

In our opinion, based on the work undertaken in the course of our audit: 

20 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

- the information given in the Chair of Trustees and Council of Trustees Reports, for the financial year for which the accounts are prepared is consistent with the accounts; and 

- the Chair of Trustees and Council of Trustees Reports have been prepared in accordance with applicable legal requirements. 

## **Matters on which we are required to report by exception** 

In the light of the knowledge and understanding of the Trustees and its environment obtained in the course of the audit, we have not identified material misstatements in the Chair of Trustees and Council of Trustees Reports. 

We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion: 

- adequate accounting records have not been kept or returns adequate for our audit have not been received from branches not visited by us; 

- the accounts are not in agreement with the accounting records and returns; 

- certain disclosures of trustees’ remuneration specified by law are not made; or 

- we have not received all the information and explanations we require for our audit. 

## **Responsibilities of Trustees** 

As explained more fully in the Statement of Chairman’s And Trustees’ Responsibilities, the Chairman and Trustees are responsible for the preparation of the accounts and for being satisfied that they give a true and fair view, and for such internal control as the Trustees determine is necessary to enable the preparation of accounts that are free from material misstatement, whether due to fraud or error. 

In preparing the accounts, the Trustees are responsible for assessing the charitable company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the Trustees either intend to liquidate the company or to cease operations, or have no realistic alternative but to do so. 

## **Auditor’s responsibilities for the audit of the financial statements** 

Our objectives are to obtain reasonable assurance about whether the accounts as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these accounts. A further description of our responsibilities for the audit of the accounts is located on the Financial Reporting Council’s website at: http://www.frc.org.uk/auditorsresponsibilities. This description forms part of our auditor’s report. 

## **Explanation as to what extent the auditor was considered capable of detecting irregularities including fraud** 

Irregularities, including fraud, are instances of non-compliance with laws and regulations. We design procedures in line with our responsibilities, outlined above, to detect material misstatements in respect of irregularities, including fraud. The extent to which our procedures are capable of detecting irregularities, including fraud is detailed below. 

As part of our planning of the audit work we obtained an understanding of the legal and regulatory frameworks that are applicable to the entity via enquiries of the company’s management, carried out analytical procedures, held discussions amongst the engagement team and using knowledge of the sector determined that the most significant laws and regulation are those that relate to: 

- The Code of Fundraising Practice. 

- The Charities Act 

- Health and safety regulations. 

- The Safeguarding of Vulnerable Groups Act 2006. 

- Employment law including right to work in the UK. 

- Data Protection Laws (GDPR) 

- UK Tax legislation 

21 



Sinfonietta Productions Limited
(a Company limited by guarantee)
We also considered those18ws and regulations that have a direct impact on the preparation of the financial
statements such as Charfties SORP, FRS102 and the Companies Acl 2006.
Based on the results of our risk assessment we designed our audil procedures to Identrfy non-compliance
wilh the laws and regulations and the fraud risks identified. This included enquiries with management to
understand their policies and procedures for compliance with those regulallons and we compieled the
following tests:
Obtained an understanding of relevant controls.
Reviewed the company's risk assessments, procedures and systems.
Checked samples of documentation including minutes of the meetings of the tnJstee$ and service
agreements with regukgtory advisors.
We also assessed the risks of material misslatemenl in Tespect of fraud as follows:
Revenue fraud.
Unaulhorised expenditure andlor payments.
Management override of controls.
Manipulation of accounting estimates.
Related paty fraud.
Based on the resuhs of our risk assessment we deslgned our audit procedures to idenllfy and to address
material misslalements in relation to fraud. This included the risk of management blas and the risk of
makir¢g inappropriate accounting entries.
No significant issues were identtfied during our testing.
There are inherent limitations in the audit procedures described above and the primary responslbility ft)r the
prevention and detection of irregularities including fraud rests with management. As with any audlt. there
remained a risk of non- detection of irregularities. as these could involve collusion. forgery, inlentlon81
omissions, misrepresentations or the override of internal controls.
Use of our report
This report is made solely to the charitable company's members, as a body. in accordance with Chapter 3
of Part 16 of the Companies Act 2006 and regulations made undei that ACL Ou¥ audit work has been
undertaken so that we might state to the charitable company's members those matters we are Tequired to
slate to them in an 8udilors' report and for no other purpose. To the fullest extent permitted by law, we do
not accept or assume responsibility to anyone other than the charitable company and its members as a
body, for our audit work, for this report, or for the opinions we have fomied.
pt*L {*
Nicholas Muir FCA (Senlor Statutory Auditor)
For and on behalf of MGR Weston Kay LLP
Chartered Accountsnts
Statutory Auditors
55 Loudoun Rgad
Sl John's Wood
London. NW8 ODL

