2021-22

REPORT AND
ACCOUNTS

© Hannah Fathers

Supported by
cbso.co.uk
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
CONTENTS

Page

Chair’s Report 3

Chief Executive’s Report 4

Report of the Trustees 5

Report of the Auditors 20

Statement of Financial Activities 24

Balance Sheet 25

Statement of Cash Flows 26

Accounting Policies 27

Notes to the Financial Statements 31

CBSO Supporters 44

2
CHAIR’S REPORT
“We are hugely grateful to all of you for
your generous support over the last
year and into the future”

After a very difficult couple of years for all of us it is a It has also been a time of renewal as far as the Board
great relief to be able to write this introduction in a more itself is concerned. We were sorry to say goodbye
optimistic mood. The 12 months it covers saw the City during the last year to Joe Godwin, Elspeth Dutch,
of Birmingham Symphony Orchestra (CBSO) family Tony Davis and Susan Foster, all of whom have made
gradually return to all of its key activities, with audiences outstanding contributions during their time as trustees.
also returning gradually to support these. As this is my We are working with a leading search firm to identify
last Annual Report as Chair – I am preparing to hand new trustees who will add to the range of skills and
over this enjoyable responsibility at this year’s AGM – I diversity of the Board; they will also help us to recruit
am especially pleased that the CBSO is able to face the my successor as Chair.
future in the most confident possible shape. None of the activities outlined in this report would
Of course, that future contains a great many have been possible without the CBSO’s broad base of
uncertainties, and the CBSO is not immune to these. financial support. From the loyal audiences who have
The long tail of the COVID pandemic, the cost of returned in such numbers to attend concerts, to our
living crisis, the implications of Brexit and the Russian many hundreds of Members, to our ever-growing list
invasion of Ukraine have all made their mark on the of major donors, to our public funders Arts Council
CBSO’s activities and priorities during the last year. And England and Birmingham City Council: we are hugely
as a Board we are also very conscious of the need to grateful to all of you for your generous support over
ensure that the CBSO remains relevant and accessible the last year and into the future. It is this wide range
to all our region’s citizens whatever their background of enlightened investment that ensures that the CBSO
or economic status. Together with a refreshed senior has not only survived COVID, but is ready to aim for still
management team, we have put a lot of thought and greater heights in the coming years.
effort into adapting our plans and strategic objectives
to be fit for the new realities of the Orchestra’s second
century, and you should already be able to see this in
the plans announced for the next 12 months.
Along the way there have been some tremendous
highlights, even as we contended with the many David Burbidge CBE, DL
challenges placed in front of us. Mirga’s and Kazuki’s Chair of Trustees
concerts have once again demonstrated the close
connection that exists between the Orchestra and
Choruses, our conductors, and our enthusiastic
Birmingham audiences. Particular highlights included
the Prom last summer with Mirga, the season opening
concerts with Kazuki conducting Saint-Saëns’ Organ
Symphony, and the ingenious programme put together
and presented by our talented Youth Ambassadors. But
it has been equally exciting to see the new initiatives
both in live performance and in our digital activities.
Chief among our innovations are the preparations for
the new Shireland CBSO Academy in Sandwell, where
building work has now begun on what will be a superb
new school, opening in September next year.

3
CHIEF
EXECUTIVE’S
REPORT
I am delighted to be able to present this 23rd Annual streaming to reach wider audiences for our Relaxed
Report of my CBSO tenure, after a year that has seen Concerts and Schools Concerts, and have also started
the whole organisation rebound from COVID with to build up a library of high-quality digital content for
huge resolve and enthusiasm. There is a lot of talk at use as a curriculum resource at the new Shireland CBSO
the moment about whether our post-COVID world – Academy and elsewhere across our education work.
especially in the arts – will see a ‘new normal’ replacing And working groups drawn from across the organisation
our pre-pandemic ways of doing things. Some have are helping us plan ways to increase the diversity of our
predicted a scene where almost everything has artists, participants and future audiences, as well as
changed, while others talk – either approvingly or activities to improve our environmental sustainability.
with regret – of a swift return to previous rituals and
At the heart of everything is music and our outstanding
approaches. I think the truth – for us at least – lies
team of musicians. We have been taking steps to fill
somewhere in between.
vacancies in the Orchestra, after a period when COVID
We have been delighted to return to live concerts, and restrictions and other uncertainties made it too difficult
to feel the warmth of audiences that had so missed to be holding extended trials. It’s very heartening to see
this emotional ‘hit’ in their lives. We have now resumed that despite the new post-Brexit immigration system, we
pretty much all of our pre-COVID activities, and very are still receiving lots of really strong applications from
much hope that there will be no further enforced all over the world as well as the UK. Mirga and Kazuki
interruptions. But our reflections during the last two continue to offer exceptional artistic leadership, with the
years have led to some adjustments to ensure our work latter switching from Principal Guest to Chief Conductor
remains as accessible as possible. These have included and Artistic Advisor on 1 April next year. The international
relatively minor changes such as a more contemporary tours undertaken since the easing of the pandemic
concert dress code for Orchestra and Chorus, and have enabled us to connect once again with audiences
concert programmes that are downloadable for free around the world, and there are plenty more high-profile
in advance, but also some more significant moves to opportunities to do this over the next year or two.
rebalance the concert repertoire and better reflect the
None of this work could take place of course without
diversity of the West Midlands in our work.
our dedicated and energetic staff team. Over the last
It has been a particular joy to perform so many interesting year there has been quite a lot of change, including at
and exciting pieces composed by women (such as the senior level with long-serving Directors of Finance
Dani Howard’s Argentum, brilliantly played by the CBSO (Annmarie Wallis), Development (Simon Fairclough) and
Youth Orchestra in October) and by composers of Learning & Engagement (Lucy Galliard) being replaced
colour (such as the thrilling UK premiere in February of by equally talented successors – Emma Bunting, Claire
Robert Nathaniel Dett’s The Ordering of Moses). In fact Tilt and Tom Spurgin, respectively. I am hugely grateful
new and unfamiliar music has been a strong feature of to all of them and the rest of our staff and brilliant
our programming this last year, as we experimented musicians for all their efforts in keeping the CBSO at
with shorter concerts in 2021 and continued to roll out the high artistic level we have all come to expect. And I
our delayed Centenary Commissions. Many of these am equally grateful to our choirs and youth ensembles,
works have already entered the repertoire of other to our Board and volunteers, and of course to all our
orchestras – Thomas Adès’ The Exterminating Angel donors and audiences. Here’s to a great year ahead!
Symphony is a particularly good example, having had
a high-profile launch last summer in Birmingham and
at the BBC Proms.
There have been many other new initiatives introduced
or planned during the last year, especially in our Stephen Maddock OBE
Learning and Engagement work. We have used live CBSO Chief Executive

4
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

The Trustees are pleased to present their report together with the financial statements of the charity for the
year ended 31 March 2022, which are also prepared to meet the requirements for a directors’ report and
accounts for Companies Act purposes.

