2026-03-31-accounts

Company number: 01486893 Charity number: 291245

BRITTEN SINFONIA LIMITED (A Company Limited by Guarantee)

TRUSTEES' REPORT AND FINANCIAL STATEMENTS

FOR THE YEAR ENDED 31 MARCH 2026

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

CONTENTS

	Page
Reference and Administrative Details of the Company, its Trustees and Advisers	1
Trustees' Report	2 - 15
Independent Auditors' Report on the Financial Statements	16 - 19
Statement of Financial Activities	20
Balance Sheet	21 - 22
Statement of Cash Flows	23
Notes to the Financial Statements	24 - 40

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

REFERENCE AND ADMINISTRATIVE DETAILS OF THE COMPANY, ITS TRUSTEES AND ADVISERS FOR THE YEAR ENDED 31 MARCH 2026

Trustees	Andrew Tusa, Chair
	Richard Mark Jeffries
	Sreeja Nedungadi
	Natalya Zeman
	Emily Parris
	Richard Plaskett (resigned 10 September 2025)
	Judith Serota OBE (resigned 18 March 2026)
	Rebecca Trumper
	Anne Rosamond De Vile
	Matthew James Sabben-Clare (appointed 17 April 2026)
Company registered number 01486893 Charity registered number 291245 Registered office Compass House 80 Newmarket Road Cambridge England CB5 8DZ Company secretary Meurig Bowen Chief executive officer Meurig Bowen Independent auditors Price Bailey LLP Chartered Accountants Tennyson House Cambridge Business Park Cambridge CB4 0WZ Bankers NatWest 36 Fitzroy Street Cambridge CB1 1EW Solicitors Mills & Reeve Botanic House 100 Hills Road Cambridge CB2 1PH

Page 1

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT FOR THE YEAR ENDED 31 MARCH 2026

The Trustees (who are also directors of the charity for the purposes of the Companies Act) present their annual report together with the audited financial statements of Britten Sinfonia (the company) for the year ended 31 March 2026. The Trustees confirm that the Annual Report and financial statements of the company comply with the current statutory requirements, the requirements of the company's governing document and the provisions of the Statement of Recommended Practice (SORP), applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (second edition October 2019) effective for reporting periods beginning on or after 1 January 2019.

Since the company qualifies as small under section 383, the strategic report required of medium and large companies under the Companies Act 2006 (Strategic Report and Director's Report) Regulations 2013 is not required.

Statement from the Chair

This was a year of many highlights for me, one that ranged from a pre-concert Ceilidh in Norwich Showground with our Thetford Collective school partnership to the world premiere of James MacMillan’s Angels Unawares in the Sistine Chapel. Two concerts of quite different scale stand out in the memory. The first brilliantly paired Tavener’s The Protecting Veil and Max Richter’s Vivaldi Recomposed in Trinity College Chapel, Cambridge, with soloists Guy Johnston and Thomas Gould. The second in Wigmore Hall with Dame Sarah Connolly presented – alongside music ranging from Debussy to Helen Grime - the world premiere of a chamber song cycle by John Paul Jones, bassist of Led Zeppelin, commissioned jointly by Britten Sinfonia and Wigmore Hall.

Both programmes were typically ‘Britten Sinfonia’ – innovative, characteristic, bold and highly rewarding for listener and performer alike. Our artistic ambition is to create impactful and inspirational musical experiences, and we do this by presenting distinctive programmes, performed to the highest musical standard, where any listening challenge is always surpassed by the enjoyment of the audience.

We were delighted to have Zoë Beyers join us as Leader in the year, taking over from Thomas Gould and Jackie Shave, both of whom have contributed enormously to the strength of Britten Sinfonia’s reputation and to whom we are most grateful. Zoë’s musicianship and warm personality bring a smile to the face of audiences and performers alike and we are delighted to have her lead and direct the ensemble.

The growth of our Learning and Participation programme, led by Chris Bell, continues, with a further deepening of our resident projects in Thetford and Peterborough, as well as visits to 125 settings in the region, reaching nearly 25,000 people. Our commitment to our East of England community as seen and heard in performances in schools, hospitals and community centres is a fundamental part of what defines Britten Sinfonia. The scope of our ambition is aptly reflected in the cost of the programme’s delivery – over £300,000 in our 2025/2026 financial year.

We are extremely grateful to the individuals, Trusts and Foundations that have supported us through the year in all of our endeavours. The scale of the financial challenge presented by the extension of the Arts Council’s National Portfolio Organisation funding round from three years to five years, and from which Britten Sinfonia was excluded in 2023, can only be met by the assistance of a committed group of supporters. We are committed to nurturing our existing supporters and expanding their circle yet wider.

I am also very grateful to Meurig Bowen, Britten Sinfonia’s CEO, whose programming expertise creates the musical buzz which unites our wonderful group of performers, trustees, supporters and audiences. Meurig’s leadership has inspired the entire Britten Sinfonia team to rise to the challenge of a difficult financial backdrop and we are extremely grateful to them all.

Page 2

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Objectives and activities

a. Objectives

• Plan unique and distinctive projects with artistic collaborators of the highest quality.

• Create a wide-ranging commissioning programme including opportunities for emerging composers. (Britten Sinfonia has commissioned/premiered nearly 300 new works since it was formed back in 1992).

• Continue to build a Learning & Participation programme which reaches many diverse communities in the East of England.

• Increase diversity across its work and talent development initiatives, in particular its Opus 1 and Magnum Opus composer development programmes.

• Maximise the reach and impact of activity in the east and south of England – predominantly in Norwich, Saffron Hall, Cambridge, Bury St Edmunds, Peterborough and Snape Maltings as well as the Barbican, Milton Court and Kings Place.

• Increase international touring opportunities

• • Develop recording, broadcasting and digital activities to further the artistic aspirations of the orchestra.

b. Activities undertaken to achieve objectives

To inspire people with fresh and exciting performances of great music both through the work we present and the way in which we present it, with an approach recognized for its integrity, intelligence and, above all, excellence.

The three major areas of activity for the orchestra are:

• Own promoted concerts

• Engagements (eg in festivals and concert venues, recordings)

• Learning & Participation activities

Own promoted concerts form the basis of our regular concert series in Norwich, Saffron Hall, Cambridge and a variety of venues in London, including Milton Court, Barbican Hall and Wigmore Hall. The projects are planned well in advance by the Britten Sinfonia team and feature a range of music and new commissions, working with its key musicians as well as internationally renowned soloists and conductors. These concerts are funded through a mix of box office ticket sales, programme sales, grants and philanthropic support.

The second strand of our performance activity is concert engagements, either as income-generating repeat performances of our own promotions to third party domestic or international promoters, or bespoke concerts as requested by promoters and festivals.

Learning & Participation projects are generally grant-funded. Britten Sinfonia initiates and runs projects around the East of England, with specific groups of people from many different backgrounds and communities. These projects aim to encourage groups of people to be creative and to become involved. Britten Sinfonia also works closely with engaging partners, such as Music Hubs, community groups and Orchestras Live.

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BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Objectives and activities (continued)

c. Main activities undertaken to further the company's purposes for the public benefit

Britten Sinfonia is known as one of the world’s finest ensembles. Its home is in the UK where it has a particular remit to serve the east of England. It has long-standing performance presence in Norwich, Cambridge, Saffron Hall and London’s Barbican Centre. The orchestra also performs regularly at Snape Maltings/Aldeburgh Festival in Suffolk, London’s Wigmore Hall and the BBC Proms. From these bases it launches a series of concerts and learning projects nationally and internationally.

The trustees have considered the charity’s benefit to the public. The trustees confirm that they have referred to the guidance contained in the Charity Commission’s general guidance on public benefit when reviewing the charity’s aims and objectives and in planning future activities. All charitable activities focus on the provision and exploration of inspiring world class orchestral music, accessible to the public through concert performances, educational projects, new music commissions, radio and television performances, recordings and interactive platforms via social media.

