## **LAMBETH ORCHESTRA ANNUAL REPORT FOR FINANCIAL YEAR ENDING 31 AUGUST 2022**
Lambeth Orchestra is a registered charity, number 274831.
The charity’s current trustees are: Nina Swann Chair; Kimberley Godley Treasurer; Sarah Philips Secretary; Rich Amison Librarian; Alex Dottridge Jack Wilson Dean Minot Michael Griffiths Rachael Morris Javier Aguirre-Diaz
_Ex officio_ members of the management committee: Peter Selwyn Principal Conductor Alan Thorogood Leader Ellie Rhodes Orchestra Manager (joined September 2021)
The charity’s object as set out in its constitution is “ _to promote, develop and maintain the education of its members and the public in an appreciation of the art and science of music in all its aspects by the presentation of public orchestral concerts and by such other ways as the Orchestra through its committee shall determine from time to time”._ The constitution further provides that the orchestra shall, as far as is consistent with that objective, pursue a policy of (a) providing good orchestral music at affordable prices to an audience in and around Lambeth who might not otherwise attend orchestral concerts, and (b) giving opportunities to amateur players to perform music which they might not otherwise have a chance to play.
To these ends, the orchestra engages the services of a professional music director and leader together with soloists and occasional extra instrumental players according to the requirements of specific programmes. The orchestra further engages the services of an orchestra manager in consideration for a small honorarium, to assist in pursuing the above object and policy.
The orchestra’s primary sources of income are subscriptions from members, income raised from ticket sales and fees for engagement by choral societies, other external organisations and individuals.
## 2021-22 Season Recap
A return to normality in this season as we returned to live, in-person performances after all Covid pandemic restrictions were lifted and large ensembles were allowed to rehearse and perform with no social distancing. The committee decided to keep a couple of covid-protocols we had introduced – cash-free transactions at the bar and front of house, and free downloadable concert programmes via QR code (with a few printed for audience members not able to access online).
We had five own-promotion concerts this season where we planned to trial the three candidates for the post of Principal Conductor, postponed from the previous season. One of the shortlisted candidates, Gabrielle Teychenne, was no longer available due to other work commitments, so we invited Michael Cobb who had guested with us in 2019 and 2021 to take the third place. The final shortlist was Peter Selwyn, Cathal Garvey and Michael Cobb.
Alongside our own five concerts we also had two choral engagements – Fanny Mendelssohn’s _Cholera Cantata_ and Felix Mendelssohn’s _Psalm of Praise_ with Hackney Festival Chorus in Dec 2021 and Elgar’s _The Music Makers_ with Beccles Choral Society and Phoenix Singers at Snape Maltings in April 2022.
We opened the season by welcoming our first trialist Peter Selwyn who conducted us in a programme of Wagner _Tannhäuser Overture_ , Mahler _Rückert Leider_ and Shostakovich _Symphony No 5_ , with mezzo Harriet Williams at All Saint’s West Dulwich. The return to live was appreciated by our local audiences and we played to a full house.
In December our second triallist Cathal Garvey conducted us in Mussorgsky _Night on a Bare Mountain,_ Prokofiev _Violin Concerto No.1_ and Tchaikovsky _Symphony No.5 with s_ oloist Charlie Lovell-Jones, again at All Saints, West Dulwich.
Also in December we accompanied the Hackney Festival Chorus in a Mendelssohn programme at the church of St John of Jerusalem in Hackney.