OBJECTIVES AND ACTIVITIES

Principal Activity

The principal activity of the charity is to provide a wide access to music for audiences and participants,
within the West Midlands region and beyond, through its concert performances and its extensive education
and choral activities.

Mission and Objects

Led by a world-class symphony orchestra, the CBSO family of instrumental and choral ensembles shares
musical excellence in performance, education and participation with the widest possible audiences in
Birmingham, the Midlands and internationally, enriching lives and inspiring people of all backgrounds.

The objects of the charity, as stated in its articles, are:

• To carry on, as a going concern, the undertaking of the orchestra known as the City of Birmingham
Symphony Orchestra.
• To promote, maintain or improve musical education and to encourage the arts of music, mime,
drama, singing and dancing.
• To undertake or assist in undertaking the organisation and management of bodies of musical
performers, performances involving the playing of music, lectures in the studies of music, other
educational activities connected with music and bodies of students or persons interested in music
in any part of the world.
• To promote education in or the appreciation or practice of music, or the production of musical
works, or the invention or improvement of musical instruments or of any means of reproducing
music, by financial or other inducements or awards.

Key Activities

The strategy employed to achieve the charity’s objectives is to undertake the key activities listed below:
• Promoting concerts in Birmingham as the resident orchestra at Symphony Hall, performing a wide
range of music, including evening and matinée subscription concerts, a series of lighter symphonic
repertoire on Friday nights, and schools’, family and early years concerts.
• Concert performances at other venues in the United Kingdom, including appearances at major arts
festivals.
• Concert performances around the world, acting as a cultural ambassador for the City of Birmingham,
the Midlands and the UK.
• Regular broadcasting work on radio and television, digital concerts which are streamed live and on
demand and the release of CDs for a variety of recording companies.
• An extensive education programme in schools and local communities, including a successful Youth
Orchestra.
• Running three “unpaid professional” choruses, one each for adults, young people and children, and
one un-auditioned community choir, all of which perform with both the CBSO and other musical
groups.
• Management of CBSO Centre, which is the Orchestra’s rehearsal and administrative home, but also
functions as a medium-scale performance venue and stages a series of mainly lunchtime chamber
concerts by CBSO players, as well as being let out to other arts organisations.

5
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

STRATEGIC REPORT

The Trustees of the charity are pleased to approve the following Strategic Report in their capacity as
company directors.

Achievements and Performance

Overview

The CBSO had to navigate another tricky year, with regular uncertainty about the progress of the COVID
pandemic pretty much throughout, as well as other uncertainties brought about by the latest phase of Brexit
changes. But there were many positives as we were able to restart live performances, choral rehearsals,
schools work, youth ensembles and international touring. By the end of the year the CBSO family was once
again operating at something like pre-COVID levels of activity, with audiences still significantly lower than
before the pandemic but increasing gradually. Key achievements during the year included:
• The appointment of Kazuki Yamada as our next Chief Conductor and Artistic Advisor (from April
2023), while Mirga Gražinytė-Tyla becomes Principal Guest Conductor in September 2022
• Successful applications to and use of the various government support packages (Job Retention
Scheme, Cultural Recovery Fund, and enhanced Orchestra Tax Relief) to help the Orchestra survive
the pandemic with its finances in a reasonable shape and without having made any redundancies
• A period of renewal in the Senior Management Team, with new Directors of Marketing &
Communications, Finance & Resources, Development and Learning & Engagement appointed
during the year to replace long-serving predecessors
• Further growth in the charity’s understanding of Equality, Diversity and Inclusion issues, with a
renewed Inclusivity & Relevance strategy supporting several significant new initiatives including
staff training
• Continued innovation and experimentation with digital formats, building on what we had learned
during the previous year

Orchestra Activities

Birmingham Concerts

During the year, the Orchestra and its associated ensembles gave 90 (2021: 10) performances for live
audiences in Birmingham, in our orchestral home of Symphony Hall, at CBSO Centre, and elsewhere in and
around the city. Highlights included:
• A summer series of concerts for socially-distanced audiences from mid-May (the first week this was
allowed under the COVID rules) to early July, featuring an exceptional line-up of artists (mostly UK-
based for practical reasons) including Stephen Hough, Edward Gardner, Ian Bostridge, Karen Cargill
and Nicholas Collon, as well as Mirga Gražinytė-Tyla and Kazuki Yamada. Each concert was played
without interval, twice on the same day.
• Two separately-announced seasons for 21-22: from September to Christmas and from January
onwards. This included a much more familiar range of concert strands including Matinées, Friday
Night Classics and Family Concerts.
• Mirga Gražinytė-Tyla appeared with the Orchestra in June (Weinberg and Mahler), November
(Janáček’s opera The Cunning Little Vixen) and March (Tchaikovsky and Stravinsky).
• Kazuki Yamada conducted concerts in June (Anderson and Dvořák), September (Saint-Saëns’ Organ
Symphony plus music by Tchaikovsky and Poulenc to open the season) and January (Strauss Don
Juan, Mozart arias with soprano Fatma Said and Mahler’s Symphony No. 4).
• Several more CBSO Centenary Commissions received their premiere: Julian Anderson’s cello
concerto Litanies, Thomas Adès’ The Exterminating Angel Symphony, Mark-Anthony Turnage’s Go
For It!, Debbie Wiseman’s Carnival of the Endangered Animals and Jonathan Dove’s In Exile.