The activities of the orchestra are devised to be accessible to all members of the public and not limited to a particular cross section of the public. Examples of such programmes to ensure public accessibility include:

• Encouraging attendance at concert performances for students, unemployed people and under 30’s through discounted tickets and concessions;

• Collaborations with BBC Radio 3, who record and broadcast the orchestra’s concert performances, thereby making the music accessible to all through digital delivery;

• Freely accessible concert programmes, blogs and videos;

• Family and schools concerts which are ticketed events but at a very low price or free, made possible by the events being funded by small partnership grants and from reserves;

• Workshops and concerts targeting and featuring minority groups, such as people with disabilities or children with additional needs.

ACHIEVEMENTS AND PERFORMANCE

a. Key Financial Performance Indicators

The financial year ending 31st March 2026 was in many ways the reflection of the previous year. The year to end March ‘25 benefited from an inflow of funds to support programme delivery in the form of concerts or projects in the following year. The strong cash performance in ‘24/‘25 then unwound in the ‘25/‘26 financial year resulting in a deficit of £220,700. Looked at holistically both years marked a decline in reserves which funded a strong artistic outcome and the growth of our Learning and Participation programme.

Despite the overall deficit of £220,700, the year-end position represented an improvement against budget. Box office income totalled £134,277, £13,411 below budget, reflecting a challenging operating environment and lower ticket sales than anticipated. Nevertheless, audience demand remained resilient, and box office income continued to make a significant contribution to earned income. In comparison with the previous year, when box office income reached £314,794 and exceeded budget expectations due to two exceptionally successful concerts that had not been included in the original budget, this year's result reflects a return to more typical operating levels while still outperforming the overall financial plan.

Fundraising income totalled £603,578 during the year. While this represented a decrease of £113,321 compared with the previous year's supernormal fundraising income of £716,899, the result was nevertheless ahead of budget. This strong performance reflects the continued generosity of trusts, foundations, individual donors and corporate supporters, and demonstrates the success of fundraising activity in securing income above expectations despite a more challenging funding environment. The level of support received continues to provide an important contribution to the organisation's financial sustainability and artistic ambitions.

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BRITTEN SINFONIA LIMITED (A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Objectives and activities (continued)

Income area	2025-26	2024-25	2023-24
Concert income & Box Office:	£760,779(56%)	£1,168,233(62%)	£1,139,188(62%)
Arts Council England Grant:	£21,594 (2%)	£97,523 (5%)	£287,401(16%)
Trusts and Foundations:	£160,125 (11%)	£325,200 (17%)	£95,350(5%)
Individuals:	£312,583 (23%)	£191,696 (10%)	£227,399 (12%)
Local authorities:	£0	£350	£0
Corporate funding:	£109,276 (8%)	£102,130 (6%)	£95,130 (5%)

b. Review of activities

Performances

After a Palm Sunday performance of JS Bach’s St John Passion in Oxford’s University Church with Merton College Choir, our first self-promoted concert of the financial year was on the last day of April in Southwark’s Catholic Cathedral, near the Imperial War Museum. The main work was Messiaen’s mighty memorial to the dead of two world wars, Ex Exspecto Resurrectionem Mortuorum, and was a showcase not only for Britten Sinfonia’s winds, brass and percussion, but those of Sinfonia Smith Square, joining us side-by-side. Also in the programme was Stravinsky’s Mass – again with Merton College Choir – his Symphonies of Wind Instruments, and motets by Poulenc.

In early May, the Brighton Festival presented Britten Sinfonia with Anoushka Shankar in Passages, composed jointly by her father, Ravi, and Philip Glass. After a week of recording with Mahan Esfahani (see below), our newly appointed Principal Trumpet, Imogen Whitehead, was the soloist in a pair of 24/25 season closers in Saffron Hall and Norwich Cathedral. Hummel’s trumpet concerto was joined by Wagner’s Siegfried Idyll and Beethoven’s first symphony.

Mid-June, we returned to Westminster Abbey for a performance of Mozart’s C Minor Mass with the Abbey Choir, alongside Elgar and Vaughan Williams. The following week, Peasmarsh Festival presented Britten Sinfonia in performances of CPE Bach, Tchaikovsky, Shostakovich and Steve Mackey.

The following morning, Britten Sinfonia strings travelled to the exquisite medieval city of Troyes in the Champagne region of France. They joined a newly formed professional choir, Spiritus, and French-Canadian conductor Julian Revie for a concert and several days of recording/filming in Troye’s cathedral. Repertoire was a collection of lesser known 19th and 20th century French works (including Franck, Fauré, Massenet, Duruflé) assembled by Revie.

In early July, there were two adjacent summer festival concerts in Cheltenham and at JAM on the Marsh (Kent). The first featured Mozart’s Clarinet Quintet, a new work by Deborah Pritchard and Mendelssohn’s Octet. The second included works by Jonathan Dove and Paul Mealor. A recording of British choral classics with King’s College Choir and the Bach Choir was then followed, mid month, by Brahms’s Alto Rhapsody and Beethoven’s 9th symphony at the St Albans International Organ Festival. At the end of July, there was a performance of Rodrigo’s Concierto de Aranjuez with guitarist Plinio Fernandez and Beethoven’s 1st symphony in London’s Middle Temple Hall.

Late August, we gave a BBC Prom in Bristol’s Beacon Hall, which was subsequently repeated at Snape Maltings a few days later. Repertoire included Arvo P?rt’s Tabula Rasa, Gavin Higgins’ Rough Voices and Mozart’s 39th symphony. These concerts coincided with the announcement of violinist Zoë Beyers as the orchestra’s new leader. Brought up in South Africa, Zoë first started working with Britten Sinfonia as a freelancer 20 years ago fresh out of the Royal College of Music. Her appointment followed an extended period when she was on trial for the position, alongside other suitably qualified violinists.

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BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Objectives and activities (continued)

Our first self-promoted tour of the 2025/6 season , at the end of September, featured pianist Jeneba KannehMason in Mozart’s K488 concerto alongside Schubert’s 5th symphony and shorter works by Robin Haigh and Elena Kats-Chernin.

The second half of October was taken up with a series of performances of Tavener’s The Protecting Veil with cellist Guy Johnston. One of them was at his Hatfield House Chamber Festival, another in the Cambridge Music Festival, and there were two in the Orthodox Cathedral of St Sophia in Bayswater. This pair of concerts was filmed and recorded for subsequent release.

November comprised six different projects. First, there was a side-by-side performance of works by Alexander Goehr in a memorial concert mounted by Cambridge University’s Faculty of Music, where Goehr had been Professor for many years. Two days later, back in Cambridge, there was a liturgical performance of Fauré’s Requiem with Trinity College Choir, and two days later again, we were in Oxford’s Sheldonian Theatre performing masses by Arvo P?rt and Haydn with Merton College Choir, marking the end of a year-long residency at Merton. The following weekend was the culmination of our Magnum Opus composer programme for 2025, featuring new concertinos by George Stephenson, Leoni King and Michael Betteridge. Ten of our players were then involved in a remarkable and acclaimed collaboration with dancers and choreographers at London’s Sadlers Wells, featuring three works by Nico Muhly. And a string trio plus oboe performed at Stationers Hall in the City in their St Cecilatide festival.

Mid-December, we joined forces with Stephen Layton’s Polyphony for two performances in Norwich and Saffron Hall of JS Bach’s Christmas Oratorio.

Early in January 2026, a quartet of players joined mezzo Sarah Connolly and pianist Joseph Middleton for an eclectic recital programme at Wigmore Hall. It included the premiere of a song cycle by Lez Zeppelin bassist John Paul Jones, co-commissioned by Britten Sinfonia and Wigmore Hall, a new arrangement of a Genesis song by Tony Banks, and other works by Bob Chilcott, Helen Grime, Sally Beamish, Debussy and Caplet. Three adjacent projects at the end of January began with Britten’s War Requiem in Ely Cathedral alongside massed Cambridge University students. We then toured a programme of Britten, Grainger and Holst - a reworking of The Planets - with the Stevens & Pound duo and writer Robert Macfarlane (Milton Court, Norwich and Cambridge). And there was a dramatised performance of Mahler’s Das Lied von der Erde (chamber reduction) with Lemi Ponifassio’s Theatre of Kiribati in the Barbican Hall.

