Registered number.. 5576907
Charlty numbers= 1112032 & SC051568
SAMLING INSTITUTE FOR YOUNG ARTISTS
IA charitable company limited by guarantee)
UNAUDITED
TRUSTEES. REPORT AND FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Armstrongwatson.
Accountants, Business & Financial Advisers

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
CONTENTS
Page
Rafgronca and administrative details of tho charity, its Tnmtsas and advisars
Trusts¢$' roport
Indopondant 8xamin8r's rnport
Statsment of financial activities
2-13
14
Balanc• sh¢•t
16-17
Notes to the financial statements
18-30

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
REFERENCE AND ADMINISTRATIVE DETAJLS OF THE CHARITY, ITS TRUSTEES AND ADVISERS
FOR THE YEAR ENDED 31 MARCH 2026
Tw$tg9$
Sir D R Bell. Chaimian
A D Trapp MBE I￿$￿ned 23 March 20261
J A Pennie
A Macnaughlon, Treasurer
RDTOer
G A Evans-Thoma$
H L Andrews lapw)inled 8 September 20251
Company rggl$tsr•d
number
5576907
Charity registored
numbers
1112032 an¢J SC051568
Rog1$tsr￿ offlc•
Communty Centre
Gilesgate
Hexham
Northumberland
NE46 3NP
Patrons
Sir Thomas Alen CBE
Louise Alder MBE
James Baillieu
Artl8tlc and Ex•cudvo
Dlrector
Karon Wnght MBE
Independent examlngr
Armstrong Watson LLP
Chartered Accountants
One Slravknerry Lane
Newcastle upon Tyne
NE1 4BX
Bankgrs
National Westminster Bank F4¢
Newcasue Cty 8ranch
16 Northumberland Street
Newcasde upon Tyne
NE1 7EL
Wobslts
vh￿.samllng.0rg.Uk
Page 1