6
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

• There were three other UK premieres by Canadian composers Cassandra Miller (La Donna), Samy
Mousa (Nocturne) and Robert Nathaniel Dett (The Ordering of Moses), as well as another 24 works
by living composers including Gabriel Prokofiev, Arvo Pärt and Mason Bates.
• The Orchestra continued to increase the amount of music composed by women in its repertoire
with 20 works played in total during the year. Composers included Augusta Holmès, Anna Clyne,
Caroline Shaw, Missy Mazzoli, Florence Price, Judith Weir, Dani Howard and Fanny Mendelssohn.
• There were also 10 works played by composers of colour, including Samuel Coleridge-Taylor,
Florence Price, Samy Moussa and Errollyn Wallen.
• The CBSO’s second cohort of Youth Ambassadors (aged 16–21) programmed and presented a
concert at Symphony Hall in March. Their innovative approach produced a mainly contemporary
programme including music by Gabriel Prokofiev, Missy Mazzoli and Philip Glass.
• The Orchestra gave two fully-staged performances of Wagner’s Rhinegold in partnership with
Birmingham Opera Company at Symphony Hall, conducted by their Music Director (and former
CBSO Assistant Conductor) Alpesh Chauhan.
• In a new initiative, two immersive performances, Symphonic Sessions, at Hockley Social Club
combined small-scale, cutting-edge music with outstanding street food, reaching a completely
new audience.
• The Orchestra resumed its concerts for children, giving six Schools’ Concerts and two Family
Concerts at Symphony Hall.
• In October the Orchestra gave two free concerts at New Street Station on Friday at rush hour, as
part of its commitment to reaching audiences well beyond the concert hall.

Other UK Concerts

After a year in which the Orchestra had not been able to venture beyond Birmingham, we were delighted to
be able to make some very welcome returns to UK venues for the first time since the start of the pandemic.
Highlights included:
• A concert at the BBC Proms with Mirga Gražinytė-Tyla, featuring three symphonies, two of which
were written for the CBSO: the first by Thomas Adès, based on his opera The Exterminating Angel
(a CBSO Centenary Commission receiving its London premiere), and the second by Ruth Gipps, a
CBSO oboist in the 1940s. The evening concluded with the Third Symphony by Brahms, and the
whole concert was carried live on BBC Radio 3 and BBC4 TV.
• A French–Canadian programme with conductor Kevin John Edusei and pianist Kirill Gerstein in
Cardiff’s St David’s Hall
• The traditional New Year’s Viennese programme at Malvern Theatres, as well as another visit for
Beethoven’s Pastoral Symphony
• A concert of Mozart and Schubert with Kazuki Yamada and CBSO Leader Eugene Tzikindelean as
soloist in The Venue, Leeds
• A concert of Tchaikovsky and Stravinsky in Nottingham’s Royal Concert Hall, with Mirga Gražinytė-
Tyla and violinist Patricia Kopatchinskaja

Overseas Touring

After two years of COVID-enforced cancellations – during which eight tours were cancelled or postponed
– the Orchestra was finally able to resume its touring activities in November 2021. This was with a highly
ambitious project: three semi-staged performances of Leoš Janáček’s 1920s opera The Cunning Little Vixen
in Dortmund, Hamburg and Paris. The production was conducted by Mirga Gražinytė-Tyla, and featured a
superb international cast led by Elena Tsallagova, Angela Brouwer and Roland Wood, and including eight
children from Trinity School (London) in a variety of roles as small woodland creatures. Logistics for this tour
were significantly complicated by the different COVID regimes in the countries we visited, plus the fact that
it was our first international tour in the post-Brexit era. It was an artistic and financial success, with no major
problems, thanks to the thorough planning of our staff team and tour agents.

7
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

In March – April 2022 we carried out a more traditional extended tour, encompassing fourteen concerts
in ten cities (Frankfurt, Hannover, Hamburg, Paris, Luxembourg, Antwerp, Dortmund, Graz, Linz, Vienna)
in five countries (Germany, France, Luxembourg, Belgium, Austria). Mirga again conducted, with soloists
Patricia Kopatchinskaja and Sheku Kanneh-Mason. There were still major COVID restrictions, and thanks to
the Brexit trade agreement our new instrument truck was only able to join us for four of the cities – the cost
of a rental vehicle for the other venues adding significantly to our costs. It was again a most successful tour,
and thanks to our rigorous health and safety regime it was only at the very end of the tour that we had a very
small number of COVID cases in the Orchestra.

Digital Activities including Broadcasting and Recording

At the start of the year the Orchestra was limited by the COVID regulations to playing for the cameras only. As
live performances became possible from mid-May, we were able to resume our normal radio broadcasting
activities as well as continuing some of our smaller-scale digital activities trialled during the pandemic.
Activities included:

• Four digital concerts recorded at Symphony Hall, with conductors Ryan Bancroft, Ben Gernon,
Jonathan Bloxham and Kazuki Yamada. These were among eight films released on Marquee TV
(available to an international audience), and featured an eclectic range of music by Glazunov,
Caroline Shaw, Saint-Saëns, Samuel Coleridge-Taylor, Nielsen, Anna Clyne and Takemitsu among
others.
• Six concerts were recorded for broadcast on BBC Radio 3, which included CBSO Centenary
Commissions by Julian Anderson and Jonathan Dove, and the UK premiere of the major choral work
The Ordering of Moses by Robert Nathaniel Dett.
• Our BBC Prom concert of Gipps, Adès and Brahms was broadcast live on BBC4 TV.
• For Deutsche Grammophon we recorded Weinberg’s Symphony No. 3 and Rhapsody on Moldavian
Themes; DG also released The British Project on CD (recordings of music by Elgar, Walton, Vaughan
Williams and Britten with Mirga Gražinytė-Tyla).
• Two concerts on the March tour of Europe were broadcast by national radio stations in Belgium and
Austria.
• The Orchestra recorded the soundtrack for Coventry Moves, the opening event of Coventry’s City
of Culture programme. This was composed for the occasion by Benjamin Kwasi Burrell.
• The Orchestra, conducted by Alpesh Chauhan, gave a special filmed performance of music by Anna
Clyne, Sarasate (with Canadian violinist James Ehnes) and Elgar as part of the ceremony to launch
the Queen’s Baton Relay for the Birmingham 2022 Commonwealth Games. This was projected onto
the front of Buckingham Palace in the presence of HM The Queen, our patron HRH The Earl of
Wessex, and political leaders.
• One of our Natural World Schools’ Concerts was filmed and distributed to Birmingham primary
schools, and we also live-streamed a schools’ performance of Carnival of the Animals as well as a
Relaxed Concert.