Late February, there was a premiere recording for Nimbus with soprano Elizabeth Watts of Richard Blackford’s The Black Lake, and a performance in the Barbican with American multi-instrumentalist/singer Andrew Bird. Mid-March, we returned to a work we’d given the UK premiere of at the Aldeburgh Festival in 2023, Gregor Mayrhofer’s Recycling Concerto. Featuring the remarkable percussionist Vivi Vassileva, the work features a battery of instruments created from discarded rubbish. The performances in the Barbican Hall and Saffron Hall aligned with a related schools commission, The Tale of the Whale, and the programme also featured Rautavaara’s Cantus Arcticus and Beethoven’s Pastoral Symphony.

The final fortnight of March focused on the music of James MacMillan. We joined the Choir of Westminster Cathedral for a performance of his Stabat Mater, then travelled to Rome with The Sixteen for the world premiere of his oratorio Angels Unawares in the Sistine Chapel, and then performed his Seven Last Words from the Cross with Tenebrae (Bury St Edmunds, London’s St Martin in the Fields, Snape Maltings) and with the Choir of Christ Church Cathedral, Oxford.

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BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Objectives and activities (continued)

Recordings

May 2025: JS Bach complete keyboard concertos with Mahan Esfahani for Hyperion

June: 19th and 20th century French choral repertoire with Spiritus/Julian Revie

July: 19th and 20th century British choral repertoire with King’s College Choir/Bach Choir

September: Jonathan Meyer’s Vilambit

October: Tavener’s The Protecting Veil with Guy Johnston for Signum

February 2026: Richard Blackford’s The Black Lake with Elizabeth Watts for Nimbus

Learning & Participation

This year, Britten Sinfonia's Learning & Participation programme has combined sustained investment in longterm partnerships with a commitment to piloting new approaches — across hospital wards, primary schools, and community settings. A consistent theme has been treating participants, whether oncology patients, primary pupils, or young musicians, as genuine creative collaborators rather than passive audiences.

Health and Wellbeing

Our partnership with Cambridge University Hospitals and the CUH Arts team continued to develop. Working with facilitator and violinist Caroline Speca, we piloted more interactive ways of engaging orchestral musicians in hospital spaces — work that now underpins an ongoing development programme mentored by facilitator Sam Glazer. CUH Arts also drew on graphic scores created in our workshops to produce an exhibition celebrating the partnership, developed collaboratively with Caroline Speca and artist Keith Hopewell.

Between September and February, we delivered a residency on the oncology wards at Addenbrooke's Hospital, facilitated by Tim Steiner. The residency explored how clinical teams and cancer navigation services might use music for wellbeing as part of patient care and culminated in a public event at Stapleford Granary in February 2026.

Schools and Young People

We opened the year with a series of our chamber schools’ concerts, Tiny Magic Orchestra and Dots & Lines, delivered in partnership with Essex Music Hub and Saffron Hall and reaching 36 schools. The season also marked the premiere of Dots & Lines, a new commission for solo cello presented by trombonist and facilitator Raph Clarkson, with music by Clarkson and animation by Victor Craven. The piece draws a connection between the dots and lines of musical notation and the way we create and interpret visual art.

In May, we premiered our Key Stage 1 programme based on Nadia Shireen's children's book Geoffrey Gets the Jitters, reaching 15 primary schools across Peterborough. The music was composed by Francesca Lobo and James Redwood, with the production written and directed by Hazel Gould. Delivered in partnership with Peterborough Music Hub and Orchestras Live, the programme was followed by creative workshops on identifying and understanding emotions. This continuing relationship is enabling deeper, longer-term engagement with teachers and growing take-up of the associated CPD and resources.

We returned in February to our Key Stage 1 concert The Robot and the Bluebird, with performances across Thetford and Mid-Suffolk and excellent engagement from teachers and pupils.

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BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Objectives and activities (continued)

Artist and Professional Development

Our annual Magnum Opus and Opus 1 programmes ran through the autumn and, for the first time, came together in a joint showcase at Kings Place. Cheryl Frances-Hoad and Huw Watkins served as Programme Directors for Magnum Opus, working with Michael Betteridge, Leoni King and George Stevenson to produce 15minute concerti for three soloists. Dani Howard was Programme Director for Opus 1.

Community and Place

As part of our ongoing partnership with Thetford Academy, we launched an intergenerational music café between September and October. Pianist and soloist Jeneba Kanneh-Mason led a community concert to launch the strand, followed by workshops in the library and school bringing young people and the wider community together to create new music. We hope to make this a core part of the Thetford residency.

In October, we worked with Coleridge Community College on a creative project for Cambridge Corn Exchange, marking the building's 150th anniversary.

Ahead of Britten Sinfonia's collaboration with Stevens & Pound on a folk version of The Planets, we established a progression ensemble at Thetford Academy — the Thetford Collective. Over October half-term, its members worked with Britten Sinfonia musicians and soloist Will Pound to create new music for a classical céilidh, which toured into primary schools in January. The project deliberately treated the Thetford Academy musicians as touring professionals, giving them responsibility for co-designing and co-presenting the concerts and workshops alongside our players.

Management and structure

During the year in question, the management team has continued to be stable and virtually unchanged. An additional post was created in the Concerts team to reflect the greater workload in this area. There were also small adjustments in the hours (increases) of some part-time staff.

Meurig Bowen, Chief Executive and Artistic Director

Financial review

a. Results for the year

Total income for the year to 31 March 2026 was £1,632,562 (2025: £2,157,543).

Income of £760,779 (2025: £1,168,233) came from charitable activities, namely box office receipts and fees for engagements. The remaining income came from donations and grants, totalling £603,578 (2025: £716,898). Other income received included Orchestra Tax Relief of £262,167, as well as CD and streaming income of £5,751 (2025: £12,398).

2025–26 was the third year without our National Portfolio Organisation grant, though we were awarded ACE project grants totalling £21,594, this grant constituted 2% of income (2025: 5%).

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BRITTEN SINFONIA LIMITED (A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

b. Going concern

In light of the financial circumstances faced by the company since the loss of its Arts Council NPO status, the trustees and management have continued to monitor diligently the company’s financial position, including its flexibility to accommodate different future funding scenarios.

The trustees have assessed whether the company is able to continue in operational existence for a period of at least 12 months from the date of approval of these financial statements. The assessment was based on:

• detailed scrutiny of the assumptions included in management’s extensive forecasts and the scenarios which underpin them;

• the company’s current financial position, including unrestricted reserves and cash flow;

• the likely impact of known risks or uncertainties;

• the trend in support from grant funders and donors;

• the company’s ability to adjust its business model and cost base to reflect changed operating conditions; and

• the knowledge that the earliest date on which the company may be eligible for Arts Council NPO funding is now 1 April 2028, a year later than previously indicated by the Arts Council.

The company’s finance committee has increased the frequency of its meetings to ensure thorough oversight of the company’s financial position and the board has also adopted a pattern of monthly meetings to enable trustees to understand the company’s financial performance and, where appropriate, challenge management’s forecasts and projections.

In light of their assessment and oversight, the trustees have a reasonable expectation that the company has adequate resources to continue in operational existence for the foreseeable future. For this reason, they continue to adopt the going concern basis in preparing these financial statements. Further details regarding the adoption of the going concern basis can be found in the Accounting Policies.

c. Reserves policy

The trustees’ aim has been to maintain reserves at a level equivalent to six months of operating expenditure (£349,833). This approach provides a degree of financial stability and security for the orchestra, while still allowing investment in current projects to maximise artistic potential.

Based on current financial projections, unrestricted reserves are expected to reduce over the next two financial years to approximately 3 to 4 months of core operating overheads by March 2028. The trustees are monitoring this trajectory closely as part of the charity’s reserves policy and financial planning.

d. Principal funding

£766,530 (2025: £1,168,232) of income came from the company’s charitable activities, namely box office receipts fees for engagements, streaming and Interest. The remaining £866,032 (2025: £989,311) came from donations, grants, orchestra tax relief and the Arts Council grants as detailed above.

