Notice of ANNUAL GENERAL MEETING to be held

on Monday 1 October 2018 at 7.30pm

at St Mark’s Church, St Mark’s Place, Wimbledon SW19 7ND

AGENDA

1. Briefing on concert hall project – Anthony Wilkinson

2. Minutes of the last AGM – 2 October 2017

3. Matters arising from the Minutes

4. Music Director’s Report

5. Chairman’s Report

6. Treasurer’s Report

7. Promoting & marketing WCS

8. Election of Officers

9. Any Other Business

Charity nominations

Deborah Raymond General Secretary

WIMBLEDON CHORAL SOCIETY

Minutes of the Annual General Meeting held on Monday 2nd October 2017

at St Mark’s Church, St Mark’s Place, Wimbledon The meeting began at 19.30 with Sarah Hendry in the chair and approximately 120 members in attendance. Minutes of the previous Annual General Meeting held on 3rd October 2016 Approval of these minutes was proposed by John Paramore and seconded by Neil Dennis. The minutes were signed by the Chairman as a true record. Matters Arising There were no matters arising. Music Director’s Report Neil commented that it had been another wonderful year both musically and socially. He thanked the committee for its willingness to embrace new projects such as October’s Singfest. He also thanked Michael Higgins for his leadership and contribution to the music team and the new addition to the team, Sarah Burston. He highlighted the work of the choir’s librarian, Vicky Issacs, the membership secretary, Laura Stewart, and the voice reps and thanked them for all their work. He expressed his appreciation to the whole choir for their understanding on his move to the BBC Symphony Chorus and for their continued readiness to grow, learn and embrace a challenging repertoire. The choir has a couple of exciting seasons ahead culminating in the performance of a commissioned work at the Royal Festival Hall in May 2019. Neil added that he was always open to suggestions for additions to the repertoire. Reviewing comments from last year’s AGM, he noted that those who attended the tour to Tallinn had performed the Arvo Part from memory. He will aim to include scrambling in one of the pre-Christmas rehearsals. Chairman’s Report

Sarah thanked Neil for his report and commented on how varied and challenging the programme had been in the past season.

The 2016/17 season included a varied concert programme of French Gothic, Christmas carols, Monteverdi Vespers and the AnthemFest. The Vespers were a highlight and the reaction to the performance had been ecstatic and spontaneous.

The choir commissioned a carol from a young composer, Chris Hutchings, which was enjoyable but challenging to perform. Another carol has been commissioned for Christmas 2017.

Other highlights of the year were the tour to Tallinn, very ably masterminded by Christine Evans, and participation in the Brandenburg Festival. Although the choir has not been invited this season to participate at the Festival of Remembrance, it was included in the BBC Big Sing at the Royal Albert Hall for the first time. In July the choir promoted a joint concert with the Central Band of the Royal British Legion at G-Live in Guildford. The audience, choir and band enjoyed the programme although the concert lost money due to the small audience.

Sarah added her thanks to the music team and to Neil for his inspiring leadership. Last year’s AGM reflected on the results of the survey which had identified a wish to perform in bigger

venues, highlighted mixed views on the 2 ticket rule and a desire to attract a wider audience. Addressing some of these ambitions has involved taking a few calculated risks. Last season the choir returned to Cadogan Hall which is expensive to hire and involved a lot of hard work to fill the 900 seats. G-Live in Guildford was used for the first time in July and it was a struggle to sell seats. The Royal Festival Hall has been booked again for May 2019 for the performance of a new work commissioned by the choir. Everyone will have to make an effort to sell seats for that concert. To increase the choir’s profile and develop a local audience, Alex Gray was employed for a year although this has not continued. The choir was also involved in the project to build a concert hall in Wimbledon and in Merton’s bid to be London borough of Culture in 2019. October’s SingFest, promoted by the choir, aims to raise the profile of music and singing in the borough and will succeed if everyone works to support it.

Sarah thanked all those who volunteered for the choir and detailed a long list of people who helped with all the different tasks and ensured the smooth running of the choir.

