Agenda for the
ANNUAL GENERAL MEETING
To be held on Monday 25
June 2012
at the Holy Trinity Centre, Guildford
following a short rehearsal at 7.30pm
=.
Apologies for Absence
Minutes of the last AGM held on 27" June 2011 (attached)
Matters Arising
Treasurer's Report and Presentation of Accounts (attached)
Music Director's Report
Chairman's Report
Approval of an updated Constitution (attached)
Election of Officers
Election of Additional Committee Members
10. Appointment of Music Director
11. Appointment of Accompanist
12. Appointment of Independent Examiner of Accounts
13. Any Other Business
y
VIVACE CHORUS
Minutes of the Annual General Meeting "held at the
Trinity Centre, Guildford on Monday 25 June 2012
Present
James Garrow (in the Chair), the remainder of the Committee and 72 members
1.
Apologies for absence
Roger Barrett, John Bawden, Carolyn Edis, Geoffrey Forster,
Marianne lllsley, Eric Kennedy, Jon Long, Nick Manning, Val Morcom,
Penny Muray, Rosalind Plowright, Martin Price, Rosie Storey.
&
Minutes of the last meeting
The Minutes of the last meeting held on 27" June 2011 were approved and signed by
the Chairman.
3.
Matters Arising
There were none.
4.
Treasurer’s Report
The Hon Treasurer advised that the full report to the Charity Commission for the year
2011/12 is available for anyone to view upon request and summarised the position as
follows:
This year had been unusual in that the Mahler 8" Symphony concert at the RAH
proved to be very successful financially. As a result we had a surplus of £27,960
compared to a deficit of £80 last year. Subscriptions fell by over £1,000. We had a
number of temporary members last year for the Mahler, We received a windfall
amount of £2,500 from the Association of Surrey Choirs, being surplus income from
the hire of the Cathedral staging. Interest rates continue to be poor but, due to the
extra income from the Mahler 8 concert and chasing better rates, our investment
income was increased significantly. The Borough reduced its contribution to the Choir
to £2640. Fundraising activities raised £3605 and Gift Aid income was reduced by a
little over £500 as predicted.
Later in the year there was a deficit of £6725 on the Brahms Requiem concert in the
Cathedral and £1934 on A Night at the Opera at G Live.
Looking to the future, the choir continues to be in a sound financial position. We have
reserves of close to £87,000. However, the current financial year will challenge these
reserves with three very expensive concerts planned.
The Treasurer thanked Brian Reed for his work as Independent Examiner of the
Accounts and also commended the use of the facilities to be found on the Easy
Fundraising website which is open to anyone.
The Chairman thanked the Treasurer for his financial stewardship.
On the proposal of Michael Taylor and seconded by Michael Jeffery, the Accounts
were unanimously approved.
Music Director’s Report
The Music director addressed the meeting as follows:
We started on Saturday 8 October 2011 with the RNLI concert in
Holy Trinity, when
we sang a mix of repertoire, mostly pieces that have become firm favourites: ‘Zadok
the Priest’, ‘| was glad’, some Will Todd numbers, Rutter, ‘Give
us this day’ and the
scherzo from the ‘Sea Symphony’ by Vaughan Williams. We were joined by Will
Todd's Trio, a wind trio, a brass group and youth choir. It
was a good mix of styles
and repertoire throughout the evening and rewarding to be involved in
the event. It
certainly helps maintain and raise the profile of the choir.
was very pleased with the way the Parry and Brahms programme on Saturday 19th
November worked. Sometimes when one dreams
up interesting combinations of
repertoire one cannot be sure how they will work in reality. But on this occasion the
Parry/Brahms juxtaposition worked extremely effectively. Parry’s music is
always
satisfying to sing, such great melodies, so stirring: ‘I was glad’, ‘Blest Pair of Sirens’
and the extract from ‘Judith’; all glorious music, gloriously
sung, perhaps because we
knew the repertoire so well we could really deliver these works with
true conviction.