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
TRUSTEES. REPORT
FOR THE YEAR ENDED 31 MARCH 2026
The trustees preseni Iheir repon ioge(her wih the financial statements of (he charity for ihe l April 2025 to 31 March
2026.
The report 5erve5 the purpose5 of both a tru5Qes' report and a direttor5' report under company law. The trustee5
confirm that the report and financial Statements of the charitable company comply wth the current statutory
requirements, the requirement5 of the charitable compan15 governing document and the provisions of the Statement
of Recommended Prartice ISORPI applicable io charitie5 preparing their accounts in accordance with the Financial
Reporting Standard applicable in the UK and Republic of Ireland IFRS1021 leffe(fwe 1 january 20191.
Obje¢￿¥•$ and actlvltl•s
a. Pollcley and obj•ctive8
The aims of Samling Institute for Young Art15ts are-
al To educate, develop. improve. encourage and promoie generalty the appreciaiion of the art and science of music
Iboth vocal and instrumentali. Ihe spoken and wrirren word and the wsual arts in all their aspects, by the presentation
of public concerts, masierclasses, recitals. exhibitions and by such other ways as the charity by its trustees shall
determine from time to ume..
bl To provlde coachlng and general financial assistance for tslented young individuals selected by the trustees to
further thelr knO￿edge. skills and expertise in all marters connected wth music Iboth vocal and Instrumental), the
spoken and written word and the wsual arts in all their aspeas
cl To provide lor and asslsi Sn ihe prowsion of exhibitions. leaures. classes and demonstrations for member5 of the
general public to further and increase their knowledge. understsnding and appreciatlon ol all matters connected wlth
muslc (both vocal and instrumentali, the spoken and written word and the wsual arts In all their aspects.
In setting the objectives for ihe year and planning the (haritys activities, the trustees have considered the Charity
Commission's guidan<e on public benefiL. The charity relies largely on grants and donations, but also pardy on income
from ticket sales and its own fundraising4clivilies to cover its operatingcosts.
In seitin8 the level of ticket prices, Ihe Irustees give careful consideration to the accessibility of the event5 to those on
low income5 and in difficult financial times. It should also be noied that the charity 15 workin8 to address lack of
opportunity for young people growing up in rhe Nonh East of England. In establishing a centre of excellence through
Samling Acadeffly it 15 targetin& in particular, stale scho(As acr055 the region. It 15 identifying pupils with the taleni and
poiential to 51udy music and perhap5 go on io become professional musicians and who might otherwise noi be given
the opportunity.
The main areas of activity during Ihe year include(I Samling Insiitut¥s two core activities.. Samling Art15t Programme for
early career classical singers and pianists and Samling Academy for singers aged 14-21 who are eiiher growing up in
the North East or who have chosen to come 10 siu(ty ai one rhe region's universiiie% alongside our work in stale
Schools in partiiular through our Sarnling Fulures and Singing S(h¢)ols iniiiaiives.
These activities are described more fvlly in the'Achievements and performance, section below.
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SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
TRUSTEES. REPORT ICONTINUEDI
FOR THE YEAR ENDED 31 MARCH 2026
A¢hlovom•nts and pgrfornian¢
a. Main achievements of the charity
L-R.. Sam/insAiJdemy Opera Dido andAeneas' l AcrorAdrian Lesterleading the SamlingAriistProgramme / Samling
Artisrmiranda Wright with studentsat Queen Elizabeth High Schod He*ha￿ Phoro&'Mark Pinder
This year, Samling Institute celebrates lis 30th anniversary. That we have achieved (his milestone and are able to
continue making plans to transform the lives of young people has been made possible by the trusts and foundations
and individuals who understand our aims and fund our work so generously. For this we are immensely grateful and
are pleased to report on the work that has been supported.
The undoubted highlight of this year was the return of Samling Academy Opera, for the first time slnce the pandemic,
with a successful productlon of Henry Purceifs Dido andAeneaswiih John Burt and Dunedln Consort, Thls productlon
brought live opera io The Fire Siation in Sunderland for Ihe firsi time and we hope ir mark5 the beginning of an exclting
new partnership.
The Samling Artlst Programme continues io be enriched by (he Ideas and inspiration of new leaders, some of whom
we have been pursuing for several years before busy schedules aligned. including the renowned French soprano
Véronique Gens and actor Adrian Lesier CBE. These new voices have been supported by plllars of the programme,
Includlng pianist Malcolm Martlneau OBE. who was one of the leadery on the very first Samllng Artlsr Programme.
Our Samling Artlsts themsdves remaSn at the core of our work. leadlng our programmes in state secondary schools,
our Academy Programme and. Sncreasingly. the programme thar they themselves once benefitted from - as seen In
March this year when mezzollsoprano Anna Stéphany led the Samling Artist Programme. We are also delighted that
vo Samling Artists who are enjoying stellar careers- soprano Louise Alder and pianlstlames 8aillleu- have agreed to
become Patrons of Samlsng Institute. joiningsir Thomas Allen in chaM￿onI￿g our work to a wider audience.
This year, we have also been delighted to see some of the long.term effects of our work. as seeds that were sown
many years ago have come to fruition. Bass•baritone Michael Ronan from Hexham. where we are based. who became
a Samllng Artist in AugusL told us that his inspiration to become an opera singer came from the Sarnling Opera
production of L)on Giovanni in 2W5 vthen his school was one of those in￿ted io see the performance and take part In
our associated education projett.
Two of our Academy Singers who Joined rhe programme because we visited thelr schools with Samllng Futures have
just raken up scholarship places at Royal College of Music and former Academy Singer Philippe Durrant returned to us
as a Samllng Artlst.
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SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
TRUSTEES. REPORT ICONTINUEDI
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A¢hlovom•nts and pgrfornian¢o l¢ontinu8d)
SAMLING ARnsT PROGRAMME
27JULY-3AUGUST2025
SurrDundedbyc8lm andfocus bwth nothingropullmeaway, Iwès finaltyable ro rerurn ro thejoyofmèkingmusirfor
ils own sèke. Th3t d&ep immersion felrlikesuch J raregift. Honesuy. irmJde myheJrtrJce- like rememberinga first
love(onlywirh more arias andless dramaslA'
Samling Artist Sarah Chae
Soiiiliiig Artist Progrdmnie MasieicldS5.' L-R Verornque Gens Jndsolia Kirwai?-6aez / Susaii Mdiiulf dKidS&idl) L"h&e I
James Garnon andPatrick Dow.
Led by soprano Véronlque Gens pianisi Susan Manoff an¢J actorjames Garnon, with staff pianist Samllng Art15t lan
Tlndale.
Samllng Artists.. sopran05 Sarah Chae. Solla Klnvanv8aez and Georgle Malcolm, mezztrsoprano Claudla Rlbas,
baritone Patrlck Dow, bass-baritone Mlchael Ronan and pianists Allred Fardell and Danlel Sllcock.
French soprano Véronlque Gens and pianlst &Jsan Manoff joined rhe Samling Artisi Programrne for the first time,
leading a residential masterda55 week alongside attorlames Garnon.
The artists who took part are all at rhe beFJ"nning of busy and unpredictable freelance career5. handling short-term
contracts, rhe pressures of auditions and frequenr travel across Europe. They told us in thelr feedback how valuable
the week was as a chance to take (ime away from these challenges. ro refresh. take stock and remember why they are
It felrlike a precious space where noone seen7edto have an agenda otlwrhan musK6landartisricgr04tyrh, which Is
likegolddusr whenyoubeginyotsrfreelancingcareerandevery¢hinghashighandscarystakex"
Samllng Artlst Sofla KlrwaTrBaez
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TRUSTEES. REPORT ICONTINUEDI
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Achlov•m•nts and pgrfornian¢o l¢ontinu8d)
1-8 MARCH 2026
Th8 opportunityto explorerepertoire in such depth, roreceivesuch thoughrfulguidènre, andto share the experience
with such wonderful rolle8gues cre3r8dan armosphere thar w3s both deeptysupporriwe ènd rr$ativ8ly en8rgising. It
has been a rruly unforgeltèble journey. Bnd what i e%perienced8tS3mling ￿lIStaY kwrh me for the rest of myartisric
Samling Artist ZhengJian8
mlAng Arrisr Progi£7mme' L-R Adrian Lesier with Eyro fvorman l AnnJ StephJny wirh Zheng Ji3ng / Mblcolm
Martineau SonnyFielding
Led by Samling Artist mezzo-soprano Anna Stéphany. pianist Malcolm Martlneau OBE ancl actor Adrlan Lester CBE,
with staff pianist Samllng Artlst Ella O'Nelll.
Samling Artisrs.. soprano eyra Norman mezzo-sopranos Caltlln Mackenzle and Loulsa Stuart-smlth, countertenor
Zhen8Jlan8. tenor Phlllppe DurranL baritone Sonny Fleldlng and pianisrs Alfred Fardell and George Herbert.
Every Samling Artist Programme is unique. This comes from ihe safe space thar the programme creates, and whlch
gives leaders and arrists the freeclom to be comple¢ety relaxed and honesr with each other,. no-one has anything to
prove,. there is no competition. just opeTrhearied artistic collaboration.
Durlng both residencie5 we held a concert part-way ihrovgh the week to which we In￿red students from local hlgh
schools. guests and the resideni visual artis¢s from the estate at Marchmont House where the weeks are held. The
public masterclasses at the end of rhe week were very well attended and in Marih. in particular. attracted an
exceptionally large audience. This was welcome because we have been working hard to build audiences for classlcal
muslc In the kottish Borders.
SAMLINfj AND SONG
mling and Song provides residencies. mentoring and suppor(10 Samling Anisi singer and pianist duos io develop
innov3(Ive arr-song pro1￿lS
an area where ihere are few developmeni oppor(uni(ies for emerging artists. Two
projects are chosen each year by a panel of experts and aprjicants are asked ro present programmes thai lake 3rt-
song inio the 21 si century. for example by presenting it in ways thai will reach new audiences or performing new
repertoire.
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A¢hlovom•nts and pgrfornian¢o l¢ontinu8d)
Baritone Neil Balfour and pianist Sid Ramchander used Iheir residency hosced by the Hugo Burge Foundation at
Marchmont Estaie in September (o work on a programme thai draws on iheir Indian heritage. This included 'Uniold
Lives, a brand-new song cycle by CherO Frances Hoad using texts (aken from letters written by Indian soldiers during
World War One and assembled into a libreno by Neil. Followng their residency, they received mentoring from soprano
loan Rodgers CBE and actor James Garnon.
'Untold Live5, received its premiere at the Oxford Song Fesrival on I S Oaober and was described by The Times as
'poignant and fascinating... top marks for boldness and originality. Composer che￿ France5 Hoad Ipic(ured above
wirh Neil and Sidl attended rhe premiere and gave a pre-concerr talk wth author Kate Kennedy. The duo plan further
performances ar Asian community cenrres and mosqve5 in Leed5 and Manchester and a performance at the Melrose
Festival in September in Scorland.
The other duo to receive an award rhis year, mezzTrsoprano Ellen Pearson and pianist Francesca Lauri took up their
residency in May this year and received mentoring from cabaret specialisi Paulus Martin.
SAMLING ARnST SHOWCAse:'8eTweEN HEAVEN AND EARTH,
Tuesday 4 November 2025. Wigmore Hall
With Samling Arii515 50prano Sarah Gllford, mezz￿$0Praftts Ellen Pe•rson, tenor Hu80 Brady, baritone Sam Hlrd
and pianists Jonathan Ware and Franctsta Laurl.
Our annual Wigmore Hall showcase celebrates the achievements of our Samllng Artists and offers us a slgnlficant
opportunity to bring our work to a London audience. It also brings together artists from across our Samling family with
Samling Artists, leaders and Samling Academy Singers 311 attending and meeting each other.
Samlln8 Academy
SAMLING ACADEMY OPERA'DIDO AND AENEAS.
Rehearsals March-luly 2025
Performances at The Fire Station, Sunderland, 17 and 19luty
With Dunedin Consort, directed by John Butt
I was genuine￿ bowled over by the quality of the Samlingprodu(tion of 0￿0 & Aenèas at rhe Fits Station . every
element. Havingbeen involvedin the runningofGtyndebourne fornÉ)arly30ye3rs, lreallydo aPp￿1￿te the work3nd
commitrTTentrequired to 5uppoffyoungpeople in6ttainingthatlevelofperfomiance. the nurturingèreverylewel the
direction, the d15cii?line and care and [￿[131/y. Ipowlonsth05e ski115 rèke to in5til6nd develop. Itis rare to 5eeyoung
people performing at thi5 level wifh such Skill musical integnty and confideKFce. This compounded with the hig
production value5 3ndthe5UPPOrtolJohn Buttandrhe Dunedin CoKF50rrrealtywa5a treat. SJmlinglrp5titute de5erve5
togo from5trensth t05tren8fft, andl ￿l/be￿oI10W1nS Mihgrearinrere5t.'
Sarah Hopwood. Forrner Manawng Dirertor and present trustee of Glyndebourne Festlval
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A casi of 18 curreni ancl recent Samling Academy Singers presenied a fully staged and costumed produciion of Henry
Purcell's opera DidoandAeneas, wilh performances ai The Fire Siauon in 5underfand. They were accompanied by
one of Europe's leading period insrrumen( ensemNes. Dunedin Consort, with their director john Butt and the
production was directed by Samling Artist Miranda Wrigh(. The programme opened with aaudio Monteverdi'5 De la
b&llezzè le dovute lodi, setting (he scene and giving the (ast the opponunity to work iTrdepth on a piece in Italian.
Following initial music calls to help ihe younger cast members (o prepare. full rehearsals began in mid-may.
Choreographer Mandy Demetriou worked wilh the cast from the beginnin&. as well as devising the formal dances and
teaching them to the CaSL she worked with them to incorporate baroque geswre inw every movement.
Eleven of the cast came to Samling Academy from state schods in Nonh East England, and six of them are Still at
School, in years 11 and 12. For the majority, Ihis was rheir firsl experience of performing opera, and although some
cast members had watched opera performances, for six of them, rhis was their first exposure io the art form. It was
also the first live opera to be performeil at The Fire Sration.
Three of the cast were former Academy Singers who returned from undergraduate and postgraduate studies at Royal
College of Music and Guildhall S(hool of Music and Drama io take part in Ihis projeci. The younger singers learnt from
their exarnples of professionalism and they in turn prowde guidance and support and shared (heir experiences of life
at music college.
By taklng part In this projea, Ihe cast developed their performance and stage skills and received additional vocal
coaching from Miranda Wrighi. By working wrh John Bull and Dunedin Consort they learnt how to perform with an
orchestra and conductor Instead of a pianist and about the s￿ist11 requirements of baroque opera. The project
iniroduced them to the requirements of a professional produaion and to all the elements that go into putting an
opera together. from the first rea¢Sthrough of ihe music to the final pr0dl￿10n, Induding the iechnicalltles of worklng
with stagin& costumes and lighting.
The cast commented in their feedback (hat this experience had enhanced their appreciation and understanding of
how opera works and saSd rhai it had either inspired them to explore opera fvrther or had cemented exlstlng
ambltlons to slng professlonally.
SAMLING ACADEMY I(￿12 OCTOBER AND 2ts26 OCTOBER 202S
'Ilove rhe safe andsuppotTlve space. Ifeelso supportedandable to experimentandfeel vulnerable. I love tharwe èll,
participants andstaff lift each other up andpush each other to be the best we can. Ihe people andatmosphere are
unmatched.,
Samllng Academy Slnger Arlelle Loewlnger
L-R.. Caroline Domdle with Academy Singerjoe Wilson / Nick Prifchard and ensemble the fjinal concert l Academy
SingerSamue/Dawe andjoan Rodge
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This yearfs cohort of 30 young singers were selecred by auditions in March. held in Gaieshead, Durham and Newcastle.
They began their year with six days of coaching and workshops, hosted by Durham University and The Glasshouse
International Centre for Music.
Each singer received solo coaching sessions in small group masterclasses across the weekends during which
they worked on their own choice of song and opera repertoire in Enyi5h. French, German and Italian. They also
prepared ensemble pieces and took part in workshops led by Shakespearean aaor james Garnon and movement
5ession5 Wlth choreographer Desireé l(onger0d.
The Academy was directed by Caroline Dowdle of the Royol Opera House with leaders loan Rodgers and Samling
Artists vocal teachers Miranda Wright and Karherine ￿[ken and pianisis jonathan Ware and lo Ramadan, Samling
Artisr Nick Pritchard joined the group for ihe second weekend leading da55es and sharing his experiences of life as
busy professional singer. He a150 delighred rhe singers wih a cameo appearance as Nicel*Nicely lohn50n in the
concert finale'sit down, you're rockin, the boay from GU￿0ndD01Is
Five Samling Artist pianists completed the team, accompanying dasses and ensembles. The pianists benefit from paid
employment and from the professional developmeni that comes from working with wodd-class singers and renowned
vocal coache5. They also tell us that in whai can be quire a lonely profession, they relished the opportunity to spend
time with other pianisrs. The Academy Singers benefit from working wrh experienced song pianists whose support
and sensitivity lift their own performances to new levels. They also told us in feedback Ihat working with the Samling
Artist pianists has led them to a greater appreciation and undersianding of the role of the piano in song.
This yearfs cohort was splii rough￿ equally between university undergraduates and school students from the North
East and we teach ihem in groups of mixed ages and abilities. Singers from across the age-range told us how much
they appreciated the diversity of ages. abilities and backgrounds in the masrerdasses and it wa5 dear that they had all
learnt from each other and been inspire¢J by the others.
The slx days ended wlth a well-attended concen of solos duets and ensembles In The Glasshouse. accompanled by
the Samling Artist pianisrs, giving Ihe Academy Singers Ihe opponunity to try oui their skills in a profe55ional seiiing.
IL
mlingSingingSchoo15E5510n5ar Queen Elizabeth High Schtpol. Hexham 3ndPoKTtel3ndHigh School
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SAMLING SINGING SCHOOLS
Queen Elizabeth High School. Hexham. Ortober 2025-January 2026
Ponteland High khool. January- May 2026
Queen Elizabeth High School joined the Singing Schools programme in Oc(ober as par( of a school-wide effort to
revitalise their music offering following a change of Staff. They formed a new choir for (he project and three 5010
singers and one staff member received indiwdual coaching from Miranda Wrighi, who led the sessions. Ponteland
High School joined the programme In January and we held six se55ions there. working with Six soloist5, four staff
members and a large choir. The school was fully engaged with the projea. with excellent support from the senior
leadership. This phase of work in borh xhools ended wth an open workshop. in which parents, friends and the
School's Senior leadership team were able ro watch ihe work in proce55.
It was an incredible experience for everyone invofved. Seeing the groth in confidence from our soloisrs and rhe
unifiedsoundof rhe choir trutymobyng. The ener￿the &n&ng5chools team broughrhas sparked& realpJssion
for vocalperformance tharwehaventseen before.
It wasnt just the students who found the sesNons beneficial. Staff members remarked on the professional
development aspects of the program, noting how the innovarwe rechniques demonsrrared ￿1/ be inregrJred into
future lessons. The sharedjoy ofsinginghas fosteredJsrrongersense ofcommunity, pmwngrhatmusic Is apowerful
toolforconnectionandhtllbeing.
Sy providing professional-grade coaching and fosrering an incluswe environmen¢ rhis initiative is set to transform
singing across the entire school. Wherher ifs in assembty. during extracurricutsr clubs or in our upcoming seasonal
concerts, rhe %ingingSchools~effect wllbeheardloudandclear.,
Phll Rosler, Ponteland Hl8h School
SAMLING FUTURES
Tuesday 20 January- Frlday 23 January
Sdmling Futures arstAnihooJ'5 school 5tsn(lerldnd with Acddgmy Sinser5 &ndl¥dby5&rTrlinsiAr11515 Jgs5"Iid Cdlg. Nick
PritchardandAlfredFardell
'Whatan inspiringmoming we bad￿"rhYou- thankyouso much again forreaching out ro us andfo the team for rhe
fantastic showcases and masterclasses. Our sftoents were realfy wowed by each perfom?ance. and Lily and sara
cerrainlyfeltthesession was realty valuable. Thankyou.f
Lauren Saul. Head of Music. Bede Academy. Btyth
We worked wth seven slate secondary schools in Dutham. Newcasde. Tynemouth. Sundedand. Ponreland and Blyth.
reaching 600 students and their (eachers. Samling Futures gives students an introduction to solo classical singing and
the skills and techniques that it requires and highlights the opportunities that are available ro them through Samling
Academy.
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SAMUNG INSTITUTE FOR YOUNG ARTISTS
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TRUSTEES. REPORT ICONTINUEDI
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A¢hlovom•nts and pgrfomian¢o l¢ontinu8d)
The workshops were led by Samling Artisrs soprano jessica Cale, cenor Nick Priichard and pianisi ￿fred Fardell and a
team of eight Academy Singers I￿0 per school) also look part. The Samling Ar(ists led masterclasses with our
Academy Singers and wilh soloisrs from each school. They also led full group sessions, using warm-up exercises to
introduce basic conceprs of dassical technique in a pracucal way. They answered questions from the audience about
their singingjourneys and (he Samling Artists gave a shory performance of song and opera.
This project is unique in that it has benefits across all s(rands of our work. Sfate secondary school students receive a
high-quality classical music workshop, at no charge w the school. The Academy Singers who take part receive
additional coaching and the opportunity to tslk io the Samling Arus(s about life at conservatoire and a5 a professional
singer. They also learn how ro be ambassadors for dassical music and grow in confidence by speaking and performing
in front of a large audience of their peers. The Samling Anists also gain invaluable teaching and outreach experience,
aslessica Cale ex￿aIne(l after the week..
I was so neryous beforehandas Iknewthari wantedto rry working ￿¢hYOungpe0p1e in & mastercloss and teèching
setringbuthadnever done an￿ing like this before. Whar i expenencedlasr week was incredibly special. FI￿[/Y, that
the Samling programme is one of the besr our rhere for young people. The structure of the sessions and
understanding of what works foryoungpeople was realty clear, and if was so wonde￿￿1 to see how engaged in the
sessions a/lof thegroups visitedrealty here. I musr thankyou forthe opportunityto buildconfidence Jnd trust in
my own ability to teach andpass on nuggets oluseful(andhopefvlty he/pfvl.l) Information toyoungpeople. The joy I
felt when a singer took on board what I was Sa￿￿S was realtyproloundand it really was the most rewarding. ey
opening experience. Ihave much to takeawayfrom the week norleastJ ne￿￿o￿n&hopeIu1ness rhar whar we do does
make a difference, isnoticed, andrealfytrutymatterx.
Learning from our experiences in the PaSL this year we iargered schools where muslc is active and supported, to
maxlmise the effectiveness of the workshops. This paid off In thai we reached just over 600 students. more than in any
previous year and an excellent response in applicaiions to Samling Academy.. six students from four of the schools we
vlsited audltioned. and five gained places for the 2026127 Academy.
Futuro plan$
As we celebrate our 30th anniversary. we are working towards the first of M special concerts. The firsL at The
Glasshouse International Centre for Music. is a cabaret-style evening inspired by rhe Great Gatsby and ￿11 Include
present and former Academy Singers with special guests. Weekend rehearsals for this semi-siaged show started In
April with direction from Samling Artists Miranda Wright. pianist Sid Ramchander and choreographer Desireé
Kongerod. Aso, in july we welcome for the firsi (Ime Swedish soprano Camilla Tilling Lo lead the Samling Artist
programme ai Marchmont House alongside pianisi Roger Vignoles and aciorlames Garnon. A busy auiumn is planned
as we welcome our new Academy cohorr of siudents ai Ihe sian of rhe academic year. Durham johnston
Comprehensive School will join our Singing Schoc4s programme in September and on 6 November we will preseni our
annual Showcase ai Wigmore Hall. This wll be Ihe climax of ovr 30th anniversary celebrations when, for the first time,
our six 5amling Artisr sdois¢s will beioined on s(age by former and presen( Academy Singers.
From the very beginning 30 years ago Samling Institute has never levied ruirion fees for any of irs programmes
including all of irs work wilh schools. li does noi receive any regular or staru(ory funding and does noi have an
endowment. We are immensety grateful ro all Ihose who have supported our work in bringing world class
opportunities 10 young people from all backgrounds and who share our belief in (he Iransformational power of music
to change lives and bring communities iogether.
Page 10