Treasurer’s Report The Treasurer thanked Annette Cowley who once again acted as Independent Examiner of the accounts. For the year ended 30 June 2017 there was a deficit (negative net movement in funds) of £4844. Income from subscriptions increased by £1000, the anticipated loss on concerts was £5000 lower than budgeted but expenditure on administration was up by £6000 due to the costs of employing a marketing professional. The Treasurer explained the difference between restricted and unrestricted reserves and highlighted that £20000 had been committed to the choir’s commission of a major work of which £9000 had already been paid to the composer. The adoption of the Annual Report and Accounts for y/e 30 June 2017 was proposed by Liz Neale, seconded by Colleen Spalding and carried unanimously. John also discussed the anticipated loss on the G-Live concert which will appear in next year’s accounts. He explained that this loss was to be covered by realising some of the gain on the choir’s investments. He then responded to questions on the following concerns:-

The choir’s financial liability for events outside its usual 4 concerts a year such as the G-Live concert, SingFest and Brandenburg and the fact that members should be made aware of any additional financial commitments undertaken by the choir. The Treasurer explained that both Brandenburg and SingFest had separate budgets but these events relied on members buying tickets. He admitted that the assumptions on G-Live were over-optimistic and had not anticipated the negative impact of the hot night, relaxation of the 2 ticket rule and performing away from the choir’s home base.

The increase in unrestricted funds. This was due to a gain on the choir’s investments. The high level of prepayments. This was due to payments made on Golden Circle after the year end. Progress on SingFest. Ticket sales on these events were not as high as expected. It was suggested that

the choir should talk to the organisers of the Wimbledon BookFest to learn from their experience and expertise.

The Treasurer proposed that subscription rates for full members be increased to £134 (£132) and to £67 (£66) for registered unemployed/under 26’s. The rate for full-time students will remain at £25. The subscription rates were proposed by Christine Evans, seconded by Gwen Clayton and carried unanimously. Promoting and Marketing WCS Damian presented an update on this topic. One of his goals is to develop the choir’s local profile to increase ticket sales to people unconnected to choir members. The relaxation of the 2 ticket rule at the G-Live concert illustrated how reliant the choir is on ticket sales generated from within the choir. As the choir is no longer paying Alex Gray, the money saved will be used on other initiatives such as a 2 year contract for a poster at Wimbledon station. Another publicity effort has been a leaflet drop within the Wimbledon area prior to a concert. Alexandra Kedward has volunteered to assist with social media and press coverage. Damian appealed to all digital natives to help with social media and spreading the word. The Cecilia McDowall commission , which marks the 500th anniversary of Leonardo da Vinci’s death, will also increase the choir’s profile. Damian responded to questions on the following issues:-

The success of the leaflet drop in generating ticket sales. It is difficult to track this although ticket sales are analysed after each concert.

Efforts made to promote concerts staged outside Wimbledon. The choir liaises with the venue who often publicise the concert in a marketing drop.

Becoming involved in the Wimbledon Music Festival. There is constant dialogue on this but it is impossible to accommodate the whole choir in the venues used in the Festival.

Election of Executive Group and Officers The following officers were proposed for election to the Executive Group of the Committee: - Sarah Hendry Chairman Christine Evans Vice Chairman Deborah Raymond General Secretary John Bright Treasurer Damian O’Malley Publicity Officer These elections were proposed by Diana Tsung, seconded by Janet Gout and carried unanimously. The following officers were proposed for election to the Committee: - Vicky Isaacs Librarian Laura Stewart Membership Secretary These elections were proposed by Dominic Beecher, seconded by Corina Scott and carried unanimously. The following Voice Representatives were proposed for election for a two-year term: - Gwen Clayton (Sop 1) Corina Scott (Alto 2) Peter Hickson (Bass 1) These elections were proposed by Peter Lindsay, seconded by Damian O’Malley and carried unanimously.

Any Other Business

1. For the second year running, members had been asked to submit nominations for the charity which would benefit from a collection at the end of the 2017 Christmas concert. 4 nominations were received and members voted for The Amber Trust based in Southfields.

2. The poor lighting at the church was raised. Dominic Beecher is looking into the issue and possible solutions.

3. Several comments were made about the website and its need for updating. It was agreed that the site needed modernising and that this was an action point for the future.

4. A member suggested that an events coordinator should be found from within the choir to organise the next SingFest.

5. Members were reminded that the church welcomed donations to the hamper in the entrance. There being no other business, the meeting closed at 20.57.

Wimbledon Choral Society Annual Report 2017/2018 September 2018

PRESIDENT Ian Partridge CBE

MUSIC DIRECTOR Neil Ferris BMus (Hons) ARCM MMus

ANNUAL REPORT for the year ended 30 June 2018

Registered Charity Number 263150 www.wimbledon-choral.org.uk Objects

The Objects of the Society are to promote, improve, develop and maintain public education in and appreciation of the art and science of choral music by the presentation of public concerts and other activities involving or relating to choral music.