The orchestral ‘Elegy for Brahms’ is a marvellously powerful work —
a revelation really
- and the Brandenburg Sinfonia, as
ever, played it with real insight. The Brahms
Requiem was of course the main event
the concert and again, because many
know the piece really well, we were able to
go into real detail in rehearsal, thinking
about and working on shapes of phrases, balances and so on — really
getting inside
the music. And the performance really showed this: it
was powerfully moving,
beautiful and confident. The singing of Helen Neeves and Michael
Bundy also added
further to the high quality.
|
of
Into the New Year and our ever-popular ‘Come and
Sing’ day in Normandy Village
Hall on Saturday 28th January, this year
looking at Monteverdi's Vespers and Bob
Chilcott's Salisbury Vespers. | think the two works worked well in
conjunction and
everyone who attended appeared to appreciate both styles of music and seeing the
comparisons between the two. It was another fascinating, fulfilling and in
every
respect a highly successful day.
Our next concert, on Saturday 17 March 2012 was really a
step into the unknown and
the less familiar: our ‘A Night at the Opera’ concert and our
concert in G Live.
first
From a purely musical point of view we had quite a bundle of
operatic repertoire to
assimilate: singing in French, Italian, German, Russian and English,
about love, glory,
celebration, betrayal, death. On top of this, we had movement on and off
stage to
deal with and singing in a completely new
space for us. Inevitably there were some
problems, especially the rehearsal in the hall on the Monday before, after which |
think we all felt a little concerned about how this
was going to work. And even in the
afternoon of the concert, there were still elements which were
worrying for us all. But,
come the evening, and a fantastic full house, the whole package
came together in an
exuberant, professional, thoroughly enjoyable way. It was brilliant having Gill and
John putting each extract into context; we were joined by
some wonderful soloists
who gave of their all in their solo and ensemble numbers; and
as ever, the
Brandenburg Sinfonia were utterly brilliant and reliable in playing such a
huge amount
of music in such a short rehearsal time. It
really was a triumphant debut for us at
G Live, once again demonstrating the genuine
versatility of the choir.
The next concert, the Rachmaninov, on Saturday 19 May
presented many
challenges, to say the least. We had relatively little time to
prepare the five extracts
from the ‘Vespers’ and ‘The Bells’, especially
as we had all the Church Slavonic and
Russian to learn. It was
tall order and, for ‘The Bells’ we were not
helped by
atrocious vocal scores that were completely unhelpful. It
was a long, hard slog and |
really appreciate all the work people put in to get themselves
prepared for the concert
during and outside rehearsal. | do hope that you all felt it was worthwhile.
a
Certainly the ‘Vespers’ came across very beautifully and we managed to create real
atmosphere. Yes, they went flat and there were some rough edges here and there,
but there were plenty of positives (the overall sound, the moods we created for
example) and | think the audience thoroughly enjoyed hearing exactly what the choir
can achieve a cappella, without the support of the orchestra. So to ‘The Bells’! Well, |
think we peaked just at the right time ... not a moment too soon! About the Russian
language, | know there were still moments of doubt, perhaps big moments, perhaps
moments of panic and horror, but overall | felt the performance was really
accomplished and that unease did not get in the way of delivering the spirit of the
music. | don’t know if you have heard the recording that was made of it, but it sounds
really terrific. | know there were passages when the choir was drowned by the
orchestra too, but there are only so many times | (and Bob Porter) can ask them to
play down.
On this point | would say this: we have three options. Either we decide we don’t do
any of the repertoire that has a large orchestra because we are not a sufficiently large
chorus to balance the size of the orchestra (that to me would be a great shame); or
we do perform the repertoire and always join forces with another choir so we achieve
a good balance (not always easy or desirable); or, thirdly, we accept that there are
going to be times when the orchestra will get over-heated and drown us and accept
that, but try to work with the orchestra to minimise those occasions, especially in the
Cathedral acoustic which we know is far from perfect anyway. So well done for ‘The
Bells’ — it's a magnificent work and, in my view, well worth the amount of effort we all
put in to make such a fine fist of it in concert.
Of course | cannot leave this concert without a word about our amazing accompanist!