In February 2022 we were delighted to welcome back Michael Cobb to the podium for the final of the three conductor trials. Michael introduced us to the fantastic pianist Rachel Starritt, soloist in Scriabin _Piano Concerto_ which we performed alongside Emily Howard’s _Magnetite_ and Sibelius _Symphony No 1._ A standout memory from this concert was Rachel’s extraordinary improvised encore on themes given by the audience; _Fly me to the Moon_ and _Summertime._
After the third trial, the Orchestra voted to offer Peter Selwyn the post of Principal Conductor, with Michael Cobb accompanying as Principal Guest Conductor. Both were offered one concert each for the remainder of the season. It is anticipated that Peter will take 4/5 concerts for the following seasons, with Michael taking 1/5, which fits with both conductors’ other work commitments. We announced the appointments on our social media and to local press in March 2022
In April Peter made his official debut as Principal Conductor with the Orchestra at ASWD in a programme that opened with two pieces by Ravel - _Fanfare from the ballet L’eventail de Jeanne_ and _Minuet Antique_ . The first half concluded with Dvorak’s _Symphonic Variations._ In the second half we performed Vaughan Williams’ _A London Symphony_ .
In late April we were delighted to return to Snape Maltings for a sold-out concert with the Beccles Choral Society and Phoenix Singers, postponed from 2021. The first half featured the Orchestra alone in Elgar’s _Cockaigne Overture (In London Town)_ , then joined by mezzo Diana Moore in Elgar _Sea Pictures_ . In the second half we accompanied the massed choirs for Elgar’s _Music Makers_ .
For the final concert of the season we were joined by our new Principal Guest Conductor Michael Cobb. Due to the increasing pressure on workable concert dates at ASWD, we trialled a new venue, St John the Divine, Kennington. We opened with the rousing _Capriccio Espagnol_ by Rimsky Korsakov, followed by the iconic Ravel’s _Bolero._ The second half opened with a rarelyperformed orchestration of Berg (Arr. Verbey) _Piano Sonata Op. 1_ ; and we closed with Debussy’s epic - _La Mer._
Audience figures in the latter half of the year were lower than anticipated, a trend that has been
noted across other live cultural events post-pandemic (sources: Arts Professional, March 2022 and The Audience Agency, Sept 2022).
## Other 2021-22 News
- Kim Godley-Henderson, second flute (member since 2011 and treasurer since 2016) leaves us as she moves to Edinburgh
- Siobhan Reidy, second clarinet left us in July to return home to Ireland (member since 2003)
## Future Plans and other updates
- Plans for 50[th] birthday at QEH – Souvenir programme being put together; need members’ help on contact details for former members and collating any good quality photos from the archive; post-show drinks reception in QEH Artists’ bar but numbers are limited to 150 so we will send round more details of how to secure a spot in the next couple of weeks;
- Recruitment open for co-principal cello (shared with Jane Eyles) since Roland’s departure at the last October concert;
- Also recruiting for Principal trombone, candidate trialling for the Jan QEH concert
- Study weekend to open 23/24 season – Strauss’ _Alpine Symphony_ – Save the Date (2-3 September 2023, venue TBC);
- Snape Maltings concert pencilled for 11 May 2024 with Geoff Lavery, Beccles Choral Society and Phoenix Singers with proposed programme to include VW Sea Symphony;
- CoL increase on venue hire/hourly energy surcharge at All Saint’s, West Dulwich/lack of workable dates for 2024 already eg ASWD summer (£550) v winter rate (£1050) means we are trying our new venues;
- Planned subs rises in 2023-24 (not increased since 2015-16 season)
- Planned purchase of baffles held up due to lack of storage space in the WSH container
## Thanks
Thank you to the committee for your support and hard work making everything happen, especially to Ellie Rhodes, Orchestral Manager and to the section principals for fixing and general herding, to Rich and Sarah for the library, to everyone who has taken their turn on the tea rota, concert day Front of House and bar, furniture movers and music sorters. Thank you to our other volunteers and supporters who work hard behind the scenes to make everything run smoothly.
Thank you to Alan our leader for his continuing hard work and inspirational playing.
Finally, thanks to both Peter and Michael for their leadership, humour and energy, and to you all for your commitment, practice, audiences and hard work.
