## ## ## ## |presented
during the Accounting
Year under
review consisted
of two of| |---| |these three pairs ofad-hoc Concerts, five ofthe Concerts
in the 2021-2022| |Season
and
an
additional
Grand
Concert
that
was
experimentally| |presented
in Eastbourne
and accompanied
by an optional
Cream Tea| |On 06/06/2021,
Sebastian
Comberti,
Cello,
and
Maggie
Cole,
Piano,| |played works by Beethoven,
Kenneth Victor Jones, Popper and Schumann.| |The two Concerts
attracted
audiences
of thirty-seven
and
thirty-four| |people| |On 11/07/2021, the London
Mozart
Players
Chamber
Ensemble
played| |works
by Beethoven,
Britten and Mozart.
The two Concerts attracted| |audiences offorty-two
and forty-six people| |On 24/10/2021,
the London
Mozart
Players
Chamber
Ensemble
played| |works by Beethoven, Devienne
and Paul Lewis.
The Concert attracted
an| |audience of ninety-one
people| |On 05/12/2021,
the Bach Players
played
works
by Biber, Clerambault,| |Erlebach,
Kasperger,
hlisabeth
Jacquet de La Guerre,
Marin
Marais
and| |Robert
de Visee.
The Concert
attracted
an audience
of eight-seven| |people| |On 09/01/2022,
the Marmen
Quartet
played
works
by Brahms,
Salina| |Fisher, Haydn and Ligeti.
The Concert attracted
an audience ofseventy-| |nine people| |On 06/02/2022,
The London
Mozart Players and Howard
Shelley,
Piano,| |played
works
by
Beethoven,
Hummel
and
Mozart.
This
was
the| |additional
Grand
Concert
that
was
experimentally
presented
in| |Eastbourne
and it attracted
an audience ofone hundred
and thirty-three| |people| |On 06/03/2022,
Ruth Rogers and Kate Comberti,
Violins,
Sally Beamish,| |Viola, Sebastian
Comberti,
Cello, Viv McLean, Piano, and Peter Thomson,| |Vocals,
along
with
the
New
Sussex
Singers,
Sebastian
Charlesworth,| |Director, and Howard Beach, Piano, presented
aTribute to Kenneth Victor| |Jones, curated
by Sally Beamish.
As well as works of his own and some| |of his arrangements
of works
by Gershwin,
it included
works by Bartok,| |Glihre and Walton.
The Concert attracted
an audience of one hundred| |and twenty-one
people and was made possible by the unexpected
receipt| |ofa Legacy from the Estate of Kenneth
Victor Jones| |On 03/04/2022,
the Birdsong
Band presented
a mixture
of classical, jazz| |and folk music under the title of King Alfred, the Owl and the Nightingale.| |It included
works by Irving Berlin, Jeremiah
Clarke, Albert Eric Maschwitz| |and Manning
Sherwin,
Messiaen,
Prokofiev and Stravinsky,
together
with| |arrangements
of folk music
by Tim
Laycock,
Eliphalet
Oram
Lyte and| |Charles E.Pratt.
Itattracted
an audience ofthirty people and was one of| |the Concerts aimed specifically at families| ## |||||financial
risk to the
Charity
is that
Concerts
and
Recitals
have to be| |---|---|---|---|---| |||||planned
in the absence of any certainty
that Income from Membership| |||||Fees and the sale ofSingle Tickets will eventually
prove to be sufficient to| |||||cover the Expenditure
associated
with presenting
them.
That being the| |||||case, it isthe Policy ofthe Trustees to aim to hold Reserves that would be| |||||sufficient to cover the Expenditure
associated
with presenting
all of the| |||||Concerts and Recitals in a typical Season.
This is currently
in the region| |||||off10,000.
At the end ofthe Accounting
Year under review the Charity| |||||held Assets that were considerably
in excess ofthis figure but this was due| |||||solely tothe unexpected
receipt ofthe Legacy from the Estate of Kenneth| |||||Victor Jones| |||||The Charity
does not engage
in Fund-Raising
and does not receive any| |||||Grants| |||||Other
than
through
the receipt of occasional
Legacies
and
incidental| |||||Donations,
Income is generated
solely through
Membership
Fees and the| |||||sale ofSingle Tickets and is applied
solely to the presentation
ofConcerts| |||||and Recitals| |||||People who choose to become Members ofthe Society enjoy the benefit| |||||ofbeing admitted to all or as many ofthe Concerts and Recitals as remain| |||||in a particular
Season free of charge.
They pay a Membership
Fee that| |||||generally
gives them a discount
on the cost of purchasing
Single Tickets| |||||for all ofthose Concerts and Recitals.
As a result, Income generated
by| |||||Membership
Fees usually
exceeds that generated
by the sale of Single| |||||Tickets| |||||The Society is eligible to receive subsidies
from the CAVATINA Chamber| |||||Music Trust that underwrite
the cost of people under the age oftwenty-| |Further|Financial|Review|Details|six being
admitted
to qualifying
Concerts
without
charge
but no such| |||||subsidies were received during the Accounting
Year under review| |||||An Estate Agent
in Seaford
provides
benefit
in kind
by acting as a Box| |||||Office and printing
Programme
Notes| |||||Membership
ofthe National
Federation
of Music Society provides access| |||||to
cost-effective
Third-Party
Liability
Insurance
and
a
Database
of| |||||Programme
Notes| |||||Membership
ofthe Brighton and Hove Arts Council raises local awareness| |||||ofthe Society and assists with the promotion
ofConcerts and Recitals| |||||The Charity holds no Financial Investments| |||||The Governing
Document
dictates
that the
Financial
Accounts
of the| |||||Charity are Audited or Examined
only tothe extent required
by Legislation| |||||but it is the Policy of the Trustees that they be Independently
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