Support from individual donors has also been central, supporting the orchestra through this challenging year. The same is true for grants from Trusts and Foundations, which have increased this year. We are very grateful for the number of trusts supporting the orchestra. We particularly thank; Garfield Weston Foundation, Cockayne Foundation & The London Community Foundation, James & Meghan Lingard Foundation, PRS Foundation, Patrick Rowland Foundation, Vaughan Williams Foundation, John S Cohen Foundation, John Jarrold Trust, Garrick Charitable Trust, Leche Trust, Thriplow Charitable Trust, Inspiration Trust, Charles Littlewood Hill Trust, 29th May 1961 Charitable Trust, and other anonymous donors.

Britten Sinfonia is continuing to invest in its fundraising programme to ensure that the orchestra maintains a healthy and diversified approach to income generation.

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BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

e. Risk management

The trustees have conducted a review of the major risks to which the charity is exposed, and systems have been established to mitigate those risks.

The key risks that have been identified for the successful delivery of Britten Sinfonia’s strategy and artistic programme include the impact of the current economic climate on voluntary and earned income, as well as on the level of funding received from Arts Council England.

Procedures have been put in place to minimise both business and operational risks and these procedures are periodically reviewed to ensure that they still meet the needs of the charity. The trustees are satisfied that the charity’s assets attributable to each of its individual funds are available and adequate to fulfil its obligations in relation to those funds.

f. Fundraising

Britten Sinfonia adheres to the standards of the Fundraising Regulator. The fundraising strategy incorporates personal approaches to trusts, individuals, and corporates. There are patron schemes for individual donors with donor care of the highest standard and at the heart of our culture. The charity does not invest in cold calling or street fundraising. There are systems and structures in place, with a commitment to personal and friendly approaches which ensure donors enjoy a positive and long lasting partnership with the orchestra. The company has not received any complaints regarding fundraising and no third party fundraisers have been used by Britten Sinfonia Ltd.

The Communications team has undertaken a full review of all communications in light of the latest data protection legislation and has a complaints procedure in line with the Fundraising Regulators’ advice.

The Trustees are most grateful to all the trusts, foundations and individuals who supported Britten Sinfonia during the year, alongside the support and investment of Arts Council England.

Structure, governance and management

a. Constitution

Britten Sinfonia Limited is a company limited by guarantee, has no share capital and is a registered charity, number 291245. It is governed by its Memorandum and Articles of Association (revised September 2005). The liability of each member in the event of winding up is limited to £1.

b. Methods of appointment or election of Trustees

The Chairman, board and Chief Executive and Artistic Director carry out a skills audit of the current board and discuss the makeup of the board of trustees and identify where the organisation has any requirement for certain skills and experience that might be provided from the board of trustees.

Trustees are selected because they have a wide range of experience and expertise covering all aspects of the activities of the charity or have particular skills to fill any perceived gaps within the board of trustees, which will enhance the development and good governance of Britten Sinfonia Limited. This is discussed in detail at the annual Board away-day, and subsequently managed by a Nominations Committee, a sub-set of the board.

Prior to appointment, prospective trustees will have in-depth meetings with the chairman and chief executive, prior to agreement by the trustees at the next full board meeting. New trustees are then formally invited to join following the agreement of the main board.

Once appointed, trustees present themselves for re-election at the next AGM. The tenure for the service of trustees is two terms of three years.

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BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Structure, governance and management (continued)

c. Policies adopted for the induction and training of Trustees

New trustees are provided with a full pack of information on joining the charity, including past board papers and detailed financial plans. They are also briefed on their legal obligations under charity and company law and are given a copy of the company Memorandum and Articles.

The trustees are encouraged to attend appropriate external training events and are also expected to spend time with the senior management team to develop relationships with the staff and understand the key operational challenges of the charity. The board of trustees meets quarterly, with an additional board away-day meeting each year for strategic planning and further in-depth discussions on particular issues facing the orchestra.

The trustees are provided with reports from each of the main operational areas of the organisation, written by the senior management team. This in-depth information and associated meetings aid the trustees’ knowledge of the orchestra and their ability to make informed decisions regarding Britten Sinfonia Limited’s on-going development.

d. Pay policy for senior staff

The trustees consider the board of trustees and the chief executive as comprising the key management personnel of the charity in charge of directing and controlling the charity and running and operating the charity on a day to day basis. All trustees give of their time freely and no trustee remuneration was paid in the year. Details of trustee expenses and related party transactions are disclosed in the accounts. Trustees are required to disclose all relevant interests and register them with the Chief Executive and, in accordance with the Trust’s policy, withdraw from decisions where a conflict of interest arises.

The pay of the charity’s chief executive and senior staff is reviewed annually. The remuneration is also benchmarked with grant-making charities of a similar size and activity to ensure that the remuneration set is fair and not out of line with that generally paid for similar roles.

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BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Structure, governance and management (continued)

e. Organisational structure and decision-making policies

The Trustees of Britten Sinfonia delegate the management of the orchestra to a highly respected and experienced management team led by Meurig Bowen, the Chief Executive and Artistic Director.

The management team comprised:

Meurig Bowen, Chief Executive and Artistic Director

Concerts Department

Hannah Bates, Concerts & Personnel Director – Part-time Hazel Shah, Concerts and Projects Manager – Part-time Annabel Leakey, Concerts and Planning Manager – Part-time Phoebe Snook, Concerts Coordinator Alice Reeves, Orchestra Assistant

Learning & Participation Department

Chris Bell, Learning & Participation Director Faye Milbourne, Learning & Participation Coordinator Lauren Cross, Learning & Participation Assistant

Development & Communications

Nick Brealey, Development Director Shoel Stadlen, Director of Marketing & Communications – Part-time Hannah Williams-Brown, Development and Marketing Coordinator

Finance

Elaine Rust, Finance Manager - Part-time

Board Membership During the Year :

Richard Plaskett (appointed March 2019) – Resigned September 2025

Richard is a Partner and Head of Investment Companies at Frostrow Capital LLP, a specialist investment companies firm. He has previously worked in investment management and corporate finance for J.P. Morgan, Aberdeen Asset Management, and UBS.

He holds a Master’s degree in Experimental Psychology from Wadham College, University of Oxford.

Judith Serota OBE (appointed June 2018) – Resigned April 2026

Judith headed up the Spitalfields Festival in London from 1988 until 2007, where she developed the organisation, commissioned over 40 new works, and was awarded an OBE for services to the Spitalfields Festival in 2008. She launched the award-winning Education & Community Programme in 1989 and the Spitalfields Winter Festival in 1996. She has been a Trustee of Riot Ensemble and was a Trustee of NMC Recordings until November 2021.

Page 12

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Structure, governance and management (continued)

Rebecca Trumper (appointed September 2021)

Rebecca Trumper is a management consultant with Q5, bringing expertise in governance, organisational design and the alignment of roles and functions with strategic objectives. She works with leaders to provide objective support and constructive challenge in strategic decision-making, helping organisations deliver effective business change and achieve practical, sustainable improvements.

Music has always played a central role in Rebecca’s life. She read Music at the University of Cambridge and sings with the Joyful Company of Singers in London. In addition to serving as a Trustee of Britten Sinfonia, Rebecca is also a board member of Active Surrey. She brings to the Board a combination of governance expertise, strategic insight and a strong personal commitment to music and the arts.

Sreeja Nedungadi (appointed September 2021)

Sreeja Nedungadi is an Education Consultant who supports emerging education charities as they develop from start-up organisations to the growth stage of their development. She is currently a consultant at Inicio Partners, a Social Impact focused Executive search firm.

Sreeja holds an undergraduate degree in English and Economics from Swarthmore College, Pennsylvania, and an MBA from Harvard Business School. She brings to the Board extensive experience in education, organisational development and charity governance, together with a strong commitment to improving educational opportunities for underserved communities.