Our Choruses

The CBSO Chorus sprang back into action in 21/22, opening the season with Poulenc’s Gloria and
Tchaikovsky’s 1812. Also included in the season-opening was our CBSO Youth Chorus (YC), performing
Fauré’s Messe Basse, a performance which included many YC alumni whom COVID had prevented from
performing their final YC performance in 2020. For the CBSO Chorus, Fauré’s Requiem followed in November
2021, and just over a week later they were performing Janáček’s The Cunning Little Vixen – the first of their
Czech pieces scheduled for the season.

Throughout autumn and winter, the Junior Children’s Chorus, Children’s Chorus, and Youth Chorus prepared
for their first Christmas concerts since 2019. The repertoire included Christmas on the Beach at Waikiki
for the JCC and CC; The Twelve Days After Christmas by the YC; plus a brand new piece for the CBSO

8
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

Chorus, Christmas Bells, written and composed by a Chorus member. The CBSO Chorus also entertained at
Birmingham Snow Hill offices with a round of festive carolling.

The new year began with Debussy’s Sirènes sung by the Youth Chorus, and followed by a UK premiere of
Nathaniel Dett’s The Ordering of Moses, sung by the CBSO Chorus, which was recorded by BBC Radio 3. The
CBSO Chorus then performed at the Barbican in London, giving a 5-star performance of Janáček’s Glagolitic
Mass with the Czech Philharmonic led by Semyon Bychkov.

All choruses have been conducting auditions and re-auditions throughout the season, and we have been
grateful that so many of our members have continued through our online rehearsals during the pandemic.
Our membership alone has made the last nine months of singing possible, and we are keen for many more
singers, of any age, to come and join us for the 22/23 season.

Learning & Participation Activities

For the Learning & Engagement team, much of the start of the 21/22 financial year took place online, with
all choirs rehearsing online in the summer term. We also delivered 81 workshops across 12 schools as part of
the residency programme (engaging 429 pupils); 44 workshops across 28 schools (3,291 pupils) as part of our
schools’ packages; and three live-streamed concerts reaching around 3,000 children.
The move into autumn saw the return of more live events. We were very proud to deliver a programme of
work with Audiovisibility, supporting pupils from Braidwood School in Birmingham to create and perform new
music, and enabling hundreds of D/deaf children and young people to participate in a live-streamed concert
from CBSO Centre. Dame Evelyn Glennie joined a small ensemble of CBSO musicians for the concert, which
was live-streamed and free to access.
The spring term saw the department return to levels of pre-pandemic activity both in and out of school.
Between January and April we delivered: 82 workshops across 16 schools as part of our residency programmes
engaging with 934 individual pupils; 13 live or streamed schools’ concerts reaching almost 12,000 children
and young people; 6 concerts for early years and family audiences; 13 community choir rehearsals; and 26
rehearsals and performances by young instrumentalists as part of CBSO Youth Orchestra and Project Remix.

Our volunteers

The charity relies on a significant number of volunteers who, as well as performing in our world-class
Choruses, also support the administrative staff with marketing, research and other duties.

All of our trustees act in a voluntary capacity. As well as fulfilling their Board duties they help with the
fundraising activities of the charity and offer support to the senior management team, staff and players.

Financial Review

The results for the year to 31 March 2022 and the preceding financial year are set out in the Statement of
Financial Activities on page 24.

The net financial result for the year was a surplus of £1.4m of which £672,000 related to actuarial movement
on the Defined Benefit pension scheme (2021: £0.6m surplus). The COVID-19 pandemic remained a
challenge throughout the year as reduced audiences returned to live performances, the charity benefited
from the continued loyal support of its many donors and from Arts Council England Culture Recovery Funds
as well as making use of the Government’s Job Retention Scheme.

Total income for the year was £9.3m (2021: £6.9m). The principal funding sources of the charity in the year
were:
• revenue grant income from Arts Council England of £2,221,113 and £607,836 from Birmingham
City Council, both of which showed level funding compared with the previous year

9
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

• a Culture Recovery Fund grant of £480,000 and a provision from prior year of £172,500
• £476,665 of income from the Job Retention Scheme which helped to cover the salaries of all
musicians and more than half of the staff whilst activity was at a standstill and/or significantly
reduced
• Earned income of £2.6m (2021: £0.2m) generated from ticket income for Symphony Hall concerts
and fees from orchestral touring in the UK and overseas
• £2.5m of sponsorship and donations received from trusts, individuals, and corporate supporters.
(2021: £1.2m)
• a £350,000 one-off contribution to the Defined Benefit Scheme was made during the year to
facilitate the recovery plan

A full analysis of expenditure on charitable activities is given in note 7. Total expenditure for the year was
£9.6m (2021: £6.3m).

The charity continues to rely on the long-term benefit of Orchestra Tax Relief, which alongside the valuable
support of our donors and sponsors helps to sustain the standard and breadth of the CBSO’s work.

There was a large decrease in the Defined Benefit Pension Scheme liability to £7.5m (2021: £8.6m).

The main positive impacts on the balance sheet position since last year are due to the change in market
conditions over the year – bond yields have increased over the period, resulting in a higher discount rate
and a lower liability value, together with contributions paid to the Scheme by the Company, net of expenses
paid out. Furthermore, the investment return achieved on the Scheme’s assets over the period was higher
than the discount rate used last year. This was partly offset by inflation experienced, and future expected
inflation increases, which has increased the value placed on the liabilities.