There are very few choirs in the land who are lucky enough to have successive
accompanists who are sufficiently brilliant to perform to the level that Francis
displayed that night: technically superb and musically full of insight and sensitivity. It
was a great thrill and privilege to be part of that performance, and, while I'm at it,
thank you Francis for your fantastic support week in, week out. We are fortunate
indeed to have you.
So some of us have just returned from a fabulous trip to Alsace and Germany. It all
went very smoothly indeed and it seemed to me the perfect combination of free time
to explore and singing. We were based in Strasbourg, the heart of which is really
beautiful. The first concert was in Freiburg, in a huge and reverberant church with the
organ way down the west end. This caused problems and David Coram was playing
over a quaver ahead of my beat to make it even vaguely together. We had a great
welcome in Freiburg with our friends from the Bachchor again being very friendly and
supportive. The items that worked best in that acoustic were the two unaccompanied
songs. The second concert was in Strasbourg itself, in a beautiful church in the old
quarter. The acoustic was still quite big but much more manageable and the organ
was much more to David's liking (and not so far away!). The standard of performance
really improved markedly as a result and we achieved some really magical moments!
The final concert was in Schwetzingen, just outside Heidelberg, where we were in a
church of even smaller dimensions. Everything sounded very loud! But we created
some really special moments that evening. Of course we knew the music pretty well
by the third concert and we were all able to look up and communicate very strongly
and confidently, which allowed me to be as expressive as | could be with the music
and take more risks than | might otherwise do. The audience gave us a standing
ovation, the rhythmic applause lasting until the very last singer had left the stage — a
really moving moment. Musical highlight? Probably our performance of Swingle's
‘Give us this Day’, especially in Schwetzingen. Non-musical highlight? I'm sure we
will all have our own but mine range from the tour of the amazing gardens in
Schwetzingen, the wine tour and tasting, the leaking coach episode, the great sense
of camaraderie!
look on the Vivace website you will see we have an interesting and challenging
and | hope you agree full of variety.
ahead
year
If you
You will have noted no doubt that, after the RNLI concert, we sing only in English and
Latin! There's quite a lot of new music and some familiar music too — certainly we will
need all the rehearsal time at our disposal and | would urge you all to attend all
rehearsals, only missing them if you absolutely have to. In that way we can be sure of
making good steady progress and not have to re-trace steps. | would also like add
that if you have to miss a rehearsal that you make it your absolute responsibility to
find out what was covered and catch up on what you have missed. There is nothing
more boring and annoying for me and those who have been present than having to
give out markings over and over again. And it is only by being sure of the very highest
levels of rehearsal attendance that we can give ourselves the best chance of
maintaining and improving upon the high musical standards we are constantly striving
for.
And with improvement in mind, we will be having more workshops on technical issues
and voice production, possibly focussing on the projection of the voice so we can
maximise our ability to be heard over an orchestra.
My particular thanks to_James, especially the Opera Night concert and the Tour, into
which he put so much energy ... and all the committee for their terrific support.
Thanks too to Christine, Prue and other non-committee members.
Many thanks again to Francis as ever for his brilliant playing.
And finally, big thanks to you. We've done detailed and really satisfying work on
pieces we know and love well (I'm thinking Brahms Requiem) and somewhat more
frantic work on the more awkward (no guesses what I'm thinking!). All told, it's been a
great year with some great performances ... and happily standards continue to rise,
most notably in our unaccompanied singing, of which we shall be doing more. really
relish the musical and social rapport we have and we still work hard together to make
the choir and our performances as good as we possibly can. The rehearsals and
concerts we share together bring me real joy and fulfilment - | hope you feel likewise
that we do. Thank you!
and will continue to enjoy
|
all
Chairman’s report
The Chairman addressed the meeting as follows:
There are four things that really make the Vivace Chorus stand out from the crowd:
The chorus has 2 principal aims: 1) to make music of the highest possible standard;
2) to have fun doing so. Jeremy epitomises both of these perfectly. He plans his
concert programmes and each rehearsal in the most meticulous manner to achieve
maximum enjoyment, a balanced programme and a very fine standard of singing.