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
TRUSTEES. REPORT ICONTINUEDI
FOR THE YEAR ENDED 31 MARCH 2026
Flnanclal rovlgw
. Going concern
After making appropriate enquiries. the trustees have a reasonable expeaa(ion that the charity 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 the financial statements. Funher details regarding (he adoption of the going concern
basis can be found in the accounting policies.
Ros•rvès pollcy
The nature of Samling Institute's acriviiies require tha( planning happens ai least two years ahead, in line with classical
music scheduling. This allows rhe charity to secure course leaders who have busy international schedules, along with
key personnel, venues and partner5.
Because of this, it 15 the policy of the charity 10 maintain unrestricted funds not committed, designated or invested in
tangible fixed assets Ithe free reseryesl of 12 monihs (o(al expendi(ure. Trustees regard these reseNe5 as both
prudent and nece55ary. They sustsin owoing v40rkbng capi(al requirement5 and help meet the commitment5 of the
extended planning cycle.
Durlng the year, Samling Institute made a planned and purposeful use of its reseryes to support two strateglc
priorities,. the successful reinrroducrion of rhe Academy Opera. and the continued expansion of its outreach work in
State schools. Having moved beyond its developmeni phase. rhe r￿4 Singing Schools project Is now an e5tabli5hed
and integral parr of the Institute's support for young people.
At 31 March 2026, free reserve5 Stood at E314.098 12025.- £378,3591 which is below the Trusiees. tsrget level of
£372,000 total expendi¢ure. This reflects ihe Trustee's decision ro invest reserves in programme delivery and
development whlle maintaining the charltys financial resilience.
As Samling Institute recelves no staruiory or regular funding and has no endowmenL Ir relies on successful fundralslng
to replenish reserves and ensure the lon*ierm susiainability of its programmes. Rebuilding reserves to the target
level remalns a priorlty. providing the financial siability needed ro continue delivering all strands of the Insiltute's work
and to respond to future opportunlties.
c. Invostmont policy
The memorandum of association permits the charity to deposit or invest funds in the same manner as permltted by
the Trustee Act 20(M).
Having regard ro rhe charitls liquidity requirernenis and reserves policy, Ihe irustees currently operate a policy of
keeping available funds in inieresi-bearing deposii accounts.
Page11