With a deficit recovery plan that runs to at least April 2034 the ongoing funding of this Scheme will continue
to be a significant financial cost for the charity for many years to come.

Plans for future periods

As part of its ongoing sustainability planning, and to support and inform its fundraising activities and
public funding grant applications, the CBSO Board maintains a robust strategic business planning cycle.
Over the last year we have again been able to focus on some medium–longer term goals as the COVID-19
uncertainties have gradually reduced. We submitted outline plans for 2023–26 to Arts Council England as
part of our application for National Portfolio funding for that period. This application – and our consequent
plans – are strongly informed by ACE’s strategy Let’s Create, with a renewed focus on community activities,
co-creation and interaction with audiences, and the government’s priorities around levelling up for culture.
In the year ahead we aim to deliver against these priorities by:
• Showcasing CBSO in our communities with targeted concert, audience development and Learning
& Engagement activities to make us more reflective of the diversity and demographics of the West
Midlands as a whole
• Working with Shireland Collegiate Academy Trust to open Shireland CBSO Academy in Sandwell in
September 2023, a project unique in the world
• Improving our financial position by continuing the successful rollout of our Sound of the Future
fundraising campaign, re-establishing and then growing other annual income streams to help build
both our General Reserve and Endowment Fund levels
• Recruiting and retaining the best possible musicians and Chorus members
• Advocacy work with our public funders and other government agencies to secure the best deal for
the finances of arts organisations in the future
• Focusing on the environmental impact of our activities, both at home and abroad, and seeking to
minimise our carbon footprint

10
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

Alongside this we will continue to deliver and plan an ambitious and exciting artistic programme, the
highlights of which will include:
• Performing a wide-ranging programme of concerts led by Mirga Gražinytė-Tyla, Kazuki Yamada and
guest conductors, designed to appeal to the broadest possible audiences in the West Midlands and
further afield
• The remainder of our series of 20 landmark commissions (plus 20 short works from young
composers) comprising pieces for the whole CBSO family and across the range of our concert
strands; the final seven major works are scheduled for the 2022-23 season and include music by
Roxanna Panufnik, Brett Dean, Thomas Larcher, Freya Waley-Cohen and Dani Howard.
• Tours to the most prestigious venues and festivals worldwide, including: eight concerts in the USA
with Mirga Gražinytė-Tyla and soloist Sheku Kanneh-Mason, our first major tour there in nearly 25
years; a ten-concert European tour in March 2023; a performance of Mahler’s Symphony No. 10
with Mirga Gražinytė-Tyla at the Leipzig Mahler Festival; a tour to Japan (postponed from 2021) in
June 2023 with Kazuki Yamada; further tours to Europe and Asia with Kazuki Yamada
• A short festival in November 2022 celebrating the 150th birthday of composer Ralph Vaughan
Williams
• A collaboration with Birmingham Opera for a new production of Britten’s Peter Grimes in summer
2024, conducted by Alpesh Chauhan
• Major involvement in Birmingham’s Commonwealth Games celebrations in summer 2022
• Visits to all the major UK festivals including the BBC Proms, Aldeburgh and Edinburgh
• Further recordings for Deutsche Grammophon, Chandos and other labels
• Chorus engagements with choirs, orchestras and festivals in London, Monte Carlo, Hamburg and
Sydney
• Collaborations with Birmingham partners including University of Birmingham, Royal Birmingham
Conservatoire, Birmingham Contemporary Music Group, Hockley Social Club, B:Music, Ex Cathedra
and Culture Central

Fundraising Practices

The CBSO has a professional and established Development function, which strives to raise income to
support all aspects of the CBSO’s work. The team raises funds from the following income sources:

• Corporates
• Trusts and Foundations
• Individuals

During last year fundraising income increased to £2.5m recovering and strengthening from pre-pandemic
levels. This has enabled us to raise over £7m of the £12.5m target for the fundraising campaign ‘The Sound
of the Future’.

None of this would have been possible without our donors, both individuals, trusts and foundations and
corporates who have so generously supported us – thank you.

In order to ensure that donors are at the heart of our fundraising we voluntarily subscribe to the Fundraising
Regulator and continue to ensure adherence to the Regulator’s Code of Fundraising Practice. Our full gift
acceptance policy is reviewed annually by the Audit & Risk Committee. This policy, which is based on Charity
Commission guidelines, sets out the charity’s procedure for accepting gifts from donors and the reporting
and use of such donations. We are pleased to report that in the financial year 2021/22 there were no
complaints to the charity about its fundraising work.

Much of the Orchestra’s revenue comes from ticket buyers and donors whose relationships with the charity
have developed over several decades. The charity takes particular care to maintain these relationships by
avoiding being unreasonably persistent or placing undue pressure on potential donors to give money. It:

11
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

• Places the value of ‘respect’ at the heart of its Fundraising Plan which is debated and approved
annually by the board of trustees and informs the day-to-day work of the charity’s fundraisers.
The plan states: ‘in our fundraising work we will treat current and potential donors with respect,
being polite and honest, avoiding being overly aggressive, and being especially careful not to take
advantage of donors in vulnerable circumstances’.
• Ensures procedures and systems are in place to avoid making persistent direct marketing or face-
to-face requests of the same individual for support.
• Excludes individuals who have asked not to receive fundraising information – whether directly or
via the Fundraising Preference Service – from relevant communications.
• Ensures a high proportion of the money required is in place before each financial year begins –
either through donations received or through expected renewals from regular supporters – thus
ensuring that communications with potential donors can take place without pressure to secure an
immediate gift.

Risk management

The trustees are aware of the need to assess the risks faced by the charity and respond in such a way as
to manage those risks appropriately. A risk register is maintained in which risks are scored for likelihood
and impact and appropriate risk management strategies are established. Individual senior managers and
the Audit & Risk Committee are responsible for monitoring the register which is formally reviewed by the
charity’s Board on a regular basis.