Each of us wants to get the most out of the talent we have for music-making, and
Jeremy facilitates this so well.
Our rehearsal accompanist and concert soloist par excellence, Francis, is as we all
know a quite exceptionally gifted musician; so talented, such a wonderful dry sense of
humour and yet at the same time, so self-effacing.
| truly believe that no other choir in the UK can boast such great professionals who
work so well together, who help us to reach our potential and with whom it is such a
pleasure to sing.
As you heard from our Hon Treasurer, our financial base is strong. This has enabled
us to take on greater challenges than would otherwise have been the case.
Promoting the Mahler concert at the Albert Hall last May and our ‘G Live’ sell-out
success, performing concerts such as the War Requiem and the Rachmaninov
concert, all involving large orchestras, means that we can get away from the run-ofthe-mill choral repertoire sung by other choirs, pushing ourselves on to greater things
and extend our repertoire.
The 4" ingredient for a successful organisation is, of course You. Without your
talents, your friendliness, enthusiasm, support, trust and hard work, we would be
is so rewarding that you are prepared to give things a go — sing in Russian,
nothing.
wander around the stage as an opera chorus and so on. On top of this, your
fundraising support keeps our coffers topped up so that we can take on these more
It
adventurous challenges.
organisation simply cannot function without an enormous amount of help. |
just want to mention a few without whose help we couldn't achieve as much as we
do: Kate Rayner and Mo Kfouri with their cakes and drinks, Bob Bromham and Tony
Chantler our piano removal company, Mary Clayton looking after the archives, the
programme production and sales teams, Margaret Parry with her pencils and Carol
Terry with her monthly CD/book sales, Prue Smith (when she’s not in New York)
accompanying auditions, Norman Carpenter's small change, Bob Bromham'’s
conductor's rostrum, Margaret Mann's organisation of pre-concert talks, the Voice
Reps helping Jane Brooks and looking after newcomers, those who cook for the
Come & Sing, John Trigg organising and collecting soloists and overseeing the
seating rig, Penny Muray Easyfundraising and Press Officer, Chris Peter's web work,
Michael Taylor's ticket-selling, John Britten for music sales ...... the list just goes on
and on. Even though | haven't had time to mention every single helper, believe me
what you do is noticed and so appreciated.
A good
also want to pay special tribute to the hours of hard work put in by your committee.
Under their guidance each one has helped to plan and produce our concerts in such
a professional manner. Hilary, Gill, Liz, Jackie, Jane, Lesley, Bob, Barry and Neil
thank you all so much for both your support and your hard work.
|
Two members are standing down this year: Barry Sterndale-Bennett who in a short
time has not only run the Patrons’ scheme and launched the Life and the Premier
grips with the choir's governance so that our paper work is now
levels, but also got
well
organised and can stand the scrutiny of the most nosy busybody.
unbelievably
to
Perkins has served a 3-year term using her experience of singing in other top
choirs to our advantage as well as being an incredible wordsmith, creating original
and easy-to-read articles; she was also responsible for sponsors for our Mahler
project last year and with her friendly and thorough approach won us friends in the
business world. | am so pleased that she has agreed to carry on with her creative
writing and the sponsorship.
Gill
Thank you both for the great work you have done in helping the choir evolve from a
good one to a great one. It has really been appreciated.
is
incredibly thorough and helpful, puts herself out
Who works harder than anybody,
to help anybody and no task is too complex or too much for her, is always smiling and
without whom we couldn’t sing a note?
Yes, of course our hard-working and much-loved librarian, Christine who never
ceases to amaze us with her capacity to organise music for choirs, orchestras and
conductor with no more than a blink of an eye! As a token of our appreciation for all
that you do for the choir, we hope that this small gift will help to lighten your load a bit
as you drag the dozens of scores you have so assiduously gathered from all corners
of the empire from car to church.
Thank you all 93 of you who took the time and trouble to fill in our choir questionnaire.
us a lot to think about.
