2023-06-30-accounts

Trustees’ annual report (including Directors’ report) for the period

From: 01 July 2022

To: 30 June 2023

Charity name: Farnborough Symphony Orchestra

Charity registration number: 293178

Company number:

Objectives and activities

	SORP reference
Summary of the purposes of the charity as set out in its governing document	Para 1.17	The object of the orchestra is to advance the aesthetic education of the public by the study and practice of orchestral music and the public performance of such music.
Summary of the main activities in relation to those purposes for the public benefit, in particular, the activities, projects or services identified in the accounts.	Para 1.17 and 1.19	The orchestra performed four public concerts during the 2022/23 season at two local venues: Concert 1: 12-11-2022 Princes Hall, Aldershot Rosamunde Overture – Schubert Flute Concerto – Reinecke Symphony No. 8 - Dvorak Christian Paquette (Flute) William Carslake (Conductor) Concert 2: 21-01-2023 Princes Hall, Aldershot Candlewright – Gooderham Violin Concerto – Korngold Symphony in D minor - Franck So-Ock Kim (Violin) Daniel Hogan (Conductor) Concert 3: 11-03-2023 Farnham Maltings Symphony No. 4 – Brahms Gaelic Symphony - Beach Benedict Collins Rice (Conductor) Concert 4: 10-06-2023 Princes Hall, Aldershot Froissart Overture – Elgar Serenade for Tenor, Horn and Strings – Britten Enigma Variations - Elgar Ruairi Bowen (Tenor) Alison Wyld (French Horn) William Carslake (Conductor)

		(* denotes music never before performed by the orchestra)
Statement confirming whether the trustees have had regard to the guidance issued by the Charity Commission on public benefit	Para 1.18	In presenting this concert series, the trustees had regard to the guidance issued by the Charity Commission on public benefit. The concert season included: - a number of works never before performed by the orchestra (many of which will have been unfamiliar to the audience as well), - a performance of a new composition by a young local composer, - a work by a female composer (continuing the orchestra’s aim to champion the compositions of female composers in its programming), thus fulfilling the educational remit of the orchestra.

Additional information (optional) You may choose to include further statements where relevant about:

	SORP reference
Policy on grant making	Para 1.38	n/a
Policy on social investment including program related investment	Para 1.38	n/a
Contribution made by volunteers	Para 1.38	n/a
Other		The activities of the orchestra fall into two parts: the process of rehearsing and preparing for a concert and the public concert itself. The first of these activities is funded through the subscriptions payable by the members of the orchestra, which are set at a level to cover the costs of the rehearsal venue and the rehearsal fees of the professional conductor and leader. The costs of the concert itself are covered partially from ticket sales and partially from sponsorship and donations. It is almost impossible to fund a public classical music concert in a concert venue from ticket sales alone. Losses on FSO concerts generally fall

between around £300 and £3,000, and the orchestra relies on sponsorship, patronage and donations to cover these losses. During the 2022/23 season the orchestra received two small grants, each worth £500, one from the Elgar Society and one from the Humphrey Richardson-Taylor Charitable Trust.