The trustees consider that the major risks facing the charity are:

• The ongoing and long-term impact on its activities and income streams from the COVID-19
pandemic
• Continued pressure on public funding
• The threat of reduced box office income generally
• Under-funding of the CBSO Defined Benefit Pension Scheme which was closed to future accrual in
September 2010
• The loss of support from sponsors, trusts, foundations and individual donors
• The operational complexities and higher costs resulting from Brexit
• An increased regulatory environment

A focus on the relevant key performance indicators (KPIs) and good relationships with our key funders,
Defined Benefit Pension Scheme trustees and suppliers ensures that these major risks are constantly
monitored, and appropriate corrective action taken. KPI’s are monitored on a regular basis and include
monitoring of monthly management accounts against approved budgets, cashflow forecasts, reserves
position, ticket sales and ticket capacity.

In addition, we have a strong system of internal control and comprehensive management reporting
processes which include:

• A robust strategic planning and annual budgeting system, which is approved and reviewed by the
trustees
• Regular reviews by the trustees of quarterly and annual financial reports which monitor financial
performance against approved budget and forecasts
• Consideration of all financial issues by the Audit & Risk Committee and subsequent feedback to the
trustees
• A formal internal audit programme which covers the key risk areas on a rotational basis
• Formal limits on staff members’ ability to authorise expenditure
• Segregation of duties amongst members of staff in so far as it is possible

12
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

Reserves

In accordance with best practice and Charity Commission guidance the charity maintains free reserves in
order to provide for contingencies that may arise in the future. For the purposes of this policy the trustees
define free reserves to be the general unrestricted reserve.

The charity’s overall reserves policy is unchanged and sets a target range for free reserves of between three
to six months’ core costs. This target has been set at a level which in the trustees’ opinion would allow them
to withstand any fluctuations in trading conditions or, in extreme circumstances, manage an orderly wind-
down of the Orchestra’s activities. On this basis the target range for free reserves is between £1.5m and £3m.

Despite the impact of COVID-19 the level of free reserves increased during the year to £2.7m (2021: £2.3m).
This was achieved by a return to significant earned income, successful fundraising and the continued
support of Arts Council England’s Culture Recovery Fund and the Government’s Job Retention Scheme.

The designated reserve was created in previous financial years to fund the increased artistic cost of the
Orchestra’s centenary celebrations. Given the impact of COVID-19 on the planned centenary activities
the Board has agreed that use of this reserve can be extended to cover activities in the 2022-23 season.
Amounts used in the year were £38,000 (2021: £3,000). Any unused element of the reserve will be returned
to the general reserves at the end of that period.

The recognition of the Defined Benefit Scheme pension liability under FRS102 continues to have a
significant effect on the reported unrestricted reserves of the charity. This liability is updated annually to
reflect market conditions and other actuarial assumptions and this year showed a large decrease to £7.5m
(2021: £8.6m). Although this is a significant figure it does not mean that an immediate liability for this
amount becomes payable, nor that there will be any short-term cashflow impact for the charity. The level of
annual contributions required to support the Scheme is determined by a triennial actuarial valuation. The
charity and Pension Scheme completed the April 2021 valuation during the year thus ensuring that the
previously agreed recovery period end date of December 2034 can be maintained without any significant
increase in the level of annual deficit contributions required from the CBSO.

Investment Policy

The charity’s stated objective is that the real value of the assets and the income derived from them be
maintained and enhanced over the long term by investment in cash and other suitable investments in line
with its future business plans and the annual budget that is approved by the trustee Board.

During the year, the charity held significant levels of cash due to the change in its income streams – with
Arts Council Culture Recovery Fund and Job Retention Scheme monies received more immediately than
the support that normally comes from Orchestra Tax Relief. However, whilst interest levels remain low the
charity’s investments have been held in short-term cash deposits with two major UK banks. The allocation
of surplus cash and the overall charity investment policy is reviewed by the Audit & Risk Committee on an
annual basis.

In the context of guidance issued by the Charity Commission and following the appropriate assessments
the CBSO trustees have instructed that the charity’s investments should be managed on a medium- to
low-risk basis.

Public Funding and Going Concern

The charity is supported by grant aiding bodies. Revenue grant income from this source amounted to £2.9m
representing 32% (2021: 41%) of the charity’s total income.

Annual revenue grants from Arts Council England are secured up to 31 March 2023, at current levels of
funding. Arts Council England has provided further support for the sector through its Culture Recovery

13
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

Fund. The charity was successful in this award; the financial year reflects awards carried forward from round
1 of £172,500 and a further £480,000 in round 2.

During the year the charity enjoyed continued support from the government’s Job Retention Scheme to
help fund the salaries of both musicians and staff whilst activity remained restricted during the first half of
the year. Orchestra Tax Relief continues to be of significant benefit to the CBSO.

To demonstrate its continued support for the Arts, in a period that includes Coventry’s role as City of Culture
in 2021 and the Commonwealth Games in Birmingham in 2022, Birmingham City Council has agreed its
overall arts budget for the four years up to March 2023. The CBSO’s share of this arts budget continues at a
level of £0.6m for 2022-23. As we continue to enjoy a close relationship with the councillors and executive
team who are hugely supportive of the work that we do and our role in enhancing the profile of the city, we
expect this level of grant award to be maintained in their remaining two budget years.

Apart from its public funding, the CBSO has a broad range of other income sources and it is not critically
dependant on any other single organisation for funding. A number of sponsorship and other funding
agreements are in place which run for more than two years after the balance sheet date. In addition to
performances at Symphony Hall, a significant number of engagements, particularly in relation to overseas
touring in 2022-23 and beyond, are confirmed.

Despite the challenging climate currently, as the charity has an improved level of general reserves, a healthy
cash balance, the benefit of Orchestra Tax Relief as well as other returning sources of income and the
continued support of its major funders and the CBSO Development Trust, the trustees consider the going
concern basis to still be appropriate for the preparation of these financial statements.

Equality, Diversity & Inclusion (EDI)

Over the last year, the CBSO has been working to embed EDI further into its programme, its culture, and its
forward plans. The CBSO’s EDI Plan is being reviewed by the Senior Management Team and will be refreshed
ready for the start of the 22/23 year and will align with our commitments as part of our 23-26 Arts Council
England National Portfolio application.