Governance & Administration

Wimbledon Choral Society, 17 Langley Road, London SW19 3NZ, is registered with the Charity Commissioners (No. 263150) and operates under the same name within the rules of a revised Constitution adopted on 24 September 2001 and approved by the Charity Commissioners. The Charity is administered by a Committee as defined by the Constitution comprising of an Executive Group of Trustees, who are registered with the Charity Commission, plus other Society members making up the full Committee. All the Committee roles are occupied by Society members only and all members are eligible for any of the roles. No member of the Committee, Trustee or otherwise, is paid for his or her role. For the season ended 30 June 2018 the members in these roles were: Society Members

Chairman + Sarah Hendry Vice-Chairman + Christine Evans General Secretary + Deborah Raymond Treasurer + John Bright Publicity Officer + Damian O’Malley Concert Co-ordinator +# Dominic Beecher (to 9 January 2018) +# Helen Edwards (from 9 January 2018) Sponsorship Officer # unfilled Membership Secretary Laura Stewart Librarian Vicky Isaacs Voice Representatives * Gwen Clayton, Helen Edwards (to 9 January 2018),

^ Sharon Smith (from 9 January 2018) * Diana Tsung, Corina Scott * Andrew Oliver * Jeremy Collis, Peter Hickson Ex Officio Appointment Music Director Neil Ferris

+ Trustees of the Society and Members of the Executive Group. ^ Co-opted partway through the season as permitted by the Constitution and therefore could not be

elected at the Annual General Meeting. # These posts are appointed or co-opted by the Committee as permitted by the Constitution and are,

therefore, not elected at the Annual General Meeting. * Voice Representatives are elected for a two-year period, one of each voice part retiring each year.

Employees

The Society has no employees. During the 2017/2018 season, two professional musicians in the capacities of Music Director and Rehearsal Accompanist were hired on a renewable contract or ad hoc basis to assist the Society in fulfilling its Objects. An Assistant Music Director, who is also a choir member, was hired on an ad hoc basis, in particular to cover rehearsals when the Music Director has unavoidable other commitments.

Wimbledon Choral Society Annual Report 2017/2018 September 2018

Advisers Bank Santander Independent Examiner Annette Cowley, BA(Hons), FCA

Public Benefit

In devising the plan of events for the season, the Trustees were mindful of the guidance on public benefit by the Charity Commission, as expressed in Section 17 of the Charities Act 2011. The Trustees have placed particular focus on the diversity of venues used, concert content and providing the widest possible access to the Society’s events in terms of ticket prices charged. During the season we made a particular effort to make more people aware of the Society and raise our profile in the local community, including organising the first ever borough-wide choir festival. Five different venues were used for events promoted by the Society, two in central London, two in

Guildford and one locally in Wimbledon – a mix of purpose-built venues and churches/cathedrals. We performed in a third central London venue as part of a well-established choral festival series.

The varied programme content this season included a mix of well-known and less frequently

performed choral works, a programme of popular pieces performed with the Royal British Legion Band, a concert of choral jazz works, and a traditional Christmas concert. At the Christmas concert we performed a carol specially commissioned by the choir from rising young composer Owain Park.

Most of the events promoted by the Society for which tickets were required offered significantly

reduced ticket rates for the younger members of our audience. Like many other similar organisations, the Society is open to all, subject to applicants undergoing

a voice test to determine if their vocal ability meets the standard required. The standard is agreed between the Society’s Committee and the Music Director.

Reduced membership subscriptions are available for full-time students, those under the age of

26, and those who are registered as unemployed. Events for the year ended 30 June 2018