**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Statement of Financial Activities (incorporating the Income and Expenditure Account) for the year ended 30 September 2025** 

|**Notes**<br> **Income**<br>Donations<br>3<br>Income from charitable<br>activities<br>4<br>Other income<br>5<br>Investment income<br>7<br> <br> **Total income**<br> **Expenditure**<br>Costs of raising funds<br>8<br>Expenditure on<br>Charitable activities<br>8, 9<br>& 10<br> **Total expenditure**<br> <br> <br> **Net income/**<br>**(expenditure) before**<br>**transfers**<br>Gross transfers between<br>funds<br> <br> **Net movement in funds**<br> <br>**Reconciliation of funds**<br>Funds brought forward<br> **Funds carried forward**<br>18|**Unrestricted Funds**<br>**General** **Designated**<br> <br> <br> <br>**£**<br>**£**<br> <br> <br> <br> <br> <br> <br>426,341<br>-<br>131,921<br>-<br>128,968<br>-<br>1,686<br>-<br> <br>**688,916**<br>**- **<br>123,303<br>-<br>564,582<br>40,000<br> <br> <br>**687,885**<br>**40,000**<br>1,031<br>(40,000)<br>-<br>-<br> <br> <br>1,031<br>(40,000)<br>**133,654** <br>**94,078**<br>**134,685**<br>**54,078**|**Restricted**<br>**Funds**<br> <br> <br>**£**<br> <br> <br> <br> <br>478,495<br> <br>25,750<br> <br>-<br> <br>-<br> <br>**504,245**<br> <br>7,665<br> <br>481,290<br> <br>**488,955**<br> <br>15,290<br>-<br> <br> <br>15,290<br>**174,492**<br>**189,782**|**Total Funds**<br>**2025**<br> <br> <br>**£**<br> <br> <br> <br> <br>904,836<br> <br>157,671<br> <br>128,968<br> <br>1,686<br> <br>**1,193,161**<br> <br>130,968<br> <br>1,085,872<br> <br>**1,216,840**<br> <br>(23,679)<br>-<br> <br> <br>(23,679)<br>**402,224**<br>**378,545**|**Total**<br>**2024**<br>**£**<br>797,895<br>235,109<br>138,343<br>1,132|
|---|---|---|---|---|
|||||**1,172,479**|
|||||86,140<br>1,155,869|
|||||**1,242,009**|
|||||(69,530)<br>-<br>|
|||||**(69,530)**<br>**471,754**|
|||||**402,224**|



This Statement of Financial Activities includes all gains and losses recognised in the year. All income and expenditure is derived from continuing activities. 

The Notes on pages 26 to 35 form part of these accounts. 

23 



## **Sinfonietta Productions Limited** 

## **(a company limited by guarantee)** 

## **Balance Sheet at 30 September 2025** 

|**Notes**<br>**Fixed assets**<br>Tangible assets<br>13<br>**Current assets**<br>Debtors<br>14<br>Short term deposits<br>15<br>Cash at bank and in hand<br>**Total**<br>**Creditors:**Amounts falling due<br>within one year<br>16<br>**Net current assets**<br>**Net assets**<br>**The Funds of the Charity**<br>Restricted Income Funds<br>Unrestricted Income Funds<br>Designated Funds<br>Contingency Reserve<br>Revenue Reserve<br>**Total Charity Funds**<br>17|**2024**<br>**£**<br>**£**<br> <br> <br>6,638<br>392,563<br>4,575<br>251,551<br>648,689<br>(276,782)<br>371,907<br>**378,545**<br>189,782<br>54,078<br>130,000<br>4,685<br>**378,545 **|**2024**<br>**£**<br>**£**<br>5,980<br>339,903<br>4,378<br>192,852<br>537,133<br>(140,889)<br>396,244<br>**402,224**<br>174,492<br>94,078<br>130,000<br>3,654<br>**402,224**|**2024**<br>**£**<br>**£**<br>5,980<br>339,903<br>4,378<br>192,852<br>537,133<br>(140,889)<br>396,244<br>**402,224**<br>174,492<br>94,078<br>130,000<br>3,654<br>**402,224**|
|---|---|---|---|
||||**402,224**|
||||174,492<br>94,078<br>130,000<br>3,654|
||||**402,224**|



The accounts were approved by the Council of Trustees on 28 April 2026 and signed on its behalf by: 


**F Thompson** Chair of Trustees 


**A Burke** Chief Executive 

Company registration No: 00926551 Registered Charity No: 255095 

The Notes on pages 26 to 35 form part of these accounts. 