In 2021, the CBSO submitted a successful funding bid to the Esmée Fairbairn Foundation for £180,000 over
three years. This money will help fund the CBSO’s Career Accelerator Programme for early career string
players from under-represented backgrounds in our sector. The programme starts in 22/23 and will provide
paid performance opportunities, 1:1 mentoring from CBSO players, audition support, training with our
Learning & Engagement team, and the opportunity to get involved in a range of L&E projects and activities.
This programme aims to take positive action in address the lack of diversity in our sector.

In preparation for submitting the most recent NPO application, the CBSO has committed to the following
three-year aim within its Inclusivity & Relevance plan:

• By collaborating with West Midlands communities, the CBSO becomes more representative of
and relevant to under-represented groups. Its workforce, board, participants and audiences better
represent local demographics, and Shireland CBSO Academy helps plug the ‘diversity leak’ in the
classical music pipeline.

To reach this goal, the CBSO committed to the following 12-month goals:

• Newly-appointed Chair of the Board to model and lead the change in EDI practices across the CBSO.
• Pilot collaborative activity in target LSOAs to create programmes relevant to our communities.
• Develop new data strategy to more accurately track audience and participant data across all activity.

Alongside these large-scale strategic developments, the following project activity took place that
championed EDI and inclusive cultures:

14
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

• Our programme of work with our Youth Ambassadors culminated in a Symphony Hall performance
in February.
• The Youth Orchestra performed Florence Price’s Piano Concerto in D with Dr Samantha Ege in
February 2022.
• Approximately 4,800 pupils watched our Relaxed Concerts for children and young people with
Special Educational Needs and Disabilities in February 2022. This included almost 300 watching
live and an additional 4,500 watching digitally at a later date.
• Continued conversations with Black Lives in Music about ongoing partnerships and ‘critical friend’
opportunities in connection to the Career Accelerator programme.
• Project Remix took place in February 2022, working with South Asian musicians and artists from
around Birmingham, and focusing on a western and Indian classical crossover for young musicians.
40% of the children and young people attending this programme were from Black, Asian or
ethnically-diverse backgrounds.
• Our newly-formed Equality, Diversity and Inclusion Group met twice to help build broader
engagement across the staff team and musicians. N.B. This group will continue in 22/23 following
a review by new EDI Strategic Lead, Tom Spurgin, Director of Learning & Engagement.

Public Benefit

In considering the strategies and policies of the charity the trustees have had due regard to the public
benefit guidance published by the Charity Commission, in accordance with the Charities Act 2011.

Our latest Business Plan continues to champion education, learning and audience/community engagement
as key priorities and sets out appropriate strategies and activities to enable us to deliver against our
objectives in this area.

One of the key priorities is increased diversity and participation in musical activities across Birmingham
and the West Midlands, ensuring that everyone in the region has the opportunity to experience our work,
regardless of age, background or financial means. Our activities in this regard are also informed by the
priorities of our key public funders, Birmingham City Council and Arts Council England.

We have been delighted that as the pandemic eased, we were able to return to live performances with
audiences in our 21/22 Season.

A selection of our activity and output included

• An eight-week summer Season of socially-distanced concerts which started mid-May and ran until
July. As these concerts had a limited capacity of just 600 per performance, we performed each concert
twice in one day to ensure maximum possible attendance. Overall, these 16 concerts were attended
by 5,751 people all of whom were delighted to be able to attend live performances once more.
• Launching our 21/22 Season in two parts, putting on sale a total of 75 concerts at CBSO Centre and
Symphony Hall from September 2021 – March 2022 attended by 35,701 people.
• Releasing a series of digital ‘Cuppa Concerts at Home’ for those living in care who were unable to
attend performances in person due to the pandemic.
• Creating a new concert format outside of the traditional concert hall setting. Formulated in
partnership with Hockley Social and entitled ‘Symphonic Sessions’, these musical evenings have
been curated by our musicians and offer an eclectic mixture of music in an informal setting. Prior to
the performance audience members can enjoy a variety of food from a selection of Birmingham’s
finest street food vendors and then the performance itself.
• Continuing to give free tickets to NHS workers as part of our commitment to provide a total of
5,000 free tickets.
• Creating a £5 ticket offer for students and continuing to promote our £10 tickets for those aged
18-30 which proved to be highly popular, with 3,177 student tickets sold and 1,211 18-30 tickets
• Forming a partnership with Tickets for Good to reach those who might otherwise not be able to
attend CBSO performances.

15
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

REFERENCE AND ADMINISTRATION DETAILS

Charity Registration number: 506276
Company Registration number: 1262018
Registered Office: CBSO Centre, Berkley Street, Birmingham, B1 2LF

Our advisers
Auditors RSM UK Audit LLP 103, Colmore Row, Birmingham. B3 3AG
Bankers HSBC Bank plc 130, New Street, Birmingham. B2 4JU
Solicitors Shakespeare Martineau No. 1 Colmore Square, Birmingham. B4 6AA
Insurance Brokers Marsh Limited 6th floor, 4 Brindleyplace, Birmingham. B1 2JQ

The directors of the charitable company (the charity) are its trustees for the purpose of charity law. The
trustees and officers serving during the year and since the year end are as follows:

Trustees: David Burbidge CBE, DL # (Chair)

David Roper # (Deputy Chair)
Cllr Sir Albert Bore
Cllr Alex Yip
Timothy Birchall * ~ (appointed 3 August 2021)
Tony Davis * (resigned 14 March 2022)
Helen Edgar ~
Susan Foster (resigned 3 November 2021)
Joe Godwin # (resigned 3 November 2021)
Elspeth Dutch ~ (resigned 3 August 2021)
Jane Fielding #
Emily Ingram
Sundash Jassi *
Chris Loughran DL
Lucy Williams *