Achievements and performance

Summary of the main achievements of the charity, identifying the difference the charity’s work has made to the circumstances of its beneficiaries and any wider benefits to society as a whole.	Para 1.20	The orchestra’s objective of advancing the aesthetic education of the public was met through the mix of familiar and unfamiliar orchestral works presented during the season. The season was overseen by the Artistic Director of the FSO, William Carslake, and included two guest conductors and a number of distinguished soloists. The FSO began its 2022-23 season with a birthday concert celebrating 100 years since the orchestra’s first performance on 13th December 1922. The opening work on that auspicious occasion was Schubert’s Rosamunde Overture and it was fitting that we started this 100th birthday concert with the same piece, which brims over with Schubert’s infectious melodies. We were also excited to welcome Christian Paquette, winner of the 2020 Marina Piccinini International Concerto Competition, to play the Reinecke Flute Concerto. A first for the FSO and its local community, this opportunity came about as a result of ongoing links with Marina Piccinini, the internationally-renowned flautist who played the Ibert concerto with the orchestra in 2017. Canadian by birth, Christian is Principal Flute of the York Symphony Orchestra in Pennsylvania and it was a great privilege for the FSO to welcome him as a soloist. The concert concluded with Dvorak’s 8th Symphony, which was composed in 1889 on the occasion of the composer’s election to the Prague Academy and is dedicated “To the Bohemian Academy of Emperor Franz Joseph for the Encouragement of Arts and Literature, in thanks for my election.” The music is cheerful and optimistic and was wholly appropriate for a birthday concert. The FSO opened the New Year by welcoming guest conductor, Daniel Hogan, currently studying with a full scholarship for a Master’s in Conducting at the Royal College of Music. The concert celebrated the

bicentenary of the birth of César Franck, a French Romantic composer, pianist, organist, and music teacher born in modernday Belgium on 10th December 1822. The Symphony in D minor is his best-known orchestral work and the only mature symphony written by the composer. The work premiered in 1889 and received a mixed reception (Gounod called it “the affirmation of impotence taken to the point of dogma”) but it grew in popularity throughout the twentieth century until it became a stalwart of the symphonic canon. In recent years performances have declined so it was good to be able to reintroduce this masterwork to our local audience. The concert also included Erich Korngold’s Violin Concerto, unfamiliar to most, which was written in the early twentieth century and draws on the composer’s hugely popular melodies from his successful film scores. To play this wonderful work, we welcomed back So-Ock Kim, who has become a muchvalued friend of the FSO, most recently helping us to celebrate our return to musicmaking after the pandemic. The opening work of the concert was a short work written by Sam Gooderham, with which he won the inaugural FSO Young Composer’s Competition in 2020. Inspired by the Illuminated River installation on Cannon Street bridge, this contemplative piece depicts the transition between south London and the city. We were delighted to have this opportunity of giving the first orchestral performance of this work and encouraging this aspiring young composer, particularly after this premiere was also postponed due to the pandemic. To preside over the FSO’s Spring concert, which was supported by the Humphrey Richardson Taylor Charitable Trust, we welcomed guest conductor, Benedict Collins-Rice, who has performed throughout Europe and America, recorded for several record labels and TV companies, and broadcast live on Radio 3. The Gaelic Symphony, written by Amy Beach, was first performed in 1896 and was the first symphony by an American composer to use folk songs as thematic material. It was also the first symphony to be composed and published by a female American composer and helped her gain widespread acknowledgement of her talents in a maledominated profession. The work draws on several Irish melodies because of what Beach called “their simple, rugged, and unpretentious beauty.” The other work in the

concert was Brahms’ well-known Symphony No. 4 in E minor. Written in the same key as the Gaelic Symphony, it was first performed just over a decade earlier in 1885. The last of Brahms’ symphonies, it has an undeniably tragic character despite its warmth and beauty. It was inspiring to share the depth and beauty of these two late-nineteenthcentury masterpieces with our local audience. The FSO concluded its 2022-23 season with a programme of English music. We were particularly excited to be performing Benjamin Britten’s Serenade for Tenor, Horn and Strings with our very own Alison Wyld (FSO Principal Horn) as soloist. Alison pursued a career as a freelance horn player for thirteen years before becoming a primary school teacher and latterly headteacher. She was joined by tenor soloist, Ruairi Bowen, a finalist in the International Handel Singing Competition in 2020, who is much in demand as an interpreter of Baroque repertoire in the UK and abroad, collaborating with some of the leading conductors in the field. The Serenade is a song cycle on the theme of night, which was written in 1943 and first performed by horn player, Dennis Brain, at whose request the work had been composed, and the tenor, Peter Pears, Britten’s partner. The programme also included two works by Elgar and we were extremely grateful for the support of the Elgar Society, whose financial assistance enabled us to perform this beautiful music. The Froissart Overture was the composer’s first large-scale work for full orchestra and is less well-known than many of his later works. Inspired by the 14thcentury chronicles of Jean Froissart, the concert overture contains, in embryonic form, many of the hallmarks that Elgar was to perfect in his mature output. The Enigma Variations was composed some nine years later and needs little introduction as it has become established as one of the composer’s most famous works. Elgar dedicated it “to my friends pictured within”, each variation being a musical sketch of one of his circle of close acquaintances. The ‘enigma’ of the title remains a subject of much speculation, and we invited the audience to mull over this conundrum while listening to this delightful programme of English music.