It has given
is
The question of concert venues
quite a hard one. ‘G Live’ is a great addition to
still
is
and
cultural
finding its feet. To see every seat taken for our first
Surrey’s
scene,
remarkable achievement — both to your
and
wonderful
pretty
performance was
for
what is needed in a concert
and
to
of
understanding
selling,
Jeremy
powers
is far superior in so many ways to the
programme to attract a full house. Whilst
Cathedral in terms of comfort, acoustics and facilities, it is expensive. And there are
900 seats to fill.
it
As a new venue it hasn't really established an identity or a reputation for top classical
music yet. It's important that we continue to select the music we intend to perform
there with the greatest care. The recent ‘Elijah’ concert there by another local choir,
whilst being a great piece to sing, lacked the broad appeal needed and was only
about 50% of capacity. It is neither fun to sing to so many empty seats, nor financially
prudent.
We are hopeful that next March’s concert of Elgar's The Music Makers plus Julian
Lloyd Webber as soloist in the Elgar’s cello concerto will fill the hall. We feel that the
choir will benefit from being associated with an artist of such international renown, but
we will still need you to go out and find the audience to fill the place. We may not
make much money this time round, but it will further enhance our reputation.
Some works, such as the War Requiem or Monteverdi Vespers will probably always
be more appropriate to perform in the Cathedral. In time, however, we will be more
confident about attracting large audiences to ‘G Live’ with the sorts of programmes
we are so good at: a capella, contemporary, etc and use this venue more frequently.
The huge list of composers or works you would like to see performed at ‘G Live’ will
be helpful to Jeremy as he thinks about suitable concerts for the future.
Your confirmation that we had got the balance of concerts about right was reassuring.
We were also grateful for your backing for another concert at RAH. 2014 may well
see us on that stage once more with the LSC, the RPO and others with a
performance of Verdi's ‘Requiem’. We have a date pencilled in (18 May), and are
waiting to hear back from choir and orchestra. If we do get the green light, we are
going to need the huge amount of ticket selling and fundraising that you did so
incredibly well for the Mahler 8 concert last year.
Thank you for the huge variety of concert venue ideas. A number — eg Wigmore or
Cadogan Halls, HT, National Trust Houses — could only accommodate a relatively
small choir. This has been a headache that the committee has been trying to grapple
with over the past few years. How to keep everybody happy!
At the moment, we perform 3 major concerts each year for the whole choir.
In-between these, we slot in concerts at smaller venues such as HT or SMiF. This is
to fit a quart into a pint pot! We are now in such demand for
where we
performances that it is more and more difficult to turn some down. It is a huge honour
to be asked to sing at SMIF for instance, but this will inevitably involve a number
singers having to be omitted. | feel that we have finally found the fairest way of doing
this by opening the list up to everybody, and then if there are too many, to draw
names out of a hat with the proviso that those who miss out in any one concert in a
year, don’t miss out on another. Nobody likes to miss out on a concert, but this seems
to be the fairest and best way to tackle the problem of having a large and enthusiastic
try
of
membership.
We will be circulating the survey results to all, either soon or at the start of next
season.
I'd like to address the question of how we can recruit new members for the choir.
|
have been really disappointed when singers have turned up for a rehearsal or two
and then disappeared, never to be seen again. There are, of course, many reasons
for this, but one that believe does happen — albeit infrequently — is that we don't
|
make them feel welcome enough. Jane, the Voice Reps and | met to address this
problem and have come up with a few ideas which we hope to build on next season.
However, one feedback | have had saddens me hugely. | have mentioned in the past
the importance of not ‘owning’ seats at rehearsal and | want to repeat my concerns. |
am conscious that most of us go to choir to meet friends and to have a good time.
However, | have heard that on a number of occasions new members have been
frozen out and made to feel very unwelcome. Some have even gone across to one of
our rivals!
quote from a message from a mother:
My daughter remembered being shown to the ‘front row’ by the voice rep on her first
night. The following week she left her books on a seat in the front row and went to
sign in at the back of the church, but when she got back to her seat she found that
her books had been moved to a seat several rows behind. No-one had asked her
move or offered an explanation as to why she needed to move, but she was left in no
doubt that she was not ‘front row’ material. She says she always felt there was a
pecking order’ over seating arrangements, and never really felt she had anyone to
talk to. I'm surprised she stayed as long as she did!