24 



**Sinfonietta Productions Limited** 

**(a company limited by guarantee)** 

## **Statement of Cashflows For the year ended 30 September 2025** 

|**Cash flows from operating activities**<br>Surplus for year ended<br>Interest received<br>Depreciation<br>Decrease/(Increase) in debtors<br>(Decrease)/increase in creditors<br>**Net cash provided by operating activities**<br>**Cash flows from investing activities**<br>Interest from bank deposits<br>Fixed asset additions<br>**Net cash from investing activities**<br>**Change in cash and cash equivalents in the**<br>**year**<br>Cash and cash equivalents at beginning of year<br>**Cash and cash equivalents at end of year**<br>**Cash and cash equivalents**<br>Short term deposits<br>Cash at bank and at hand<br>**Cash and cash equivalents at 30 September**|**2025**<br>**£**<br>**£**<br>(23,679)<br>(1,686)<br>1,357<br>(52,660)<br>135,893<br>59,225<br>1,686<br>(2,015)<br>(329)<br>**58,896**<br>197,230<br>**256,126**<br>4,575<br>251,551<br>**256,126**|**2025**<br>**£**<br>**£**<br>(23,679)<br>(1,686)<br>1,357<br>(52,660)<br>135,893<br>59,225<br>1,686<br>(2,015)<br>(329)<br>**58,896**<br>197,230<br>**256,126**<br>4,575<br>251,551<br>**256,126**|**2024**<br>**£**<br>**£**<br>(69,530)<br>(1,132)<br>1,248<br>49,793<br>(4.245)<br>(23,866)<br>1,132<br>(6,282)<br>(5,150)<br>**(29,016)**<br>226,246<br>**197,230**<br>4,378<br>192,852<br>**197,230**|**2024**<br>**£**<br>**£**<br>(69,530)<br>(1,132)<br>1,248<br>49,793<br>(4.245)<br>(23,866)<br>1,132<br>(6,282)<br>(5,150)<br>**(29,016)**<br>226,246<br>**197,230**<br>4,378<br>192,852<br>**197,230**|
|---|---|---|---|---|
||1,686<br>(2,015)||1,132<br>(6,282)||
||||||
|||**58,896**<br>197,230||**(29,016)**<br>226,246|
|||**256,126**||**197,230**|
|||4,575<br>251,551||4,378<br>192,852|
|||**256,126**||**197,230**|



The Notes on pages 26 to 35 form part of these accounts. 

25 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **1. Accounting policies** 

The financial statements are prepared under the historical cost convention and in accordance with the Statement of Recommended Practice for Charities (October 2019 SORP), which became effective for all periods commencing on 1 January 2019, the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006. 

Sinfonietta Productions Ltd meets the definition of a public benefit entity under FRS 102. Assets and liabilities are recognised initially at historical cost or transaction value unless otherwise stated in the relevant accounting policy notes. 

The principal accounting policies adopted in the preparation of these financial statements are as follows: 

## **(a) Going concern** 

The Trustees consider that there are no material uncertainties regarding the Charity’s ability to continue as a going concern and have prepared these financial statements on this basis. 

- **(b) Income and Deferred Income** Income from donations, as well as other sundry income, is accounted for on a receivable basis.  Income from charitable activities is shown gross with the associated costs included in direct charitable costs. Income from engagements and promotions is stated net of value added tax. Income that relates to projects and fees of a future period is deferred until that period. Please refer to (j) for details regarding accounting policies for Restricted Funds. 

## **(c) Expenditure** 

Costs and expenses have been apportioned between the cost of raising funds and expenditure on charitable activities according to the nature of the work performed and the time taken. 

All expenditure is accounted for under the accruals concept. 

## **(d) Operating leases** 

Rentals payable under operating leases are charged against income on a straight-line basis over the lease term. 

## **(e) Foreign currency translation** 

Monetary assets and liabilities denominated in foreign currencies are translated into sterling at the rates of exchange ruling at the balance sheet date.  Transactions in foreign currencies are recorded at the rate ruling at the date of the transaction.  All differences are taken to the Statement of Financial Activities. 

## **(f) Pension costs** 

The Charity operates individual defined contribution pension schemes.  The assets of the schemes are held separately from those of the Charity in independently administered funds. 