Additional information (optional) You may choose to include further statements where relevant about:

n/a Para 1.41 Achievements against objectives set n/a Para 1.41 Performance of fundraising activities against objectives set n/a Para 1.41 Investment performance against objectives n/a Other

Financial review

Financial review
Review of the charity’s financial position at the end of the period	Para 1.21	The orchestra generated a profit of £2.7k on the 2022/23 concert season, which is the first time that income has exceeded expenditure for many years. The reserves created as part of a generous legacy received by the orchestra a number of years ago mean that the orchestra can plan concert programmes not solely on their popularity and familiarity, but provide genuine challenge and new experiences for our concert-going audience, in pursuit of its charitable aim.
Statement explaining the policy for holding reserves stating why they are held	Para 1.22	The orchestra aims to hold minimum reserves equivalent to around twice the annual income from sponsorship, patronage and donations. This provides security for at least two seasons in the event that these sources of funding either disappear or reduce substantially. During the 2022/23 season, the orchestra received investment income from a legacy donation received during the 2015/16 season. This investment income helped to fund the hire of music for the less familiar works programmed.
Amount of reserves held	Para 1.22	The FSO has reserves of a little over £80k

Reasons for holding zero reserves	Para 1.22	n/a/
Details of fund materially in deficit	Para 1.24	n/a
Explanation of any uncertainties about the charity continuing as a going concern	Para 1.23	None

Additional information (optional) You may choose to include further statements where relevant about:

The charity’s principal sources of funds (including any fundraising)	Para 1.47	The FSO’s activities are funded through membership subscriptions, ticket sales for public concerts, sponsorships, donations, interest from investments and orchestra tax relief.
Investment policy and objectives including any social investment policy adopted	Para 1.46	The FSO holds funds in a COIF Charities Investment Fund with the interest generated supporting the costs of performing concerts.
A description of the principal risks facing the charity	Para 1.46	The slow decline in the appreciation of live orchestral music, largely as a result of the decline in music funding for schools over several decades, leading to a decline in ticket sales is the principal risk facing the orchestra.
Other		n/a

Structure, governance and management

Description of charity’s trusts:		n/a
Type of governing document: for example,trust deed, memorandum and articles of association etc	Para 1.25	Constitution
How is the charity constituted? for example limited company, unincorporated association, CIO	Para 1.25	Membership society
Trustee selection methods including details of any constitutional provisions e.g. election to post or name of any person or body entitled to appoint one or more trustees	Para 1.25	Committee (trustees) elected at an annual general meeting

Additional information (optional) You may choose to include further statements where relevant about:

n/a Para 1.51 Policies and procedures adopted for the induction and training of trustees The FSO is a member of the organisation Making Music Para 1.51 The charity’s organisational structure and any wider network with which the charity works n/a Para 1.51 Relationship with any related parties n/a Other

Reference and administrative details

Charity name	Farnborough Symphony Orchestra
Other name the charity uses	FSO
Registered charity number	293178
Charity’s principal address	www.farnboroughsymphony.org.uk