Mark Jeffries (appointed September 2022)

Mark Jeffries is a former Senior Partner of national law firm Mills & Reeve. He now has non-executive board roles with property and construction group R G Carter, and with The Cambridge Building Society. He is also Chair of the Norwich Diocesan Board of Finance.

Previous roles include as Chair of Norwich University of the Arts and Evolution Academy Trust and as a nonexecutive director of the Norfolk & Norwich University Hospitals NHS Trust

Emily Parris (appointed September 2022)

Emily Parris brings more than 20 years of experience as a commercial lawyer, having worked both in leading City of London law firms and in-house legal teams. She specialises in technology, digital media, intellectual property, data protection and privacy law, and has advised a wide range of organisations on legal, commercial and compliance matters. Her clients have included global technology providers, data-driven businesses, professional services firms, cloud service providers, publishers, e-commerce businesses and their customers. Before qualifying as a lawyer, Emily read Music at the University of Cambridge. She brings to the Board a valuable combination of legal expertise, commercial insight and a longstanding interest in music and the arts.

Andrew Tusa – Chair (appointed February 2024)

Andrew Tusa has extensive experience in financial services, having pursued a career in asset management and investment banking following several years as a professional singer. Most recently, he served at Barclays as a senior adviser to UK listed companies.

Alongside his professional career, Andrew has been actively involved in the arts sector, serving on the boards of both the Monteverdi Choir and Orchestra and the London Philharmonic Orchestra. He read Music at New College, Oxford, and is a keen violinist. Having lived in East Anglia for the past 25 years, Andrew brings to the Board a combination of financial expertise, governance experience and a lifelong commitment to music and the performing arts.

Page 13

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Structure, governance and management (continued)

Natalya Zeman (appointed December 2024)

Natalya Zeman is an Equity Investment Director at Capital Group, specialising in emerging markets investing. Prior to joining Capital Group in 2015, she gained professional experience in Beijing and Hong Kong, including running a performing arts agency. Having initially joined Capital Group in Los Angeles, she is now based in London.

An accomplished violinist, Natalya studied at the Royal College of Music before graduating with first-class honours in Music from the University of Oxford. Her musical interests include the study of Newa music in Nepal’s Kathmandu Valley, and she has directed a production of Poulenc’s La Voix Humaine in New York. Natalya brings to the Board a combination of international investment expertise and a deep commitment to music and the performing arts.

Roz De Vile (appointed March 2025)

Roz De Vile graduated in Music from King’s College London, specialising in composition. She began her career in classical music artist management, supporting the work of musical artists and composers including Sir Peter Maxwell Davies. A move into the music education sector saw her lead the development of a London state primary school’s innovative music programme, including the planning, fundraising, and construction of a designated music centre for the school and community. After five years as Learning Director, Roz became Music Masters’ CEO in 2020.

Matthew Sabben-Clare – (appointed March 2026)

Matthew Sabben-Clare holds a portfolio of non-executive and senior advisory roles, primarily focused on the financial services sector. He spent more than 18 years at Cinven, latterly serving as Chief Operating Officer, following earlier roles in investment banking with Merrill Lynch and Schroders. Matthew recently completed a two-year term as Chair of UK Private Capital.

He is actively involved in the charity sector, with a particular interest in music education. An amateur cellist and composer, Matthew brings both financial expertise and a passion for music to the Board. He holds MA and MPhil degrees from the University of Cambridge and is AMCT qualified.

Finance Committee

The Finance Committee comprises Andrew Tusa, Matthew Sabben-Clare (Chair), Mark Jeffries, the Chief Executive and Artistic Director, and the Finance Manager. It meets at least quarterly prior to each board meeting.

Page 14

BRITTEN SINFONIA LIMITED (A Company Limited by Guarantee)

TRUSTEES' REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Statement of Trustees' responsibilities

The Trustees (who are also the directors of the company for the purposes of company law) are responsible for preparing the Trustees' Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

Company law requires the Trustees to prepare financial statements for each financial . Under company law, the Trustees must not approve the financial statements unless they are satisfied that they give a true and fair view of the state of affairs of the company and of its incoming resources and application of resources, including its income and expenditure, for that period. In preparing these financial statements, the Trustees are required to:

• select suitable accounting policies and then apply them consistently;

• observe the methods and principles of the Charities SORP (FRS 102);

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

• state whether applicable UK Accounting Standards (FRS 102) 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 responsible for keeping adequate accounting records that are sufficient to show and explain the company's transactions and disclose with reasonable accuracy at any time the financial position of the 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 company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Disclosure of information to auditors

Each of the persons who are Trustees at the time when this Trustees' Report is approved has confirmed that:

• so far as that Trustee is aware, there is no relevant audit information of which the charity's auditors are unaware, and

• that Trustee has taken all the steps that ought to have been taken as a Trustee in order to be aware of any relevant audit information and to establish that the charity's auditors are aware of that information.

Auditors

The auditors, Price Bailey LLP, have indicated their willingness to continue in office. The designated Trustees will propose a motion reappointing the auditors at a meeting of the Trustees.

Approved by order of the members of the board of Trustees and signed on their behalf by:

Andrew Tusa (Jul 24, 2026, 11:50am)

Andrew Tusa Chair of Trustees 24 Jul 2026 Date:

Page 15

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

INDEPENDENT AUDITORS' REPORT TO THE MEMBERS OF BRITTEN SINFONIA LIMITED

Opinion

We have audited the financial statements of Britten Sinfonia Limited (the 'charitable company') for the year ended 31 March 2026 which comprise the Statement of Financial Activities, the Balance Sheet, the Statement of Cash Flows and the related notes, 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 Financial Reporting Standard 102 'The Financial Reporting Standard applicable in the UK and Republic of Ireland' (United Kingdom Generally Accepted Accounting Practice).

In our opinion the financial statements:

• give a true and fair view of the state of the charitable company's affairs as at 31 March 2026 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 Auditors' responsibilities for the audit of the financial statements 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 financial statements in the United Kingdom, including the Financial Reporting Council'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 the financial statements, 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.

Page 16

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

INDEPENDENT AUDITORS' REPORT TO THE MEMBERS OF BRITTEN SINFONIA LIMITED (CONTINUED)

Other information

The other information comprises the information included in the Annual Report other than the financial statements and our Auditors' Report thereon. The Trustees are responsible for the other information contained within the Annual Report. Our opinion on the financial statements 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. Our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements 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 this gives rise to a material misstatement in the financial statements themselves. 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.

Opinion on other matters prescribed by the Companies Act 2006

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

• the information given in the Trustees' Report for the financial year for which the financial statements are prepared is consistent with the financial statements.

• the Trustees' Report has been prepared in accordance with applicable legal requirements.

Matters on which we are required to report by exception

In the light of our knowledge and understanding of the charitable company and its environment obtained in the course of the audit, we have not identified material misstatements in the Trustees' Report.

We have nothing to report in respect of the following matters in relation to which 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; or

• the financial statements are not in agreement with the accounting records and returns; or

• 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; or

• the Trustees were not entitled to prepare the financial statements in accordance with the small companies regime and take advantage of the small companies' exemptions in preparing the Trustees' Report and from the requirement to prepare a Strategic Report.

Responsibilities of trustees

As explained more fully in the Trustees' Responsibilities Statement, the Trustees (who are also the directors of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements 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 financial statements that are free from material misstatement, whether due to fraud or error.

In preparing the financial statements, 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 charitable company or to cease operations, or have no realistic alternative but to do so.

Page 17

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

INDEPENDENT AUDITORS' REPORT TO THE MEMBERS OF BRITTEN SINFONIA LIMITED (CONTINUED)

Auditors' responsibilities for the audit of the financial statements

Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an Auditors' 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 financial statements.

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:

We gained an understanding of the legal and regulatory framework applicable to the charitable company and how it operates and considered the risk of the charitable company not complying with the applicable laws and regulations including fraud in particular those that could have a material impact on the financial statements. This included those regulations directly related to the financial statements. This included employment law, financial reporting and health & safety.

The risks were discussed with the audit team and we remained alert to any indications of noncompliance throughout the audit. We carried out specific procedures to address the risks identified these included the following:

• We reviewed systems and procedures to identify potential areas of management override risk. In particular, we carried out testing of journal entries.