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
TRUSTEES. REPORT ICONTINUEDI
FOR THE YEAR ENDED 31 MARCH 2026
d. Prln¢lpal funding
The principal funding sources of the charity during the year fftre grants and donations.
The trustees wish tts ècknovledge the support of the following funders during the year and those who wish to remain
anonymous.
The Shears Foundation
E5mée Fairbairn Foundatlon
Finn Family Fund
Thelohn Horseman Trust
The Idlewild Trust
The W A Handley Trust
The Roy & Pixie Baker Charitable Trust
P Holden
lan & Helen Andrews
Mr S Dor05zkow5ki
The Hu80 Burge Foundation
The Amar-France5 & F05terlenkins Trust
The Henfrey Charitable Trust
Three Monkie5 Trust
Garrick Charitable Trust
The Nicholas Boa5 Charitable Trust
The Fidelio Charitable Trust
K Dugdale
Mr & Mrs N Baieman
The flnancial outcome is net expenditure on the unrestri(ted in¢ome fund of £60,46412025.' net income £93,853).
Structure. govemanco and managom•nt
a. Constitutlon
Samling Institute for Young Artists is a company Iimiied by guaran¢ee. noi having a share capitsl and is reglstered wlth
the Charity Commission in England and Wales and the O￿lCe of ihe Scorrish Charity Regulator. It is governed by irs
memorandum and articles of association and in the event of rhe charity being wound up, the maxlmum liabillty of
each member is £10.
Mothods of *ppoSntrnont or eloction of truyt••s
The trustee5 are directors for rhe purposes of company law and are decred by and from the membership at general
meerings. The direciors may also appoinr additional direaor& bui any such appointment must be confirmed by the
members at the next annual general meering. Ar each annual general meetin& one ihird of Ihe directors must reiire
from office and those reiiring by rotation are eligible for reappointment. The number of directors must not be less
than three and the directors appoini one of iheir number ro chair their meetings.
c. Organisational structuro
The charity is managed by the trustees. who meet approximately four times a year. Two trustee5, or a third of ihe
number of trustees (whichever is the greaierl. are needecl for a quorum. The Irusiees who have served during Ihe year
are set out on page l. The day-tcrday operations of the charity are managed by rhe Artistic and Execurive Director.
d. Policies adopted for the induction and training of tn￿tee9
The charity arranges for new Iru5tees to understand the remit of the charity through seeing first hand, activities and
project5. After this induciion, the chairman invite5 Ihe individual to join the board. The training of trusiee5 15 deali with
according to individual need.
e. Related paty relafjon$hlps
The charitys wholl*owned trading subsidiary. The Samling Arts Trading Company Limited has been dormant since 1
April 2004.
Page 12