During this season, the Society expanded its usual core programme of four concerts with an extra concert promoted jointly with the Central Band of the Royal British Legion: 7 July 2017: Big Choir, Big Band, Big Music, with the Central Band of the Royal British Legion, at G Live, Guildford; 18 November 2017: Handel’s oratorio, Israel in Egypt, accompanied by Florilegium, at Southwark Cathedral; 16 December 2017: Christmas Carols for Choir and Audience at St Paul’s Church, Southfields. 7 April 2018: Dvorak’s Te Deum and Elgar’s The Music Makers accompanied by Orchestra Vitae at Guildford Cathedral. The orchestra also performed Dvorak’s 8th symphony. 10 June 2018: Duke Ellington’s Sacred Concert and Roland Perrin’s Brazilian Songs of Nature, accompanied by the Blue Planet Orchestra and Roland Perrin Trio, at Cadogan Hall, London. Full details can be found in the Past Events section of the website. Feedback from all the concerts was very complimentary about the high musical standard achieved by the choir. Comments received included: “I am running out of superlatives for your choir. Be assured the volume and intensity of the Oratorio came down to us magnificently. The audience's shrieks and hurrahs at the end of the performance confirmed that all had had a splendid and hugely enjoyable evening.” (Rod Jenkins, about Israel in Egypt); “It was a fantastic concert and a wonderful experience. The choir was immaculate, the orchestra full of enthusiasm as well as expertise, and all three soloists were amazing. The sound, balance and articulation were really clear, with some beautifully nuanced moments” (Kate McGuire about Elgar & Dvorak); “It was a fabulous concert on so many levels […] and was most beautifully interpreted by you all. I'm a long-term Ellington fan … and you did his music full justice - brilliantly done!” (Colin McCarthy about Ellington & Perrin).

Wimbledon Choral Society Annual Report 2017/2018 September 2018

We had a mixed experience with audience attendance across the season. The three concerts promoted by the Society that took place in venues where we have performed in recent seasons were very well attended. The two concerts that took place in Guildford attracted smaller audiences. For our new venture with the Central Band of the Royal British Legion in July 2017, we experimented with a new style of programme and a new venue, G Live. The audience members clearly enjoyed the programme and feedback on it was very positive. However, a combination of factors resulted in a much smaller audience than needed to break even and the concert made a disappointing loss, shared equally between the Society and the Band. We would like to work with the Band again but will need to reconsider the time of year and venue. In spring 2018 we returned to Guildford Cathedral for the first time since a major refurbishment that had changed the acoustic. Despite extensive local promotion, we did not attract the same level of local audience as we had at concerts before the refurbishment, possibly because audiences have been put off by the poor acoustic. For musical and financial reasons, therefore, the Committee has decided not to return to Guildford Cathedral unless improvements are made to the acoustic. In addition to its promoted programme, the choir participated in a number of other events. In September, the Society was again invited to be part of the stage choir for the BBC Songs of Praise Christmas Big Sing recording at the Royal Albert Hall, broadcast nationally on Christmas Eve and New Year’s Eve. In January, the choir performed in the Brandenburg Choral Festival spring series at St Katharine Cree Church in the City of London, repeating our Anthemfest programme from the previous season. In October the choir took part in the first ever choral festival in the London Borough of Merton, Merton Singfest. This self-financing initiative was conceived and organised by WCS together with Merton Music Foundation. Over four days, 1000 singers, including 600 school children from 16 schools, and 12 adult choirs, from across the whole borough, took part in singing events. Feedback was that it was great success and that schools and choirs would like it to be repeated. Members are encouraged also to take part in choral events organised by other choirs and organisations to widen their knowledge and experiences, in addition to those joint ventures that may be planned from time to time as part of the Society’s programme.

Responsibilities of the Trustees in relation to the Financial Statements

The law applicable to charities in England & Wales requires the Trustees of this Society to prepare financial statements for each financial year which give a true and fair view of the Charity’s financial activities during the year and of the financial position of the Charity at the end of the year. In preparing the financial statements giving a true and fair view, the Trustees are required to follow best practice in the following:

Select suitable accounting policies and apply them consistently,

Make judgements and estimates that are reasonable and prudent,

State whether applicable accounting standards and statements of recommended practice have been followed, subject to any departures being properly disclosed and explained in the financial statements,

Prepare the statements on a going concern basis unless it is deemed inappropriate to

assume the Charity will continue in operation on that basis. The Trustees are responsible for maintaining proper accounting records which disclose with reasonable accuracy at any time the financial position of the Charity and enable it to ensure that financial statements comply with the applicable law. They are also responsible for safeguarding the assets of the Charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Financial Matters

With the exception of the professional musicians in the capacity of Music Director, Assistant Music Director and Rehearsal Accompanist, the Society is dependent on the services of its membership

Wimbledon Choral Society Annual Report 2017/2018 September 2018

and others as unpaid volunteers. Full details of the financial statement of accounts for this past financial year are filed with the Charity Commission with this Annual Report. The Society’s income from both charitable and social and fundraising activities was in line with previous years (other than our centenary season in 2014-15). Our main source of income, members’ subscriptions, remained very healthy with membership numbers growing slightly, including a healthy intake of younger singers. The Society maintained prudent control of its finances, with administrative costs representing 10.7% compared to charitable expenditure. The young singer bursary scheme continued with one young tenor working and singing with the choir, and again proved its worth during the season. In accordance with the reporting requirements laid out by the Charity Commission, the Executive Committee of the Society is mindful to maintain adherence to the Reserves Policy as noted on the next page. In addition, it ensures that there are good and sufficient financial controls in place.