• We reviewed the accounting policies of the charity to ensure that they were free from management bias.

• We reviewed minutes of Trustee Board meetings and agreed the financial statement disclosures to underlying supporting documentation.

• We have made enquiries of management and officers of the charitable company regarding laws and regulations applicable to the organisation.

• We reviewed the risk management processes and procedures in place for Board assurance reporting.

• We have reviewed any correspondence with the Charity Commission and reviewed the procedures in place for the reporting of incidents to the Trustee Board including serious incident reporting of any such matters if necessary.

Because of the inherent limitations of an audit, there is a risk that we will not detect all irregularities, including those leading to a material misstatement in the financial statements or non-compliance with regulation. This risk increases the more that compliance with a law or regulation is removed from the events and transactions reflected in the financial statements, as we will be less likely to become aware of instances of non-compliance. The risk is also greater regarding irregularities occurring due to fraud rather than error, as fraud involves intentional concealment, forgery, collusion, omission or misrepresentation as to what extent the audit was considered capable of detecting irregularities, including fraud.

A further description of our responsibilities for the audit of the financial statements is located on the Financial Reporting Council's website at: www.frc.org.uk/auditorsresponsibilities. This description forms part of our Auditors' Report.

Page 18

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

INDEPENDENT AUDITORS' REPORT TO THE MEMBERS OF BRITTEN SINFONIA LIMITED (CONTINUED)

Use of our report

This report is made solely to the charitable company's trustees, as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable company's trustees those matters we are required to state to them in an Auditors' 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 formed.

Suzanne Goldsmith FCA (Senior Statutory Auditor)

for and on behalf of Price Bailey LLP

Chartered Accountants Statutory Auditors

Tennyson House Cambridge Business Park Cambridge CB4 0WZ

29 July 2026

Page 19

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

STATEMENT OF FINANCIAL ACTIVITIES (INCORPORATING INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDED 31 MARCH 2026

Note Income from: Donations and legacies 4 Charitable activities 5 Investments 6 Other income 7 Total income Expenditure on: Raising funds 8 Charitable activities Total expenditure Net (expenditure)/income before net gains on investments Net movement in funds Reconciliation of funds: Total funds brought forward Net movement in funds Total funds carried forward	Unrestricted funds 2026 £ 397,716 766,530 287 262,167 1,426,700 184,969 1,463,055 1,648,024 (221,324) (221,324) 567,970 (221,324) 346,646	Restricted funds 2026 £ 205,862 - - - 205,862 - 205,238 205,238 624 624 125,657 624 126,281	Total funds 2026 £ 603,578 766,530 287 262,167 1,632,562 184,969 1,668,293 1,853,262 (220,700) (220,700) 693,627 (220,700) 472,927	Total funds 2025 £ 716,898 1,158,011 10,222 272,412 2,157,543 177,625 1,999,753 2,177,378 (19,835) (19,835) 713,462 (19,835) 693,627

The Statement of Financial Activities includes all gains and losses recognised in the year.

The notes on pages 24 to 40 form part of these financial statements.

Page 20

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee) REGISTERED NUMBER: 01486893

BALANCE SHEET AS AT 31 MARCH 2026

Note Fixed assets Intangible assets 12 Tangible assets 13 Current assets Stocks 14 Debtors 15 Cash at bank and in hand Current liabilities Creditors: amounts falling due within one year 16 Net current assets Total assets less current liabilities Creditors: amounts falling due after more than one year 17 Net assets excluding pension asset Total net assets Charity funds Restricted funds 18 Unrestricted funds 18 Total funds	2,784 519,194 246,814 768,792 (321,456)	2026 £ 2,964 22,627 25,591 447,336 472,927 - 472,927 472,927 126,281 346,646 472,927	2,956 492,943 446,582 942,481 (274,549)	2025 £ 6,197 21,242 27,439 667,932 695,371 (1,744) 693,627 693,627 125,657 567,970 693,627

Page 21

BRITTEN SINFONIA LIMITED (A Company Limited by Guarantee) REGISTERED NUMBER: 01486893

BALANCE SHEET (CONTINUED) AS AT 31 MARCH 2026

The Trustees acknowledge their responsibilities for complying with the requirements of the Act with respect to accounting records and preparation of financial statements.

The financial statements have been prepared in accordance with the provisions applicable to entities subject to the small companies regime.

The financial statements were approved and authorised for issue by the Trustees and signed on their behalf by:

Andrew Tusa (Jul 24, 2026, 11:50am)

Andrew Tusa

Chair of Trustees 24 Jul 2026 Date:

The notes on pages 24 to 40 form part of these financial statements.

Page 22

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 MARCH 2026

Cash flows from operating activities Net cash used in operating activities Cash flows from investing activities Purchase of tangible fixed assets Net cash used in investing activities Cash flows from financing activities Repayments of borrowing Net cash used in financing activities Change in cash and cash equivalents in the year Cash and cash equivalents at the beginning of the year Cash and cash equivalents at the end of the year The notes on pages 24 to 40 form part of these financial statements	2026 £ (175,095) (14,224) (14,224) (10,449) (10,449) (199,768) 446,582 246,814	2025 £ 117,830 (1,937) (1,937) (10,193) (10,193) 105,700 340,882 446,582

Page 23

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

1. General information

Britten Sinfonia Limited is a Charity that is a Private Limited Company by guarantee which is registered in England & Wales (company number: 01486893), (charity number: 291245). The principal office is Compass House, 80 Newmarket Road, Cambridge, Cambridgshire, England, CB5 8DZ.

The Company is a Company limited by guarantee. The members of the Company are the Trustees named on page 1. In the event of the Company being wound up, the liability in respect of the guarantee is limited to £1 per member of the Company.

2. Accounting policies

2.1 Basis of preparation of financial statements

The financial statements have been prepared in accordance with the Charities SORP (FRS 102) - Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.

No significant estimates have been made by management in preparing these financial statements. The functional and presentational currency is GBP.

2.2 Going concern

The trustees have a reasonable expectation that the company has adequate resources to continue in operational existence for the foreseeable future, despite the loss of Arts Council England funding for the foreseeable future. For this reason, they continue to adopt the going concern basis in preparing the financial statements.

2.3 Income

All income is recognised once the company has entitlement to the income, it is probable that the income will be received and the amount of income receivable can be measured reliably.

Donated services or facilities are recognised when the company has control over the item, any conditions associated with the donated item have been met, the receipt of economic benefit from the use of the company of the item is probable and that economic benefit can be measured reliably.

Donation income is recognised when the charity has entitlement to the donation, and grant income is recognised in line with the agreement.

Fees, ticket income and sponsorship in respect of concerts and education projects are recognised as the event occurs. Income received in advance of the concert or project is deferred. For events which span the year end, the total income and costs in relation to that event are recognised in the period in which the event commenced.

Orchestra tax relief has been recognised in the period to which the relief relates.

Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the time of the donation.

Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the company; this is normally upon notification of the interest paid or payable by the bank.

Income tax recoverable in relation to investment income is recognised at the time the investment income is receivable.

Page 24

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

2. Accounting policies (continued)

2.4 Expenditure

Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a third party, it is probable that a transfer of economic benefits will be required in settlement and the amount of the obligation can be measured reliably.

All expenditure is recognised on an accruals basis.

Expenditure is classified by activity. The costs of each activity are made up of the total of direct costs and shared costs, including support costs involved in undertaking each activity. Direct costs attributable to a single activity are allocated directly to that activity. Shared costs which contribute to more than one activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources.

Governance costs are those incurred in connection with administration of the company and compliance with constitutional and statutory requirements.

Expenditure on raising funds includes all expenditure incurred by the company to raise funds for its charitable purposes and includes costs of all fundraising activities events and non-charitable trading.

Expenditure on charitable activities is incurred on directly undertaking the activities which further the company's objectives, as well as any associated support costs.

2.5 Foreign currencies

Monetary assets and liabilities denominated in foreign currencies are translated into sterling at rates of exchange ruling at the reporting date.