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
TRUSTEES. REPORT ICONTINUEDI
FOR THE YEAR ENDED 31 MARCH 2026
Stru¢turo. govornan¢o and managament l¢ontlnu8d)
f. Rlsk managem•nt
The trustees have overall responsibility for risk management. The Chairman and Treasurer oversee ihe process,
monitoring its scope and effectiveness. Day to Ilay responsibility for risk managemenr is taken by the Art15tic and
Executive Dirertor and procedures are reviewed Jnnualty- ￿'sk is discussed during trustee meetings and with staff on
regular basis.
The major risks to the charity are identified in a regis(er and rewewed regularly. Each risk is asse55ed for likelihood of
occurrence, consequence5 and impoct. Mitigating aaions are identified and the subsequent retained risk5 to the
charity are rneasured. Risk rewew dates are also indicated. Financial risks are monitored and reviewed using the
Charity Commission'5 Ynternal Financial Contro15 for Chariues Checklisff.
The charity5 Staff carry out individual risk asse55ments for each of its project5 and events in consultation with project
participants and other Sources Ifor examFAe. legallwhere necessary.
Statsment of tru8tso•' ro•ponslbllltlo8
The trustees (who are also the directors of the charity for the purposes of company lawl are responsible for preparlng
the Iru5tees' report and rhe financial statements in accordance wth applicable law and United Kingdom Accountlng
Standards (United Kingdom Generalty Accepte(l Accounting Practice).
Company law requlres the trustees to prepare financial ststements for each financial year. 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 chariiy and of its incoming resources and apF4ication of resources, includlng Its income and
expenditure, for that period. In preparingthese financial statements, the trustees are requlred to..
select suitable accounting policies and ihen apply them consistendy..
observe the meihods and princi ￿eS of ihe Charities SORP IFRS 1021..
makeiudgements and accouniing estimates that are reasonable and prudenr
state whether applicable UK Accounting Standards IFRS 1021 have been followed. subjett to any materlal
departures disclosed and explained in the financial statements..
prepare the financial statements on the going concern basis unless It Is Inapproprlate to presume that the
charity w511 continue In business.
The trustees are re5POll5ible for keeping adequate accouniing records that are sufficient to show and explain the
charity'5 transactions and di5c105e wilh reasonable accuracy at any tirne the financial posiuon of the charity and enable
them to ensure that the financial siatements comply wilh Ihe Companies Act 2006. They are a150 responsible for
5afeg(Jarding the asset5 ofihe charity and hence for iaking reasonatAe steps for ihe prevention and deteciion of fraud
and oiher irregulariiies.
Approved by order of the members of the board of trusrees and signed on their behalf by.
Zhvid Sgu
Slr D R Bell
Chairman
Date.. 20 July 2026
Page 13