It's really important that we maintain our reputation as a friendly choir and all make a
real effort to welcome new members — not just for the first week or so, but for 4 or 5.
In this way, we have a greater chance of them staying. Also,
try to be inclusive and
welcome them into our ranks and put up with them sitting in somebody’s seat.
|
to
to
am keen to promote the choir to younger singers. Not because there is anything
wrong with us, but there is a definite dearth of the 18-30 age group to replace us
when, in time, we move on. Whether it's more social events, such as going to the pub
after rehearsals or boat trips or walking groups or anything that might appeal to them
and encourage to join.
|
| would also like to start
a small team of younger members of Vivace who could put
their heads together and come up with a strategic plan to encourage this age group. If
you are interested in joining such a team or have any ideas that we could follow up,
please see me or Jane. | would love to get this up-and-running at the start of the new
season.
We are involving young people in 3 of our concerts in the coming season - The RGS
Big Band for the RNLI concert, the Tiffins Boys for the War Requiem, the Farnham
Youth Choir next May; | hope that this might have some sort of spin-off for our choir in
terms of younger members.
For those of you who couldn't make the 3-concert tour at Strasbourg, Freiburg and
Heidelburg last week, | will just say that it exceeded my expectations both from a
musical and a social point of view. The worst bit of it was when 1 suitcase decided to
take a holiday somewhere else in Europe and gave poor Edwin and Pam a rotten two
days before joining us on tour.
It's impossible to mention a high point to the tour — unless you count the top station of
the funicular railway above Heidleberg's castle - there were so many. For me, the
singing in Schwetzingen was beyond magical. Everything came together: tone,
tuning, balance, listening to each other, actually watching JB for a change, just
singing in perfect harmony. So beautiful and not a little emotional. Others of course,
might prefer the farewell firework display | laid on outside Schwetzingen. But that's
another story.
Thank you so much for your very generous gift of delicious wines. | will enjoy drinking
them and remembering the many good times we had on the trip.
We have a really exciting couple of years ahead of us with some fabulous concerts.
|
am looking forward to it tremendously; hope you are too.
|
Approval of the updated Constitution
of
The Hon Secretary advised that in January he had carried out a detailed review
This
the choir’s governance in the light of Charity Commission requirements.
included the Constitution, the conduct of Committee meetings, Job descriptions,
Contracts for the concert venues as well as for the Musical Director and Accompanist,
Risk assessments and application of the Data Protection Act. As regards the
Constitution this was updated to include a reference to what constituted a quorum
and other minor changes to conform with the Charity Act 2006 all of which was
formally accepted by the Charity Commission.
On the proposal of John Trigg and seconded by Mike Bishop, this was unanimously
in para 13. After the
approved subject to the inclusion of a line accidentally omitted
and in para 7e
members’
all
to
words proposed amendment... add ‘has been sent
‘Committee’.
first line for the word 'Trustees’ read
% =ii
Election of Officers
Under the Constitution all Committee members are obliged to resign at each
and,
they so wish, offer themselves for re-election.
if
AGM
it
On the proposal of Norman Carpenter and seconded by Roger Penny, was
Cowell
Bob
as Hon
Chairman,
Garrow
as
James
unanimously agreed to re-appoint
is
Hon
of
role
The
Secretary
Secretary.
Membership
Brooks
as
Treasurer and Jane
currently vacant.
Election of Additional Committee Members
On the proposal of Carol Terry and seconded by Pamela Usher, it was unanimously
Scordellis and
agreed to re-appoint Jackie Alderton, Liz Durning, Neil Martin, Lesley
Hilary Trigg.
proposed of Bob Cowell and seconded by James Garrow
and Joan Thomas, proposed by James Garrow and seconded by Barry SterndaleBennett were both unanimously approved as new committee members.
In addition John Thornely,
10.
Appointment of Musical Director
The meeting expressed warm appreciation for the work done by Jeremy Backhouse
and he was duly appointed as Musical Director for the ensuing year.