Society Representatives

Gift Aid Officer John Bright Making Music Representative Neil Dennis

Wimbledon Choral Society Annual Report 2017/2018 September 2018

Reserves Policy

The Society has a financial Reserves Policy that has been in force since the adoption of the current Constitution. Details of this Reserves Policy can be obtained by using the link in the ‘About Us’ section on the Society’s website. In essence, the Trustees consider it prudent that the Society should seek to maintain a reserve that is substantial enough to cover the costs of at least two concerts, and preferably the cost for a whole season, in order to guarantee the quality of service.

Risk Management

The Trustees perform regular reviews of its operations and strategic objectives to ensure adherence to its principal charitable objects and financial controls. They are satisfied that there are sufficient systems and procedures in place to identify and address in a timely manner those risks that the Society may face from time to time. A constant potential risk throughout any season is that of having to cancel one or more concerts at short notice. Implementation of the Reserves Policy above together with subscription to Making Music’s insurance scheme is agreed by the Trustees as being of an adequate nature to minimise this particular risk.

Financial Controls

The Trustees also perform regular reviews of its financial controls to ensure compliance with the Charity Commission’s guidance of internal financial controls for charities. Notable controls include: Annual budgets of income & expenditure are prepared for, debated by and approved by first

the Trustees then by the full Committee. Performance is measured against the budget at regular intervals, with explanations as needed. All members of the full Committee are provided with regular updates on the financial

performance of the Society and these are discussed at every meeting, both for the Executive team and the full Committee.

All accounting records are held and processed within an approved accounting software package.

The accounts are maintained and reported in compliance with the SORP standards in practice and as published by the Charity Commission.

A qualified Independent Examiner is appointed to validate the annual accounts prior to publication and approval by the Society.

The Society does not engage the services of professional fundraisers. The Society is registered with the Gift Aid scheme and ensures the records for this are kept up

to date. Great care is taken to ensure the accounts reflect the distinct separation between expenditure

for charitable purposes and that for other events. This is described and annotated clearly in the annual published accounts submitted to the Charity Commission.

There are no trading activities other than the direct sales of tickets for events in furtherance of the Society’s Objects. There is no trading subsidiary connected with the Society.

The Society does not make grants to any other third party. All payments from the Society’s bank accounts require two signatures from an approved list of

signatories. This includes cheques, BACS payments and transfers between accounts. Expenses are reimbursed only in those cases where both (1) an individual has incurred those

expenses in the course of carrying out the Society’s business and (2) prior agreement has been obtained from either the Society’s appointed Treasurer or Chairman or both.

Sarah Hendry Chairman for the year ending 30 June 2018 For and on behalf of the Trustees www.wimbledon-choral.org.uk

PRESIDENT Ian Partridge CBE MUSICAL DIRECTOR Neil Ferris BMus (Hons) ARCM MMus

Find us at www.wimbledon-choral.org.uk Next concert: www.wimbledon-choral.org.uk/next

This season: www.wimbledon-choral.org.uk/season

Please reply to: Groombridge House 17 Langley Road Wimbledon London SW19 3NZ

Proposed list of Officers and Committee – Season 2018/19

Chairman* Sarah Hendry Vice-Chairman* Christine Evans General Secretary* Tracy Sherman Treasurer* John Gale Publicity Officer* Damian O’Malley Sponsorship Officer# vacant Concert Co-ordinator*# Helen Edwards Librarian Vicky Isaacs Membership Secretary Laura Stewart Voice Representatives+ (S) Gwen Clayton (2) Sharon Smith (1) (A) Corina Scott (2) Izas Ozerin (1) (T) vacant Andrew Oliver (1) (B) Peter Hickson (2) Jeremy Collis (1)

Ex Officio Appointment Music Director Neil Ferris * Trustees of the Society and Members of the Executive Group # These posts are appointed or co-opted by the Committee and are, therefore, not elected at the

Annual General Meeting

+ Voice Representatives are elected for a two-year period, one of each voice retiring each year (1) Due for election/re-appointment at AGM 2018 (2) Re-appointed/elected at AGM 2017