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
INDEPENDENT EXAMINER'S REPORT
FOR THE YEAR ENDED 31 MARCH 2026
Indèp$nd•nt •xamlnoes roport to th• trust0￿ of Samllng In$tltut• for Young Artl$ts I'th•
¢harity'l
I report to the charity trustees on my examination of the accounts of the charity for the year ended 31 March
2026.
R8sponsibiliti8s and basis of report
As the trustees of the charity land its directors for the purposes of company lawl you are responsible for the
preparation of the ac¢oun15 in accordance with the requirements of the Charities and Trustee Investment
IScotl8ndl Ad 2005 Ilhe 2005 Act'l. the Charth"es Accounts (Scollandl Regulations 2006 18$ amended) I'lhe
2006 Accounts Regulalions'l and the Companies Act 2006 Ilhe 2006 Acl'l- You are satisfied that the accounts
of the charty are not required by Charity or ￿MpanY law lo be audrted and have chosen instead to have an
independent examination.
Havin9 satisfied myself that the accounts of the ¢harty are not required lo be audited under Part 16 of the 2006
Act and are eligible for independent eyaminalJ"on. I report in ￿SpeCt of my examination of the charity's accoun19
carried out under seth'on 4411llcl of the 2005 Act and section 145 of the Charities Act 2011 I'lhe 2011 Acl'l. In
carrying out my examination I have followed the requirements of Regulation 11 of the 2006 Accounts
Regulations and the Directions given by the Charty Commission under section 14515llbl of the 2011 Act.
Ind•p•nd•nt •xamlnor'8 $tatsmont
Since the charity is required by company law lo prepare its account$ on an a￿r￿al$ basis and is registered a$ a
charity in Scotland your examiner must be a member of a body listed in Regulation 11121 of the 2006 Accounts
Regulations. I can confirm thai l am qu￿1r1ed to undertake ihe examination because l am a registered member
of the Inslilule ol Chartered Aceounlanls in England and Wales. %thi¢h is one of the listed bodies.
I have comrAeled my examination. I confim that no matters have come lo my attention in connection wlh the
examination giving me cause lo believe".
a¢counting records were not kept in respe¢l of the Charty as require(I by sects'on 386 of the 2008 Act and
Regulation 4 of the 2006 Accounts Regulations,. or
the accounts do not accord those record$ and the accounting requirements of Regulation 8 of
the 2006 Accounts Regulations", or
the accounts do not comFYy wrth the accounting requiremenlg of seth'on 396 of the 2006 Act other than
any requirement that the accounts give a 'true and fair, wew ¥thich 1$ not a matter considered as part of
an independent examination., or
the accounts have not been prepared in a¢cordan¢e wlh the methods ant1 princiFAe$ of the Statement of
Recommended Practice for accounting and reporting by ¢harib"es lapplicaNe lo ¢harrties prepanng their
a¢coLJnls in a¢cordance with the Financd Repoth'ng Standard appli¢able in the UK and Republic of
Irdand IFRS 10211.
I have no concerns and have come across no other matters in connection wth the examination lo which
attention should be dravm in this report in order lo enatrAe a Proper understanding of the accounts lo be reached.
This report is made solely to the charity's trustees in accordance wth Part 4 of the Charities (Accounts and
Reportsl Regulations 2008 and Regulation 11 of the Charibes Accounts Iscoljandl Regulations 2006. My work
has been undertaken so that I might state to the charitys trustees those matters l am required to state to them in
an independent examinerfs report and for no other purpose. To the fulle51 extent permrtted by law, I do not
accept or assume responsibilrty lo anyone other than the charity and the charty's trustees for my work or for this
port.
Signed..
E Chapman FCA
Amistrong Watson LLP
Chartered Accountants
One Stravknerry Lane
Newcastle upon Tyne
NE14BX
Dated.. 20 JLly 2026
.'2GMT+l)
Page 14

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
STATEMENT OF FINANCIAL ACTIVITIES (INCORPORATING INCOME AND EXPENDITURE ACCOUNTI
FOR THE YEAR ENDED 31 MARCH 2026
Unrestricted
funds
2026
Restricted
funds
2026
Total
funds
2026
Total
funds
2025
Income from:
Donations and legacies
CharIta￿e activttj'es
Investments
120.815
14,510
9.955
96,848
31,000
217,663
45,510
9.9SS
355.928
54,633
11,680
Totsl In¢omo
145,280
127,848
273,128
422.247
Exp•ndlture on:
Raising funds
CharIta￿e aCtiv￿.eS
20,719
185.025
20,719
351,215
20,669
315,627
166,190
Totsl oxpondltur•
20S.744
166,190
371,934
336.290
Not lexpendlturo}Ilncomo
160.464)
138,3421
98,8061
85.951
N•t movèmènt In funds
160.464)
138,3421
198,8061
85,957
Roconclllatlon of funds:
Total funds brought forward
Nel movement in funds
477.814
160.464)
38,342
138,3421
516,156
198,8061
430,205
85.951
Total funds carrlod fop•vard
417.350
417,3SO
516. 156
The Stslemenl of financial ath'vilies includes all gains and losses recognised in the year.
The notes on pages 18 to 30 fom) part of these financial ststemenls.
Page 15

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
REGISTERED NiIMBER: 5576907
BALANCE SHEET
AS AT 31 MARCH 2026
2026
2025
Molo
Fixed assets
Tangible a5se15
Investments
1.703
1, 191
12
1.705
1, 193
Currènt assèts
Debtors
Cash at bank and in hand
13
28,174
400.901
26,403
502,851
429.075
529.254
Current Ilabilitl8s
Creditor5.' amounts falling due wthin one
year
14
{13.4301
(14,291)
Ng1 current a$$ets
415,645
514,963
Total n•t ass•t¥
417,350
516, 156
Page 16

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
REGISTERED NiIMBER: 5576907
BALANCE SHEET (CONTINUED)
AS AT 31 MARCH 2026
2026
2025
Molo
Charity funds
Reslricled funds
15
38,342
Unrestricted funds".
Designated funds
General funds
15
15
101,S49
315.801
98,264
379,550
Totsl unrestricted funds
15
417.350
477,814
Total fund
417.350
516, 156
The charity was entitled lo exemption from audit under 5ects.on 477 of the Companies Act 2006.
The members have not required the Company to obtain an audit for the yeai in quests'on in accordance wlh
section 476 of Companies Ad 2006.
The Iru5tees acknowledge their responsibilities for comF4ying with the requirements of the Act with respect lo
accounting records and preparation of financial statements.
The financial slalemenls have been prepared in accordance the provisions apF4icable lo enlilies subject lo
the small companies regime.
The financial statements were approved and authorised for issue by the trustees and signed on their behalf by..
A Macnaughton
Treasurer
Dale 20 July 2026
The notes on pages 18 to 30 lom part of these financial statements.
Page 17

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
General inforniation
The charity is a company limrted by guarantee and has no share capital. In the event of il being wound up,
the maximum liability of each member is £10.
Accoun￿ng pollcl
2.1 8asis of preparation of financial statemenls
The financial statements have been prepa￿d in accordance with the Charities SORP IFRS 1021
Accounting and Reporting by Charrties". Sl*emenl of Recommended Practice applicable lo charities
preparing their accounts in accordance the Financial Reporting Standard applicable in the UK
and RepU￿1C of Ireland IFRS 1021 (effective 1 January 20191. the Financial Reporting Standard
applicable in the UK and Republic of Ireland {FRS 1021 and the Companies Act 2006.
Samling Insli(ule for Young Arlisls meets the deffinrt￿n of a public benefit entity under FRS 102.
Assels and liabil￿e$ are initially recognised al hislorical wst or transaction value unle$$ otherwise
slated in the relevant accounting policy.
2.2 Golng con¢èm
The charity has reVIe￿d ils cash Ilow forecasts and there is a reasonable expectslion that il has
adequate resources lo continue in operational exi$len¢e for * leasl the next tsY8lve months and on
this basis the Charity is Cons￿ered lo be a going con¢em.
2.3 Incomo
All income is recognised once the Charity has entitlement to Ihe income, il is probable that the income
11 be received and the amount of income receivatle can be measured reliably.
Grants and donation5 are induded in the statement of financial activities on a receivable basis. The
balance of income received lor S￿ifiC purposes bul not expended during the period Is shown in the
relevant funds on the balance sheet. Where income is reeeived in advance of enlidemenl of receipt,
ils recognition is deferred and induded in C￿￿110r$ as deferred income. Where enlillemenl occurs
before income is received, the income is accrued.
On receipt, donated services are recognised on the basis of the value of the gift to the charity which
is the amount il would have been willing lo pay lo obtain services or facilities of equivalent economic
benefit on the open market. a corresponding amount Is then ￿Cognised in expenditure in the period
ol receipt.
Income from charita￿e activities includes concert income, fees from participants and project partner
contributions and is recognised vthen receivable.
Investment income being interest is induded vthen receivable.
Page 18