## **(g) Tangible fixed assets and depreciation** 

Tangible fixed assets are stated at cost less depreciation.  They are depreciated on a straight-line basis over their estimated useful economic lives, as follows: 

||**Years**|
|---|---|
|Office and stage equipment|5|
|Computer equipment|5|



26 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **(h) Financial instruments** 

The Charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments, including trade and other debtors and creditors, are initially recognised at transaction value and subsequently measured at their settlement value. 

## **(i) Taxation** 

The Company is a registered Charity and accordingly is not subject to Corporation Tax on its charitable activities. The tax credit for the year is the payable tax credit claimed under the Orchestra and Theatre Tax Relief schemes. 

## **(j) Fund accounting** 

Funds held by the Charity are categorised as follows: 

_Restricted Funds_ : funds which are earmarked for a specific purpose by the donors. 

_Unrestricted Funds_ : funds which can be used in accordance with the charitable objects at the discretion of the Trustees. Unrestricted funds include: 

_Designated Funds_ : unrestricted funds which have been earmarked for specific purposes by the Trustees. 

_Contingency Reserves_ :  funds held to provide for contingencies that may arise in the future. _Revenue Reserves_ : the balance of funds carried forward on the Statement of Financial Activities consisting of funds available for use by the Charity to contribute towards its ongoing artistic activity. 

## **(k) Intangible income and gifts in kind** 

Donations in kind are valued and included in income to the extent that they represent goods or services which would otherwise be purchased. The valuation is based on what a third party would pay for the good or service. An equivalent amount is charged as expenditure. Income and the corresponding expense are recognised in the year that the goods or service are received/used. 

In accordance with Charities SORP (FRS 102), the value of the amount of time given by volunteers has not been quantified in the accounts. 

## **(l) Legal status and share capital** 

Sinfonietta Productions Limited is a registered charitable company limited by guarantee. The Memorandum of Association restricts the liability of members on winding up to £1 unless their liability becomes unlimited through contravention of the Memorandum.  In the case of winding up none of the accumulated funds are distributable to the members but shall be given or transferred to some other charitable institution having similar objectives. 

## **(m)** 

## **Creditors** 

Creditors are recognised where the Charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors are normally recognised at their settlement amount. 

## **(n) Government Grants** 

Government grants in these accounts are recognised on an accrual model and classified as grants relating to revenue. 

## **2. Critical accounting judgements and estimates** 

In preparing these financial statements, management has made judgements, estimates and assumptions that affect the application of the Charity’s accounting policies and the reported assets, liabilities, income and expenditure and the disclosures made in the financial statements.  Estimates and judgements are continually evaluated and are based on historical experience and other factors, including expectations of future events that are believed to be reasonable under the circumstances. 

27 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

|**3.**<br>**Donations**<br>**Year to 30 September 2025**<br>Arts Council England<br>Trusts and Foundations<br>Donations and Individual Giving<br>**Total**<br>**Year to 30 September 2024**<br>Arts Council England<br>Trusts and Foundations<br>Donations and Individual Giving<br>**Total**<br>**4.**<br>**Income from charitable activities**<br>Own/co-promotions (UK)<br>Engagements (UK)<br>Engagements (Overseas) – See Note 6<br>Participation and Learning<br>Digital projects<br>**Total**<br>**5.**<br>**Other income**<br>Other Income<br>**Total**||**Unrestricted**<br>**2025**<br>**£**<br>302,415<br>79,945<br>43,981<br>**426,341**<br>**Unrestricted**<br>**2024**<br>**£**<br>300,000<br>85,489<br>37,526<br>**423,015**|**Restricted**<br>**2025**<br>**£**<br>195,199<br>244,648<br>38,648<br>**478,495**<br>**Restricted**<br>**2024**<br>**£**<br>169,558<br>197,107<br>8,215<br>**374,880**<br>**Total**<br>**2025**<br>**£**<br>79,857<br>17,692<br>32,342<br>25,750<br>2,030<br>**157,671**<br>**Total**<br>**2025**<br>**£**<br>128,968<br>**128,968**|**Total**<br>**2025**<br>**£**<br>497,614<br>324,593<br>82,629|
|---|---|---|---|---|
|||||**904,836**|
|||||**Total**<br>**2024**<br>**£**<br>469,558<br>282,596<br>45,741|
|||||**797,895**|
|||||**Total**<br>**2024**<br>**£**<br>81,283<br>67,775<br>62,347<br>19,687<br>4,017|
|||||**235,109**|
|||||**Total**<br>**2024**<br>**£**<br>138,343<br>**138,343**|



Other Income includes funds received as a result of Orchestra and Theatre Tax Relief claims. 