Transactions in foreign currencies are translated into sterling at the rate ruling on the date of the transaction.

Exchange gains and losses are recognised in the Statement of Financial Activities.

Page 25

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

2. Accounting policies (continued)

2.6 Intangible assets and amortisation

Intangible assets costing £250 or more are capitalised and recognised when future economic benefits are probable, and the cost or value of the asset can be measured reliably.

Intangible assets are initially recognised at cost. After recognition, under the cost model, intangible assets are measured at cost less any accumulated amortisation and any accumulated impairment losses.

Amortisation is provided on intangible assets at rates calculated to write off the cost of each asset on a straight-line basis over its expected useful life.

Amortisation is provided on the following basis:

Computer software - % 3 years straight line

2.7 Tangible fixed assets and depreciation

Tangible fixed assets costing £250 or more are capitalised and recognised when future economic benefits are probable and the cost or value of the asset can be measured reliably.

Tangible fixed assets are initially recognised at cost. After recognition, under the cost model, tangible fixed assets are measured at cost less accumulated depreciation and any accumulated impairment losses. All costs incurred to bring a tangible fixed asset into its intended working condition should be included in the measurement of cost.

Depreciation is charged so as to allocate the cost of tangible fixed assets less their residual value over their estimated useful lives, using the straight-line method.

Depreciation is provided on the following bases:

Motor vehicles - 4 years straight line - Office equipment 4 years straight line Other fixed assets - 4 years straight line

2.8 Stocks

Stocks are valued at the lower of cost and net realisable value after making due allowance for obsolete and slow-moving stocks. Cost includes all direct costs and an appropriate proportion of fixed and variable overheads.

2.9 Debtors

Trade and other debtors are recognised at the settlement amount after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.

2.10 Cash at bank and in hand

Cash at bank and in hand includes cash and short-term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar account.

Page 26

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

2. Accounting policies (continued)

2.11 Liabilities and provisions

Liabilities are recognised when there is an obligation at the Balance Sheet date as a result of a past event, it is probable that a transfer of economic benefit will be required in settlement, and the amount of the settlement can be estimated reliably.

Liabilities are recognised at the amount that the company anticipates it will pay to settle the debt or the amount it has received as advanced payments for the goods or services it must provide.

Provisions are measured at the best estimate of the amounts required to settle the obligation. Where the effect of the time value of money is material, the provision is based on the present value of those amounts, discounted at the pre-tax discount rate that reflects the risks specific to the liability. The unwinding of the discount is recognised in the Statement of Financial Activities as a finance cost.

2.12 Financial instruments

The company only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value with the exception of bank loans which are subsequently measured at amortised cost using the effective interest method.

2.13 Operating leases

Rentals paid under operating leases are charged to the Statement of Financial Activities on a straight-line basis over the lease term.

2.14 Pensions

The company operates a defined contribution pension scheme and the pension charge represents the amounts payable by the company to the fund in respect of the year.

2.15 Fund accounting

General funds are unrestricted funds which are available for use at the discretion of the Trustees in furtherance of the general objectives of the company and which have not been designated for other purposes.

Designated funds comprise unrestricted funds that have been set aside by the Trustees for particular purposes. The aim and use of each designated fund is set out in the notes to the financial statements.

Restricted funds are funds which are to be used in accordance with specific restrictions imposed by donors or which have been raised by the company for particular purposes. The costs of raising and administering such funds are charged against the specific fund. The aim and use of each restricted fund is set out in the notes to the financial statements.

Investment income, gains and losses are allocated to the appropriate fund.

Page 27

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

3. Critical accounting estimates and areas of judgment

Estimates and judgments 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.

The Trustees do not consider there to be any critical accounting estimates and areas of judgements.

4. Income from donations and legacies

Unrestricted funds 2026 £ Donations - Individuals and Trusts 205,775 Grants 102,625 Arts Council England - Donations - Corporate 89,316 397,716 Total 2025 474,394	Restricted funds 2026 £ 106,808 57,500 21,594 19,960 205,862 242,504	Total funds 2026 £ 312,583 160,125 21,594 109,276 603,578 716,898	Total funds 2025 £ 191,695 325,550 97,523 102,130
			716,898

Local Authority funding of £Nil (2025: £350) is included within grants above. This related to funding for a Creative Learning event during the year, with no amounts carried forward (£2025: £Nil) as at the yearend.

5. Income from charitable activities

Unrestricted funds 2026 £ Education 81,013 Concerts 679,766 General 5,751 766,530 Total 2025 1,052,721	Restricted funds 2026 £ - - - - 105,290	Total funds 2026 £ 81,013 679,766 5,751 766,530 1,158,011	Total funds 2025 £ 105,290 1,050,545 2,176
			1,158,011

Restricted income represents fees receivable and ticket sales for Creative Learning events in the year.

Page 28

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

6. Investment income

	Unrestricted	Total	Total
	funds	funds	funds
	2026	2026	2025
	£	£	£
Bank interest	287	287	10,222

All investment income received in 2025 was unrestricted.

7. Other incoming resources

Orchestra tax relief Total 2025	Unrestricted funds 2026 £ 262,167 272,412	Total funds 2026 £ 262,167 272,412	Total funds 2025 £ 272,412

Orchestra tax relief is claimed annually against the costs associated with putting on productions.

Page 29

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

8. Expenditure on raising funds

Costs of raising voluntary income

Unrestricted funds 2026 £ Marketing 6,253 Travel and hospitality 66 Administration and premises overheads 47,792 Wages and salaries 99,956 National insurance 20,936 Pension costs 9,966 184,969 Total 2025 177,625	Total funds 2026 £ 6,253 66 47,792 99,956 20,936 9,966 184,969 177,625	Total funds 2025 £ 8,514 4,739 43,841 94,936 18,369 7,226
		177,625

9. Analysis of expenditure by activities

Creative Learning Concerts Total 2025	Activities undertaken directly 2026 £ 238,362 1,093,874 1,332,236 1,681,066	Support costs 2026 £ 185,028 151,030 336,058 318,687	Total funds 2026 £ 423,390 1,244,904 1,668,293 1,999,753	Total funds 2025 £ 467,459 1,532,294
				1,999,753

Page 30

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

9. Analysis of expenditure by activities (continued)

Included in support costs are governance costs totalling £20,554 (2025 - £21,802) relating to audit and accountancy fees of £19,980 (2025 - £20,608) and trustees' liability insurance of £574 (2025 - £1,194). Governance costs have been allocated to Creative Learning and Concerts in proportion to the total direct and other support costs.

Support costs are allocated on the following basis: concerts 40% (2025 - 40%), education (creative learning) 30% (2025 - 30%), and fundraising and publicity 30% (2025 - 30%).

In 2025 £231,037 of charitable expenditure was attributable to restricted funds and £1,768,716 was attributable to unrestricted funds.

Analysis of direct costs

Staff costs Direct project and concert costs Total 2025 Analysis of support costs	Creative Learning 2026 £ 7,362 231,000 238,362 290,237	Concerts 2026 £ 197,487 896,387 1,093,874 1,390,829	Total funds 2026 £ 204,849 1,127,387 1,332,236 1,681,066	Total funds 2025 £ 169,971 1,511,095
				1,681,066

Staff costs Staff training Administration and premises Trustees' liability insurance Audit fee Other accountancy fees Total 2025	Creative Learning 2026 £ 121,217 678 53,380 401 6,740 2,612 185,028 177,222	Concerts 2026 £ 56,768 903 82,220 511 7,660 2,968 151,030 141,465	Total funds 2026 £ 177,985 1,581 135,600 912 14,400 5,580 336,058 318,687	Total funds 2025 £ 170,938 1,457 124,490 1,194 13,750 6,858
				318,687

Page 31

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

10. Auditors' remuneration

	2026	2025
	£	£
Fees payable to the company's auditor for the audit of the company's
annual accounts	14,650	13,750
Fees payable to the company's auditor in respect of:
All non-audit services not included above	5,000	4,250

11. Staff costs

Wages and salaries Social security costs Contribution to defined contribution pension schemes	2026 £ 445,572 45,991 22,129 513,692	2025 £ 404,606 40,788 16,046
		461,440

The average number of persons employed by the company during the year was as follows:

Concerts Education Fundraising Finance and administration	2026 No. 5 4 2 2 13	2025 No. 4 3 3 2
		12

Page 32

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

11. Staff costs (continued)

The number of employees whose employee benefits (excluding employer pension costs) exceeded £60,000 was:

		2026	2025
		No.	No.
In the band £80,001	- £90,000	1	1

The key management personnel of the charity comprises the Trustees, Cheif Executive/Artistic Director, Communications Director, Concerts Director, Development Director, Creative Learning Director and Finance Manager. The Trustees give all their time and expertise without any kind of remuneration or other benefits in kind (2025 - £Nil). The total employers benefits including employer pension and national insurance contributions of key management personnel was £317,180 (2025 - £290,802).