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Accoun￿ng poll¢l•s {¢ontlnu•d}
2.4 Expenditure
Expenditure is recognise<l once there is a lega or construclive 0￿19allOn to transfer economic benefit
to a third paty, it is probable that a transfer ol economic benefits wll be required in setdement and
the amount ol the ot4igation can be measured reliably. Expenditure is dassified by activity. The costs
ol each activity are made up of the total of direct costs and shared costs, including support costs
involved in undertaking each activity. Direct cos15 attnbutable lo a single activity are allocated directly
lo that acliv1ty. Shared costs which contribute lo more than one activity and support costs which are
not attributaNe lo a single activity are apN)￿oned bets￿n those activities on the basis of stsff time
spent on ea¢h activity-
Expenditure on raising fvnds comprises the costs incuffed towaTds obtaining voluntary income from
grants and donation5, together wth expenditure on fundraising activities.
Expenditure on charitat4e actiwties is incurre(l on diceclly undertaking the aclivf(ies vknich further the
charitys objectives, as well a$ any a$socialed support co$l$.
All expenditure is indusive of irrecoverable VAT.
2.5 Tanglbl• flxed a$80ts and d•proclatlon
Tangitle fixed a$$el$ are initialty re¢ognised at cost. After re￿nItIOn, under the cost model, tangible
rixed assets are measured at cost less accumulated depreciation and any accumulated impairment
losses. All costs incurred lo bring a tangitle fixed asset into its intended working condits'on should be
induded in the measurement of cost.
Depreciation is charged $0 as to allocate the cost of tsngible fixeil assets less their residual value
over their e$limaled useful lives,
Depreciation 1$ provided on the followng bases..
Fumi(ures, fittings and
equipment
Paintings
4 years straight line
- nol dep￿lated
2.6 Investments
Investrnenls in subsit1iaries are valued al cost less kyovision for impairmenL
The charity has taken advantage of the exemption provided by the Statement of Recommended
Practice not to prepare group accounts on the grounds that the results of the subsidiary undertaking
are not material to the group.
2.7 Ca$h at bank and in hand
Cash at bank includes a current account and reserve accounts.
2.8 Liabilities and provision5
Liabilrties are recognised when the￿ is an O￿lgatiOn at the balance sheet dale as a result of a past
event. it is probable that 3 transfer of economic beneffil ￿11 be required in setuement, and the amount
of the settlement can be estsmated reliatly.
Liabilrties are recognised at the amount that the charity anticipates it wll pay to setde the debt or the
amount il has received as advan¢e(I payments for the goods or services it must provide.
Page 19

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Accoun￿ng poll¢l•s {¢ontlnu•d}
2.9 Financial instruments
The chanty only has financial assets and financial liabilities of a kind that qualify as basic financial
instruments. Basic financial instruments are initialty recognised at transaction value and subsequendy
measured at their setdement value the exception of bank loans which are subsequendy
measured al aM0￿.sed cost using the effective interest method.
2.10 Pon$lon$
The charity operates a defined c0ntriblrt￿n peThS￿n $¢heme and Ihe pension charge represents the
amounts payable by the charity to the fund in respect of the year.
2.11 Fund aceountlng
General funds are unrestricted ftjnds vthich are avalable for use at the discretion of the Iruslees in
furtherance of the general objectives of the charity and vthich have not been designated for other
purposes.
Designated funds comprise unreslricled funds that have been set aside by the trustees for particular
purposes. The aim and use of each designated fund is sel out in the notes lo the financial
slatemenls.
Restricted funds are funds vthich are to be used in accordance wth specific restrictions imposed by
donors or vthich have been raised by the charity lor particular purposes. The costs of raising and
administering such funds are charged against the speeifie lund. The aim and use of each reslricled
fund is set in the notes lo the financial stslements.
Page 20

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Income from donations
Unrgstrict8d Rastrictad
funds
funds
2026
2026
Total
funds
2026
Total
funds
2025
Grants
The Shears Foundatson
The Hugo Burge Foundation
Esmee Fairfoaim Foundats'on
The Idlewild Trust
The Amar-Fr4nces & Foster￿enkInS Trust
Finn Family Fund
The Henfrey CharIta￿e Trusl
The John Horseman Trust
Three Monkies Trust
Garrick Charitsble Twst
The W A Handley Trust
Anonymous
The Fiddio Charilatle Twst
The Ni¢hda$ Boa$ Charrtable Trust
The Roy & Pixie Baker Charitable Trust
The Barbour Foundatson
Sir Jame$ Knott Trust
UBS DAF Dr Anthony David Trapp MBE
The Scops Arts Trust
The Joicey Trust
Sir Tom Cowe Charrtable Trust
RBC Brewn Ddphin Community Grant
30,OIY)
30.000
14.000
10.750
10,SOO
10.000
10,000
10,000
10,000
10,000
5,000
5,000
3.000
2.000
2,000
2.000
30,000
4,000
14,000
10,750
10,500
10,000
10,000
10,000
3,500
10,000
10.000
20,000
5,000
10,000
10,000
10,000
5,000
5,000
3,000
2.000
2,000
2,000
5,000
2,500
3,000
foo,000
25,000
15,000
7,500
2,000
1.450
1,000
40,0
94,250
134.250
254,950
Donatlon$
P Holden
K Dugdale
Other
lan & Helen Andrews
25,000
25,OlJO
19.394
7,500
2,51]0
25,000
25.000
19.992
7,SOO
2.500
2.000
1.421
50,000
25,000
21.279
598
Mr S Doroszkowski
Mr & Mrs N Bateman
Membership income
2,000
2,000
2. 759
1.421
120,815
96,848
217.663
355,928
Page21

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Income from charitsble activities
Unrgstrict8d Rastrictad
funds
funds
2026
2026
Total
funds
2026
Total
funds
2025
Concert income
14,510
14,510
3.400
9.000
18.600
9,000
3,433
18,000
24,200
Administrative contributions
3,400
9,000
18,600
Project partner contributions
In kind support from venues
14,510
31,000
45.510
54,633
Invo$tmont Incom•
Unrnstr5cted
funds
2026
Total
funds
2026
Total
funds
2025
Interest on cash deposts
9,955
9,9SS
11,680
Page 22

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Expenditure on raising funds
Fundraising costs
Unrgstrlct8d
funds
2026
Totsl
funds
2026
Total
funds
2025
Office costs
Wages and salaries
Social secunty costs
Pension costs
Depre¢iaty'on
3,756
15,745
695
472
51
3,7S6
15,745
695
3,454
15,644
1,057
469
45
472
51
20,719
20.719
20.669
Analys18 of oxpondlture on ¢harltabl• actlvltl•s
Summary by fund typ•
Unrnstrlcted Restricted
fund$
funds
2026
2026
Totsl
2026
Total
2025
charital￿e acliwb.es
185,02S
166,190
351.215
375,621
Total 2025
130.939
184.662
315,621
Analys1$ of •xp8ndlturn by actlvltl•$
Support
Costs
2026
Total
fund$
2026
Total
nds
2025
Dire¢t Costs
2026
Charital￿e acli*ib'es
208,699
142,516
351.215
315.621
Page 23