**6. Geographical analysis of Overseas Engagements income** 

|European Union / EEA<br>Rest of world<br>**Total**|**Total**<br>**2025**<br>**£**<br>32,342<br>- <br>**32,342**|**Total**<br>**2024**<br>**£**<br> <br>29,439<br>32,908|
|---|---|---|
|||**62,347**|



28 



**Sinfonietta Productions Limited** 

**(a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **7. Investment income** 

All investment income arises from interest bearing deposit accounts. Short-term deposits shown on the Balance Sheet are unlisted investments held in a COIF Charities Deposit Fund and available at short notice. 

## **8. Analysis of expenditure** 

|**Year to 30 September 2025**<br>Cost of raising funds<br>Own/co-promotions (UK)<br>Engagements (UK)<br>Engagements (Overseas)<br>Participation & Learning<br>Composer commissions & new work<br>Digital projects<br>Advertising and publicity<br>Future Project Funds disbursed<br>**Total**<br>**Year to 30 September 2024**<br>Cost of raising funds<br>Own/co-promotions (UK)<br>Other engagements (UK)<br>Overseas engagements<br>Participation & Learning<br>Composer commissions & new work<br>Digital projects<br>Advertising and publicity<br>Future Project Funds disbursed<br>**Total**|**Staff**<br>**Costs**<br>**2025**<br>**£**<br>91,354<br> <br>154,507<br>11,172<br>23,206<br>82,857<br>31,837<br>873<br>61,735<br>- <br>366,187<br> <br>**457,541**<br>**Staff**<br>**Costs**<br>**2024**<br>**£**<br>60,217<br> <br>169,291<br>61,956<br>43,806<br>73,520<br> <br>11,644<br>5,744<br>56,230<br>- <br>422,191<br> <br>**482,408**|<br>**Direct**<br>**Costs**<br> <br>**2025**<br> <br>**£**<br>10,868<br> <br>201,877<br>14,597<br>30,321<br>108,260<br>41,598<br>1,140<br>87,862<br>122,303<br>607,958<br> <br>**618,826 **<br> <br>**Direct**<br>**Costs**<br> <br>**2024**<br> <br>**£**<br>5,000<br>209,425<br>76,645<br>54,192<br>90,950<br>14,405<br>7,106<br>31,319<br>141,445<br>625,487<br> <br>**630,487**|**Support**<br>**Costs**<br> <br>**2025**<br> <br>**£**<br>28,746<br> <br>48,431<br>3,502<br>7,274<br>25,972<br>9,980<br>273<br>16,295<br>- <br>111,727<br>**140,473 **<br>**Support**<br>**Costs**<br> <br>**2024**<br> <br>**£**<br>20,923<br> <br> <br>43,120<br> <br>15,781<br> <br>11,158<br> <br>18,726<br> <br>2,966<br> <br>1,463<br> <br>14,977<br>- <br> <br>108,191<br>**129,114**|<br>**Total**<br> <br>**2025**<br> <br>**£**<br>130,968|
|---|---|---|---|---|
|||||404,815<br>29,271<br>60,801<br>217,089<br>83,415<br>2,286<br>165,892<br>122,303|
|||||1085,872|
|||||**1,216,840**|
|||||**Total**<br>**2024**<br>**£**<br>86,140|
|||||421,836<br>154,382<br>109,156<br>183,196<br>29,015<br>14,313<br>102,526<br>141,445|
|||||1,155,869|
|||||**1,242,009**|



Staff Costs and Support Costs are allocated to activities either on an actual basis (where possible) or based on the percentage of total Direct Costs that the activity accounts for in the year. 

In 2025 Support Costs includes an unrealised exchange loss of £89 (2024: exchange loss of £249). 

29 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Notes to the Accounts** 

## **for the year ended 30 September 2025** 

|**9.**<br>**Staff costs and employees**<br>Wages and salaries<br>Social security costs<br>Pension costs<br>Other staff related costs<br>**Total**|**Total**<br>**2025**<br>**£**<br>416,264<br>21,804<br>12,100<br>450,168<br>7,373<br>**457,541**|**Total**<br>**2024**<br>**£**<br>427,349<br>32,036<br>12,696|
|---|---|---|
|||472,081<br>10,327|
|||**482,408**|



The average number of employees during the year was 11 (2024: 12), which included five full-time and six part-time employees. The key management personnel for the year were considered to be the Chief Executive & Artistic Director, the Head of Development, the Head of Finance, the Head of Concerts & Production and the Head of Participation & Learning. The total remuneration and pension contributions paid to key management personnel of the Charity were £222,137 (2024: £227,945). 