During the year no trustee received any reimbursement of expenses (2025 - £Nil).

The charity engages freelance musicians for concert performances and educational projects. Their remuneration is included within concert and education expenses respectively and not within staff costs, as they are not employees of the charity.

12. Intangible assets

Cost At 1 April 2025 At 31 March 2026 Amortisation At 1 April 2025 Charge for the year At 31 March 2026 Net book value At 31 March 2026 At 31 March 2025	Computer software £ 9,699
	9,699
	3,502 3,233
	6,735
	2,964
	6,197

Page 33

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

13. Tangible fixed assets

Cost or valuation At 1 April 2025 Additions At 31 March 2026 Depreciation At 1 April 2025 Charge for the year At 31 March 2026 Net book value At 31 March 2026 At 31 March 2025 14. Stocks CD recordings for sale at concert events 15. Debtors Due within one year Trade debtors Other debtors Prepayments and accrued income Tax recoverable	Motor vehicles £ 9,250 6,995 16,245 9,250 291 9,541 6,704 -	Office equipment £ 69,668 7,230 76,898 64,717 3,716 68,433 8,465 4,951		Other fixed assets £ 56,518 - 56,518 40,227 8,832 49,059 7,459 16,291 2026 £ 2,784 2026 £ 127,699 5,808 123,521 262,166 519,194	Total £ 135,436 14,225
					149,661
					114,194 12,839
					127,033
					22,628
					21,242
					2025 £ 2,956 2025 £ 51,432 15,796 153,303 272,412 492,943

Page 34

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

16. Creditors: Amounts falling due within one year

Other loans Trade creditors Other taxation and social security Other creditors Accruals and deferred income	2026 £ 1,759 177,653 42,999 3,819 95,226 321,456	2025 £ 10,464 153,601 26,564 1,216 82,704
		274,549

The bounce back loan is repayable in equal monthly instalments over 6 years until May 2026. Interest is fixed charged at 2.5%.

17. Creditors: Amounts falling due after more than one year

	2026	2025
	£	£
Other loans	-	1,744

The bounce back loan is repayable in equal monthly instalments over 6 years until May 2026. Interest is fixed charged at 2.5%.

Page 35

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

18. Statement of funds

Statement of funds - current year

Unrestricted funds Designated funds Service Delivery Fund General funds Reserves Total Unrestricted funds Restricted funds Creative Learning Concerts Total of funds	Balance at 1 April 2025 £ 338,375 229,595 567,970 49,957 75,700 125,657 693,627	Income £ - 1,426,700 1,426,700 128,072 77,790 205,862 1,632,562	Expenditure £ - (1,648,024) (1,648,024) (94,831) (110,407) (205,238) (1,853,262)	Transfers in/out £ (221,324) 221,324 - - - - -	Balance at 31 March 2026 £ 117,051
					229,595
					346,646
					83,198 43,083
					126,281
					472,927

Creative Learning - this is funding received for creative learning projects which aim to encourage groups of people to be creative and become involved in music. Amounts carried forward are for events taking place in future years.

Concerts - this represents donations and grants received for a specific concert.

Service Delivery Fund - this fund was set up in 2023/24 to respresent the unrestricted budgeted deficit for the 2024/25 and 2025/26 financial years. The unrestricted deficit recorded in 2025/26 has been transferred back to general reserves at the year-end.

Page 36

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

18. Statement of funds (continued)

Statement of funds - prior year

Unrestricted funds Designated funds Service Delivery Fund General funds Reserves Total Unrestricted funds Restricted funds Creative Learning Concerts ACE Capital grant Total of funds	Balance at 1 April 2024 £ 474,967 229,595 704,562 8,900 - - 8,900 713,462	Income £ - 1,809,749 1,809,749 105,822 145,900 96,072 347,794 2,157,543	Expenditure £ - (1,946,341) (1,946,341) (64,765) (70,200) (96,072) (231,037) (2,177,378)	Transfers in/out £ (136,592) 136,592 - - - - - -	Balance at 31 March 2025 £ 338,375
					229,595
					567,970
					49,957 75,700 -
					125,657
					693,627

ACE Capital grant - during the year the Charity received a grant towards capital costs previously incurred for the Orchestra for the period 18 November 2019 to 31 March 2023. As the amounts had been previously spent, the balance was transferred to unrestricted funds on receipt.

Page 37

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

19. Analysis of net assets between funds

Analysis of net assets between funds - current year

Unrestricted funds 2026 £ Tangible fixed assets 22,627 Intangible fixed assets 2,964 Current assets 642,511 Creditors due within one year (321,456) Total 346,646 Analysis of net assets between funds - prior year Unrestricted funds 2025 £ Tangible fixed assets 21,242 Intangible fixed assets 6,197 Current assets 816,824 Creditors due within one year (274,549) Creditors due in more than one year (1,744) Total 567,970	Restricted funds 2026 £ - - 126,281 - 126,281 Restricted funds 2025 £ - - 125,657 - - 125,657	Total funds 2026 £ 22,627 2,964 768,792 (321,456) 472,927 Total funds 2025 £ 21,242 6,197 942,481 (274,549) (1,744) 693,627

Page 38

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

20. Reconciliation of net movement in funds to net cash flow from operating activities 2026 £ Net expenditure for the year (as per Statement of Financial Activities) (220,700) Adjustments for: Depreciation charges 12,839 Amortisation charges 3,233 Decrease in stocks 172 Decrease/(increase) in debtors (36,497) Increase in creditors 55,612 Taxation credit (orchestra tax relief) 10,246 Net cash provided by/(used in) operating activities (175,095) 21. Analysis of cash and cash equivalents 2026 £ Cash in hand 246,814 22. Analysis of changes in net debt

2025 £ (19,835) 13,426 3,233 7 93,909 95,725 (68,635) 117,830 2025 £ 446,582

Cash at bank and in hand Debt due within 1 year Debt due after 1 year	At 1 April 2025 £ 446,582 (10,464) (1,744) 434,374	Cash flows £ (199,768) 8,705 1,744 (189,319)	At 31 March 2026 £ 246,814 (1,759) - 245,055

Page 39

BRITTEN SINFONIA LIMITED

(A Company Limited by Guarantee)

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

23. Pension commitments

The group operates a defined contribution stakeholder pension scheme. The assets of the scheme are administered by the Trustees of the fund independent of those of the charity.

During the year contributions totalled £22,129 (2025 - £16,046). The balance outstanding as at 31 March 2026 was £3,819 (2025 - £302).

24. Operating lease commitments

At 31 March 2026 the company had commitments to make future minimum lease payments under noncancellable operating leases as follows:

Not later than 1 year Later than 1 year and not later than 5 years	2026 £ 999 - 999	2025 £ 2,403 999
		3,402

25. Related party transactions

During the year 2 Trustees made personal donations to the charity totalling £3,140 (2025 - 4 Trustees - £4,116). No benefits were received as a result of these donations.

During the year Britten Sinfonia Limited received a grant from Arts Council England, an entity where the sibling of a Trustee is the Chair of Trustees. Total grant income received was £21,594 (2025: £97,523) and these transactions were conducted on an arms length basis.

Page 40