Names of the charity trustees who manage the charity

1 2 3 4 5 6 7 8 9 10 11 12	Trustee name	Office (if any)	Dates acted if not for whole **year **	Name of person (or body) entitled to appoint trustee (ifany)
	Peter Birkett	Chairman
	David Nash	Secretary
	Gabriel Thomas	Treasurer	Since 01 July2023
	Alissa Andrews
	Robin Chave
	Rebekah Shaw		Since 01 July2024
	Abbie Royston
	RoyFalshaw
	Suzie King		Since 01 July2024
	Juliet Balch		Since 01 July2024
	Karen Hasset		Since 01 July2024
	Rosemary Heasman		Until 30 June 2023

13 14 15 16 17 18 19 20	Magda Middleton	Treasurer	Until 30 June 2023
	Susie Baker		Until 30 June 2024
	Alison Wyld		Until 30 June 2024
	Julian Martin		Until 30 June 2024

– Corporate trustees names of the directors at the date the report was approved

Director name None

Name of trustees holding title to property belonging to the charity

Trustee name	Dates acted if not for whole year
None

Funds held as custodian trustees on behalf of others

Description of the assets held in this capacity	n/a
Name and objects of the charity on whose behalf the assets are held and how this falls within the custodian charity’s objects	n/a
Details of arrangements for safe custody and segregation of such assets from the charity’s own assets	n/a

Additional information (optional)

Names and addresses of advisers (optional information)

Type of	Name	Address
adviser

Name of chief executive or names of senior staff members (optional information)

n/a

Exemptions from disclosure

Reason for non-disclosure of key personnel details

n/a

Other optional information

n/a

Declarations

The company has taken advantage of the small companies’ exemption in preparing the report above.

The trustees declare that they have approved the trustees’ report (including directors’ report) above.

Signed on behalf of the charity’s trustees/directors

Signature(s) Full name(s) Peter Birkett Gabriel Thomas Position (for example Chairman Treasurer Secretary, Chair, etc) Date 06/08/2024

Farnborough Symphony Orchestra General Account for Season 2022/2023 Profit & Loss at 30th June 2023

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2021 / 2022 2022 / 2023
Income
5,493.01 Gain/(Loss) in Concert Accounts 6,852.12
6,414.20 Subscriptions 7,637.63
950.00 Patronage 200.00
500.00 Sponsorship 1,500.00
Grant for Elgar Frossiart Overture performance 500.00
76.61 Donations 1,693.24
- Grant Income 500.00
1,471.14 Reclaimed Income Tax (Gift Aid) 1,632.00
6,445.16 Reclaimed OTR 7,831.88
0.03 Interest from COIF Deposit Fund -
2,250.68 Interest from COIF Investment Fund 1,984.17
30.00 Proceeds from "Coffee" 225.00
23,630.83 30,556.04
Expenditure
- Hire of Rehearsal Rooms -
- Conductor's Rehearsal Fees -
- Leader's Rehearsal Fees -
26,426.06 Concert management fees (FPL) 27,207.53
- -
General Publicity
295.00 Making Music Subscriptions 418.00
- -
New Website Design
309.33 Administrative Expenses 196.50
- -
Committee Attendance Fee (MD)
299.48 Miscellaneous Expenditure -
27,329.87 27,822.03
- 3,699.04 Profit / Loss 2,734.01
Balance Sheet at 30th June 2023
2021 / 2022 2022 / 2023
Liabilities
51,437.64 Balance in General Account 54,171.65
36,134.16 Change in COIF Investment Fund Value 36,134.16
87,571.80 90,305.81
Assets
76,134.14 Cash in COIF Charities Investment Fund 76,134.14
32.98 Cash in COIF Charities Deposit Fund 32.98
- -
Cash at Barclays Bank
4,534.18 Cash at HSBC 7,174.00
50.00 Cash for Front of House 50.00
6,735.50 FSO Productions Ltd Loan £6,414.69
85.00 Accrued income 500.00
87,571.80 90,305.81
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