No employee except Andrew Burke, Chief Executive & Artistic Director (see Note 12 below) received emoluments in excess of £60,000 in the year. 

The pension cost charge represents contributions payable by the Charity to the funds and amounted to £12,100. Contributions totalling £1,928 were payable to the funds at the year end and are included in Creditors. 

## **10. Support costs** 

|**Support costs**|||
|---|---|---|
|Rent and equipment leases<br>Other establishment costs<br>General office expenses<br>IT costs and software licenses<br>Depreciation<br>Auditors remuneration<br>**Total**|**Total**<br>**2025**<br>**£**<br>28,069<br>19,922<br>44,526<br>31,099<br>1,357<br>15,500<br>**140,473**|<br>**Total**<br> <br>**2024**<br> <br>**£**<br> <br>34,183<br> <br>18,345<br> <br>32,594<br> <br>30,944<br> <br>1,248<br>11,800|
|||**129,114**|



Governance Costs of £46,473 (2024: £52,124) are included in Staff costs and Support costs which include audit fees as shown below. Governance Costs are calculated based on an estimation of staff time and resources required to support the governance function and the actual cost of recruiting new Trustees. 

## **11. Auditors Remuneration** 

Fees payable to the company’s auditors and associates: 

|For audit services:<br>Audit of the company’s financial statements<br>For other services:<br>Taxation services<br>Other services|**Total**<br>**Total**<br>**2024**<br>**2024**<br>**£**<br>**£**<br>15,500<br>11,800<br>3,000<br>2,600<br>-<br>195|
|---|---|



30 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **12. Transactions with Trustees and Related Parties** 

Trustees received no remuneration during the period, except as authorised by the Company’s Memorandum & Articles of Association.  The Chief Executive & Artistic Director and player members were paid as follows: 

|Andrew Burke<br>Timothy Gill<br>Paul Silverthorne<br>Mark van de Wiel<br>**Total**|**Salary**<br>**£**<br>77,598<br>-<br>-<br>-<br>**77,598**|**Pension **<br> <br>**£**<br> <br>3,880<br> <br>-<br> <br>-<br>- <br>**3,880**|**Payments as**<br>**members of**<br>**the orchestra**<br> <br>**£**<br> <br>-<br>7,304<br>5,024<br>6,856<br>**19,184**|**Total**<br>**2025**<br> <br>**£**<br> <br>81,478<br>7,304<br>5,024<br>6,856<br>100,662|**Total**<br>**2024**<br>**£**<br> <br>81,478<br>4,518<br>11,711<br>1,804|
|---|---|---|---|---|---|
||||||**99,511**|



The payments made to members of the orchestra represent gross amounts paid during the year and while they were registered as Trustees of the Charity. 

Reimbursements to Trustees for expenses during the year amounted to £0 (2024: £60). 

During the year £7,184 of donations were received from the Trustees (2024: £6,538). The number of Trustees to whom retirement benefits are accruing is 1 (2024: 1). There were no other related party transactions. 

## **13.     Tangible fixed assets** 

|**Tangible fixed assets**||||
|---|---|---|---|
|**Cost**<br>At 30 September 2024<br>Additions<br>At 30 September 2025<br>**Depreciation**<br>At 30 September 2024<br>Charge for the period<br>At 30 September 2025<br>**Net book value**<br>At 30 September 2025<br>At 30 September 2024|**Office**<br>**Equipment**<br>**£**<br>2,440<br>-<br>2,440<br>123<br>488<br>611<br>1,829<br>2,317|**Computer**<br>**equipment**<br> <br>**£**<br>6,747<br>2,015<br> <br>8,762<br>3,084<br>869<br>3,953<br> <br>4,809<br> <br>3,663|**Total**<br>**£**<br>9,187<br>2,015|
||||11,202|
||||3,207<br>1,357|
||||4,564|
||||6,638|
||||5,980|



31 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **14. Debtors** 

|Trade debtors<br>VAT<br>Other debtors<br>Prepayments<br>Accrued income<br>Tax recoverable<br>**Total**|**Total**<br>**2025**<br>**Total**<br>**2024**<br>**£**<br>**£**<br>35,123<br>26,337<br>10,633<br>4,054<br>6,300<br>6,300<br>66,659<br>36,879<br>35,496<br>13,322<br>238,352<br>253,011<br>**392,563**<br>**339,903**|
|---|---|



## **15. Short-term deposits** 

Short-term deposits are unlisted investments held in a COIF Charities Deposit Fund and available at short notice. 