1
The meeting expressed warm appreciation for the work done by Francis Pott and
was duly appointed as Accompanist for the ensuing year.
he
J. ‘Q
B bl
Appointment of Accompanist
3
12.
Appointment of Independent Examiner of Accounts
The Treasurer advised that Brian Reed had offered to continue this role and
recommended his re-appointment. On the proposal of Michael Taylor and seconded
by John Trigg, this was unanimously approved.
-
13.
Any Other Business
Several questions were raised. The following were agreed:
a)
to take into account the probability that concerts in the Cathedral and
G Live are likely to attract different types of audiences.
b)
not to limit the numbers in the choir. The Chairman suggested that an
optimum number was around 160, slightly larger than at present.
C)
to allow variations in the dress code to suit particular concerts.
d)
to make a greater effort to welcome newcomers particularly at break time
although the Voice Reps are currently doing their best. Name badges for all
was suggested of a way for new members to get to know existing singers.
e)
to strongly discourage seat reservations at rehearsals.
f)
the rehearsal venue is constantly kept under review but HTC is at present the
best available.
Finally, the Chairman was thanked for his hard work.
The meeting closed at 8.45pm
BSB 280612
Ct
VIVACE CHORUS
STATEMENT OF FINANCIAL ACTIVITIES FOR 2011/12
|
\
)
.
Funds;
(Unrestricted
‘2011/2012:
12010/2011
]
INCOMING RESOURCES
£
E
2,640 |
Borough Grant
Donations
15
Patrons
|
2,109 |
13,826
3,567
Subscriptions
Tax refunds (Gift Aid/Covenants)
Total Donations and subscriptions
|
)
‘
4
Total income from activities in furtherance of objectives)
|Income from activities for generating funds
N
f
.
‘
22,157
'
129,683 )
4,333)
)
|
Gross Interest
‘1,123i
Miscellaneous Income (ASC)
2,500
22,430
5,158
{
'
|438
52,046
159,797
TOTAL INCOMING RESOURCES-
£
2,780
20
2,054
15,056
4,110
24,020
RESOURCES EXPENDED
Fund raising costs
14
65
{
\
Sub-total
11
I
Direct charitable expenditure
Concert Expenses
|
107,640
15,045
483
729
‘.
Rehearsal Costs
Music Account costs
Sub-total
(
\
[
650
503
650
100 Club prizes
Stock write-off, etc
| Other fundraising costs|
Concert Support Costs]
'
‘
.
|
1,164
32,015
15,055
|
I
[
123,168
‘
47,070
i
Publicity
|Sub-total|
General Administration costs
1 Miscellaneous
|Presentations
|
]
3
Admin costs
General Publicity
Subscriptions to other bodies)
TOTAL RESOURCES EXPENDED
,
205
50
497
1,817
14
0
|Sub-total|
406
321
]
131,836
]
FUNDS BROUGHT FORWARD|
1
TOTAL FUNDS CARRIED FORWARD
'1,073
|2,237'
NET INCOMING RESOURCES FOR THE YEAR)
:TOTAL
|2,819
!5,702|
)
27,960
52,126
!
|
58,706)
86,666
(
|
(80)
58,785
58,706
Vivace
;
Chorus
VIVACE CHORUS
BALANCE SHEET as at 30th April 2012
Note
2012
2011
Unrestricted
Funds
Unrestricted
Funds
5
6
7
2,698
35,670
89,885
128,253
3,090
53,664
41,762
98,516
8
(41,587)
(39,811)
Net Current Assets
86,666
58,705
Net assets
86,666
58,705
Unrestricted income funds
Total Funds
86,666
58,705
£
Current Assets
Stock
Debtors & Prepayments
Cash at bank and in hand
Total Current Assets
Creditors: Amounts falling due
within one year
£
NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 30th APRIL 2012
These accounts have been extracted from and are consistent with the full accounts of the
Vivace Chorus, which are available to members on request. The independent Examiner's
statement accompanying the accounts indicates that there are no areas of concern that
need to be drawn to the attention of the members.