Signed:
Nina Swann Chair, Lambeth Orchestra Nov 2022
## **PRO FORMA STATEMENT OF FINANCIAL ACTIVITIES**
|INCOME
Takings from Concerts
Drinks
Donations & Fundraising
Members' Subscriptions
Gift Aid & Orchestra Tax Relief
Fees received from Choirs
CD Sales
Coffee Sales
Advertising
Other
Bank Interest
**TOTAL INCOME**
EXPENDITURE
Direct Charitable Expenditure:
Professional Fees & Salaries
Equipment
Hire of:
Premises
Instruments etc
Music
Chorus
Printing, Publicity Material, Programmes
Licences
Sundry
Administrative & General Expenses
NFMS Subscriptions
(Making Music)
Total Direct Charitable Expenditure
Other Expenditure:
other
**TOTAL EXPENDITURE**
**NET INCOME FOR THE PERIOD**|**Year to 31.08.2022**
£
4,794.19
689.98
32.35
10,107.00
7,801.07
6,810.00
0.00
0.00
0.00
0.00
0.00
**30,234.59**
16,585.67
5,515.00
2,620.74
2,815.66
491.18
1,501.05
25.67
335.20
29,890.17
0.00
**29,890.17**
**344.42**
0.00|**Year to 31.08.2021**
£
0.00
0.00
76.14
5,918.47
1,110.82
0.00
0.00
0.00
0.00
0.00
0.00
**7,105.43**
4,195.00
840.00
357.25
16.14
0.00
69.06
157.16
500.00
6,134.61
0.00
**6,134.61**
**970.82**
0.00|
|---|---|---|
## **Notes to the accounts:**
For Orchestra Tax Relief purposes, direct concert expenditure was incurred by Lambeth Orchestra Concerts Ltd, a separate entity, though cash for which was provided by Lambeth Orchestra. These pro forma accounts consolidate expenditure in order to show year-on-year comparisons. Expenditure incurred by LOCL here includes Professional Fees & Salaries, Premises, Instruments and Music.
## **LAMBETH ORCHESTRA**
## **BALANCE SHEET AT 31ST AUGUST 2022**
|CURRENT ASSETS
Debtors
Prepayments
Cash in hand
Bank:
Community Account
Business Bonus Account
Business Premium Account
CURRENT LIABILITIES
(Payable within 1 year)
Creditors and accruals
**Net Assets**
FUNDS
**General Fund**|2021/22
£
13,863.33
2,580.00
0.00
22,636.56
0.00
0.00
22,636.56
**39,079.89**
(5,470.17)
**33,609.72**
**33,609.72**|2020/21
£
8,934.38
0.00
0.00
24,330.92
0.00
0.00
24,330.92
**33,265.30**
0.00|
|---|---|---|
|||**33,265.30**|
|||**33,265.30**|
## **Independent Examiner’s Report to the trustees of The Lambeth Orchestra.**
I report on the accounts for the year ended 31st August 2022 which are set out on pages to
## **Respective responsibilities of trustees and examiner**
The charity's trustees are responsible for the preparation of the accounts. The charity's trustees consider that an audit is not required for this year (under section 43(2) of the Charities Act 1993 (the Act)) and that an independent examination is needed. It is my responsibility to:
examine the accounts under section 43 of the Act,
to follow the procedures laid down in the General Directions given by the Charity Commission under section 43(7)(b) of the Act, and
to state whether particular matters have come to my attention.
## **Basis of independent examiner’s report**
My examination was carried out in accordance with General Directions given by the Charity Commission. An examination includes a review of the accounting records kept by the charity and a comparison of the accounts presented with thoserecords. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from you as trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would berequired in an audit, and consequently no opinion is given as to whether the accounts present a ‘true and fair’ view and the report is limited to those matters set out in the statement below.
## **Independent examiner's statement**
In the course of my examination, no matter has come to my attention:
1. which gives me reasonable cause to believe that in, any material respect, the requirements:
to keep accounting records in accordance with section 41 of the Act; and
to prepare accounts which accord with the accounting records and comply with the accounting requirements of the 1993 Act; have not been met; or
2. to which, in my opinion, attention should be drawn in order to enable a proper understanding of the accounts to be reached.
Geoffrey Ratcliffe-Evans 1 November 2022