## **16. Creditors: Amounts falling due within one year** 

|Trade creditors<br>Taxation and Social Security<br>Other creditors<br>Accruals<br>Deferred income (received in advance)<br>**Total**<br>Movements in deferred income in the year were as follows:<br>Balance brought forward<br>Amounts released in the year<br>Amounts deferred in the year<br>**Balance carried forward**|**Total**<br>**2025**<br>**£**<br> <br>80,800<br>7,891<br>2,706<br>49,199<br>136,186<br>**276,782**<br>**Total**<br>**2025**<br>**£**<br>71,334<br>(70,979)<br>135,831<br>**136,186**|**Total**<br>**2024**<br>**£**<br> <br>25,037<br>9,315<br> <br>2,833<br> <br>32,370<br>71,334|
|---|---|---|
|||<br>**140,889**|
|||**Total**<br>**2024**<br> <br>**£**<br> <br>48,640<br> <br>(48,640)<br>71,334|
|||<br>**71,334**|



Any amounts deferred in the year relate to cash received in the year ended 30 September 2025 or a prior year, for expenditure on concerts and projects taking place in a future financial year. 

32 



**Sinfonietta Productions Limited** 

**(a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **17. Analysis of Charitable Funds** 

## **Year to 30 September 2025** 

|**Restricted Funds**<br>Future Projects Fund<br>**Unrestricted Funds**<br>Designated Funds*<br>Contingency Reserve<br>Revenue Reserve<br>**Total**|**Balance at**<br>**1 October**<br>**2024**<br>**£**<br> <br>174,492 <br> <br>94,078<br>130,000<br>3,654 <br>**402,224 **|**Net**<br>**movement**<br>**£**<br>15,290<br>(40,000)<br>-<br>1,031<br>**(23,679)**|**Transfers**<br>**between**<br>**Funds**<br>**£**<br>-<br>-<br>-<br>-|**Balance at**<br>**30 September**<br>**2025**<br>**£**<br>189,782<br>54,078<br>130,000<br>4,685|
|---|---|---|---|---|
|||||**378,545**|



During the year £40,000 was disbursed from Designated Funds to support Strategic Projects. The remaining balance on Designated Funds allows the Charity to invest in artistic activity planned in 202526 and future financial years. 

|*** Designated Funds**<br>comprise:<br>Balance at 1 October 2024<br>Net movement<br>Transfer between funds<br>Balance at 30 September 2025|**Strategic**<br>**Projects**<br>**Fund**<br>**£**<br>65,555<br>(40,000)<br>-<br>25,555|**Digital**<br>**Production**<br>**Fund**<br>**£**<br>18,523<br>-<br>- <br>18,523|**Future**<br>**Business**<br>**Innovation**<br>**Fund**<br>**£**<br>10,000<br>-<br>-<br>10,000|**Total**<br>**Designated**<br>**Funds**<br>**£**<br>94,078<br>(40,000)<br>-|
|---|---|---|---|---|
|||||54,078|



## **Year to 30 September 2024** 

|**Restricted Funds**<br>Future Projects Fund<br>**Unrestricted Funds**<br>Designated Funds*<br>Contingency Reserve<br>Revenue Reserve<br>**Total**|**Balance at**<br>**1 October**<br>**2023**<br>**£**<br>210,675<br>129,078<br>125,000<br>7,001<br>**471,754**|**Net**<br>**movement**<br>**£**<br>(36,183)<br>(35,000)<br>-<br>1,653<br>**(69,530)**|**Transfers**<br>**between**<br>**Funds**<br>**£**<br>-<br>-<br>5,000<br>(5,000)<br>**-**|**Balance at**<br>**30 September**<br>**2024**<br>**£**<br>174,492<br>94,078<br>130,000<br>3,654|
|---|---|---|---|---|
|||||**402,224**|



33 



**Sinfonietta Productions Limited (a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **Restricted Funds:** 

## **Future Projects Fund** 

The Future Projects Fund relates to funds already raised for projects which are continuing into or commencing during 2025-26 and beyond. The Charity has committed to fund these projects. A deficit on Restricted Funds for the year indicates that funds raised in a prior year have been used for the projects for which they were intended and have not yet been replaced by funds for future projects. 