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Analysis of expenditure by activities Icontinuedl
Analy$i$ of diro¢t ¢o$ts
Total
funds
2026
Total
funds
2025
Samling Artlst Programme
Samling Academy and Samling Opera. Samling Futu￿$, SirvJing Schoc4s
Publi¢ and fundraising con¢erts
Samling and Song
72.445
116.628
12,278
7,348
71,380
87, 182
11,932
4,204
208,699
174.698
Analy818 ol support costs
Totsl
funds
2026
Total
funds
2025
Staff co818
Depreciats'on
Office costs
Audit and a¢countsn¢y
Trustees, meeting expenses
110,447
334
24.571
6.972
192
111,263
295
22.495
6,648
222
142.516
140,923
Governance costs induded wlhin suprK)rt costs tota £20.595 (2025.. £20,219}. They comprise..
£6.972 for the preparathon and examination of the stslulory financial slalemenls12025." £6.6481.
£19212025 £2221 in respect of trustee meelbng expenses.
£10,57912025.' £10,700) staff costs.
£2,85212025'. £2.6491 office costs and depreciation.
Independent examlnerfs remun•rntlon
2026
2025
Fees payable lo the charrty's independent examinerfoi the independent
examination of the Charity's annua accounts
Fees payable to the charty's independent examiner in respect of..
Accountsncy services
2.052
1,944
4.920
4, 704
Page 24

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
10. Staff costs
2026
2025
Wages and salaries
Social security costs
Contribution to defined contribLrtion pension schemes
118.737
5.OS9
3,S63
117,530
7,377
3,526
127.359
f 28,433
The average number of persons emFdoyed by the charty during the year was as follow5.'
2026
No.
2025
No.
Project devdopment and support, fundraising arKI administration
The number of employees vthose emF4oyee benefits lexduding emF4oyer pension costs) exceeded
£60,000 wa5..
2026
No.
2025
No.
In the band £60.001- £70,000
The charty considers its key management personnel Com￿3e of the trustees, the Artistic and Executive
Director and a Marketing Manager. The lotsl employment cos1$ of the key rnanagemenl personnel were
£108,11612025.' £107,419).
Page 25

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
11. Tangible fixed assets
Furniture,
fittings and
equipment
Cost
Al 1 Aprl 2025
Additions
14.050
899
Al 31 March 2026
14,949
Dgpwlatlon
At 1 April 2025
Chargè for the year
12,8S9
387
Al 31 March 2026
13,246
Not book valu*
Al 31 March 2026
1.703
At 31 Marclj 2025
1, 191
12. Inveitmonts
Invgstmgnts
In
subsidiary
companie$
Cost or valuation
Al 1 Aprl 2025
At 31 March 2026
N8t book value
Al 31 March 2026
At 31 March 2025
The historica cost of this investrnent as at 31 March 2026 vrds £2.
Page 26

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
Principal subsidiaries
The followng was a subsKliary undertaking of the charity..
Nam8
Registered office or principal Class of
place of business
shares
Holding
The Samling Arts Trading Company Limited Unite(I lth"ngdom
2£1
ordinary
shares
100%
The financial results of the subsidiary for the year ￿re..
Nam•
N•t assets
The Samling Arts Trading Company Limited
13. D•btorn
2026
2025
Prepayments
Accrued income
6.328
21,846
6,380
20,023
28.174
26,403
1& Credltorn.. Amounts falllng due wlthln one year
2026
2025
Amounts owed to group undertakings
Other taxation and social security
Other creditors
Ac¢ruals and deferred grant income
2.910
716
3.350
815
9.802
10, 124
13,430
14,291
Page 27

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
1& Statement of funds
ststgm•nt of fund$ - ¢urrgnt ygar
Balance at
31 March
2026
Balance at 1
April 2025
Income Expenditure
Unr8strict8d funds
D•slgnatsd funds
Joan Frances Coull Fund
98.264
3.285
101.549
Gonoral funds
Gener￿ funds
379,550
141,99S
{205.7441
315.801
Total Unrostrlctsd funds
477,814
145,280
{205.7441
417.350
Ro•trl¢tsd fund•
Samling Academy, Samling Futures and
Singing Schools
Samling Artist Programme
Samling Opera
Samling and Song
13.793
62,818
42,280
18,750
4,000
176,6111
{42,2801
{43,299
14,0001
24,$49
38,342
127,B48
{166.1901
Total ¢1 fund8
516,156
273,128
{371.9341
417.350
In 2016117 a legacy of £94.996 received from the estate of the late Joan Frances Coull. This was sel
aside by Trustees as a designated fund to support fuiure projects and accrues Inte￿$1 each year.
Page 28

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
1& Statement of funds Icontinuedl
ststgm•nt of fund$ - prior yoar
8alance al
31 March
2025
Balance at
l Apnl 2024
InG(Hn8 Expenditur8
Unr8strict8d funds
D•slgnatsd funds
Joan Frances Coull Fund
94,996
3,268
98,264
Gonoral funds
Gener￿ funds
288.965
242, 793
(151,608?
379,550
Total Unrostrlctsd funds
383,961
245.461
(151,608)
477.814
Rostrlctsd fund¥
Samling Academy, Samling Futures and
Singing Schools
Samling Artist Programme
Samling Opera
Samling and Song
21.695
84.955
87.825
(92.857)
(87,825?
13, 793
24,549
24,549
4,000
(4,000)
46.244
176. 780
(184.682)
38,342
Total ol lund•
430.205
422,247
(336,290?
516, 156
Page 29

SAMUNG INSTITUTE FOR YOUNG ARTISTS
IA ¢haritsble ¢ompany limited by guarnntsel
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2026
16. Analysis of net assets bet￿n funds
Analy$i$ of not a$$ots botwvn funds- ¢urronl ￿ar
Unrestricted
funds
2026
Total
funds
2026
Tangible fixed assets
Fixed asset investments
Current assets
Creditors due vAthin one year
1,703
1,703
429,075
113,4301
429.075
113.4301
Total
417,350
417.350
Analy$l# ol not a$¥•ts b•tW￿n fund•- prlor year
Unreslricted
funds
2025
Restricted
funds
2025
Total
funds
2025
Tangible fixed assets
Fixed asset investments
Current osse15
Creditors due wthin one year
1. 191
1, 191
490.972
(14,291)
38.342
529.254
(14,2913
Total
477,814
38,342
516, 156
17. Related party transactlons
No trustees, or any person related or Connected by business to them, received any remuneration from
the charty during the year.
During the year, one trustee wa5 reimbursed expenses lotalling £192 12025.. £1531 in relation lo travel
costs for attending Iruslee meetings.
There were no transactions wlh The Samling Arts Trading Company Limited during the year. The loan
account balance is disdosed in note 14 to the financial statements.
Page 30