The Future Projects Fund contains amounts to be allocated to Own/Co-Promotions, Participation & Learning and New Work. 

## **Unrestricted Funds:** 

## **Designated Funds** 

The Strategic Projects Fund relates to funds set aside to support strategic projects in future financial periods. 

The Digital Production Fund relates to funds set aside to support digital production and audience engagement, including CD releases, audio and film projects and other digital projects. 

The Future Business Innovation Fund relates to funds set aside to use as seed-corn funding for researching and developing new income generation ideas.  This follows a decision at the Council meeting in December 2024 to re-designate the Future Office Fund following the completion of the move to new office premises at Theatro Technis in July 2024. 

## **Contingency Reserve** 

The Contingency Reserve represents funds held to provide for unforeseen liabilities that may arise. 

## **Revenue Reserve** 

The Revenue Reserve represents the balance carried forward on the Statement of Financial Activities and consists of funds available for use by the organisation to contribute towards its ongoing future artistic activity. 

## **18. Analysis of Net Assets between Funds** 

|**As at 30 September 2025**<br>Tangible fixed assets<br>Debtors<br>Short term deposits<br>Cash at bank and in hand<br>Creditors falling due within one year<br>**Total Net Assets**|**Unrestricted Funds**<br>**General  Designated**<br>**£**<br>**£**<br>6,638<br>-<br>178,612<br>-<br>-<br>-<br>24,662<br>54,078<br>(75,227)<br>-<br> <br>**134,685**<br>**54,078**|**Restricted**<br> <br>**Funds**<br> <br>**£**<br> <br>-<br> <br>213,951<br> <br>4,575<br> <br>172,811<br>(201,555)<br> <br>**189,782 **|<br>**Total**<br> <br>**2025**<br> <br>**£**<br> <br>6,638<br> <br>392,563<br> <br>4,575<br> <br>251,551<br>(276,782)|
|---|---|---|---|
||||**378,545**|



34 



**Sinfonietta Productions Limited** 

**(a company limited by guarantee)** 

## **Notes to the Accounts for the year ended 30 September 2025** 

## **As at 30 September 2024** 

|Tangible fixed assets<br>Debtors<br>Short term deposits<br>Cash at bank and in hand<br>Creditors falling due within one year<br>**Total Net Assets**|**Unrestricted Funds**<br>**General  Designated**<br>**£**<br>**£**<br>5,980<br>-<br>67,946<br>12,707<br>-<br>-<br>105,390<br>81,371<br>(45,662)<br>-<br> <br>**133,654**<br>**94,078**|**Restricted**<br> <br>**Funds**<br> <br>**£**<br> <br>-<br> <br>259,250<br> <br>4,378<br> <br>6,091<br> <br>(95,227)<br> <br>**174,492**|<br>**Total**<br> <br>**2024**<br> <br>**£**<br> <br>5,980<br> <br>339,903<br> <br>4,378<br> <br>192,852<br> <br>(140,889)|
|---|---|---|---|
||||**402,224**|



## **19. Operating lease commitments** 

At the reporting date the Company had outstanding commitments for future minimum lease payments under non-cancellable operating leases, which fall due as follows: 

|Within one year<br>Between two and five years<br>**Total**|**2025**<br>**£**<br>876<br>698<br>1,574|**2024**<br> <br>**£**<br>876<br>1,574|
|---|---|---|
|||2,450|



Lease payments of £876 (2024: £178) have been recognised as an expense in the year ended 30 September 2025. 

## **20. Government Grants** 

Income from government grants comprises regular core funding from Arts Council England of £302,415 (2024: £300,000) as a National Portfolio Organisation and grant income recognised of £158,440 (2024: £169,558) under the Transform Two programme (see Note 3). 

The regular funding from Arts Council England is to support the organisation and its artistic work across all areas. The Transform Two grant allocated during the period is to support the organisation as it realigns its business model across the period up to March 2026, following a reduction in regular funding from Arts Council England from April 2023. 

Additionally, the organisation was awarded a project grant of £36,759 in support of _Sound Out! On Tour_ (June/July 2025) under Arts Council England’s National Lottery Project Grants programme. 

## **21. Company Information** 

Sinfonietta Productions Limited is a company limited by guarantee incorporated in England and Wales. The registered office and principal place of business is Theatro Technis, 26 Crowndale Road, London, NW1 1TT. 

The financial statements are prepared in sterling, which is the functional currency of the company. Monetary amounts in these financial statements are rounded to the nearest pound. 

35