Senior Management Stephen Maddock OBE Chief Executive

Team Annmarie Wallis Director of Finance and Resources
(resigned 30 September 2021)
Company Secretary (resigned 25 January 2022)
Emma Bunting Director of Finance and Resources
(appointed 17 August 2021)
Company Secretary (appointed 25 January 2022)
Gareth Beedie Director of Marketing & Digital
Simon Fairclough Director of Development
(resigned 8 September 2021)
Lucy Galliard Director of Learning & Engagement
(resigned 13 October 2021)
Jenny Nicholls Director of Concerts

Senior Music Officers Mirga Gražinytė-Tyla Music Director

Simon Halsey CBE Chorus Director
Member of: * Audit & Risk Committee, # Nominations & Remuneration Committee, ~ Orchestra Member

16
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

STRUCTURE, MANAGEMENT AND GOVERNANCE

Governing Document

City of Birmingham Symphony Orchestra (CBSO) is a company limited by guarantee governed by its Articles
of Association dated 23 July 2015. It is registered as a charity with the Charity Commission. Anyone over the
age of 18 can become a member, and there are currently 579 members, each of whom agrees to contribute
a sum not exceeding £1 in the event of the charity’s being wound up.

Organisation

The Board of Trustees administers the charity. The board meets around six times a year to review strategy
and corporate governance and to approve and monitor performance against annual budgets and plans. A
review in 2021 of its governance practices concluded that the CBSO’s governance arrangements are well
designed and represent good practice. There are no significant weaknesses or diversions from The Code.

There are two formally constituted Board committees each of which includes a minimum of three suitably
qualified trustees. The Nominations & Remuneration Committee advises the Board on the operation
and effective discharge of its corporate governance responsibilities and oversees the performance
and appointment of all elected trustees. The Audit & Risk Committee assists the Board by making
recommendations in the areas of risk assessment/management, audit & internal control, budgets and
longer-term plans and by reviewing performance against the objectives set out in the approved budget and
operational plans.

Additionally, an Artistic Forum, which has a wide membership including trustees and representatives of all
areas of the charity’s artistic activities, meets two to three times a year to consider artistic plans and ensure
that the charity’s mission is being maintained at the highest possible level.

A Chief Executive is appointed by the trustees and together with the other members of the senior
management team manages the day-to-day operations of the charity.

Appointment of trustees

Most trustees are appointed by the board, with reference to a skills audit, and on the recommendation
of the Nominations & Remuneration Committee. All trustees nominated through this process are subject
to ratification by members at the Annual General Meeting. In the recruitment of new trustees, the charity
seeks to promote an appropriate balance of age, gender and ethnicity so that the overall profile of the Board
becomes more representative of the communities that it serves.

There are four additional trustees, two of whom are nominated by Birmingham City Council and two by the
players. Trustees nominated in this way are not subject to members’ ratification.

Trustee induction and training

New trustees undergo a thorough induction to brief them on their legal obligations under charity and
company law, the content of the Articles of Association, the committee structure and decision-making
processes, and the mission, budget and financial performance of the charity. During the induction process
they meet key employees and other trustees.

17
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

Throughout their term trustees are provided with regular updates on their duties as a trustee and general
charity governance. They are also encouraged to:
• broaden their understanding of the charity’s activities by spending time with key staff, attending
concerts/other events and participating in project and other working groups.
• attend appropriate external training which will assist them in carrying out their duties.

Trustee Liability Insurance

The charity holds Trustee Liability insurance on behalf of its Directors and Officers at a cost of £9,520 (2021:
£9,395).

Pay policy for senior staff

The board of trustees and the senior management team comprise the key management personnel of the
charity in charge of directing and controlling, running and operating the CBSO on a day-to-day basis. All
trustees give up their time freely and no trustee received remuneration or any expenses in the year. Details
of any trustee related party transactions are disclosed in note 20 to the accounts.

The pay of the senior management team is reviewed annually and normally increased in accordance with the
annual pay award made to all of the charity’s other administrative staff in April of each year. Benchmarking
of salaries is carried out as required and adjustments made where necessary to ensure parity with similar
roles in the orchestral sector and/or comparable local organisations.

Trustees’ responsibilities in relation to the financial statements

The trustees (who are also directors of City of Birmingham Symphony Orchestra) are responsible for
preparing the Trustees’ Report and the financial statements in accordance with applicable law and United
Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

Company law requires the trustees to prepare financial statements for each financial year, which give a true
and fair view of the state of affairs of the charitable company and of the incoming resources and application
of resources, including the income and expenditure of the charitable company for that period. In preparing
these financial statements, the trustees are required to:
• select suitable accounting policies and then apply them consistently.
• observe the methods and principles in the Charities SORP.
• make judgments and estimates that are reasonable and prudent.
• prepare the financial statements on the going concern basis unless it is inappropriate to presume
that the charitable company will continue in business.

The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy
at any time the financial position of the charitable company and enable them to ensure that the financial
statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of
the charitable company and hence for taking reasonable steps for the prevention and detection of fraud
and other irregularities.

The trustees are also responsible for the maintenance and integrity of the corporate and financial
information included on the charity’s website. Legislation in the United Kingdom governing the preparation
and dissemination of financial statements may differ from legislation in other jurisdictions.

18
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
REPORT OF THE TRUSTEES
for the year ended 31 March 2022

Statement as to disclosure of information to auditors

The trustees who were in office on the date of approval of these financial statements have confirmed, as far
as they are aware, that there is no relevant audit information of which the auditors are unaware. Each of the
trustees has confirmed that they have taken all the steps that they ought to have taken as directors in order
to make themselves aware of any relevant audit information and to establish that it has been communicated
to the auditor.

Auditors

A resolution will be proposed at the Annual General Meeting that RSM UK Audit LLP be re-appointed as
auditors to the charity for the ensuing year.

ACKNOWLEDGEMENTS

The Board of the CBSO would like to express its deep appreciation to the large number of people and
organisations that support the activities of the charity. Primary amongst these are:
• CBSO’s major donors, benefactors, legators, circle supporters, patrons and friends.
• The charity’s corporate members and supporters.
• Trusts and Foundations which generously support all aspects of our work.
• The City of Birmingham Orchestral Endowment Fund.
• Members and supporters of the CBSO Development Trust.

The board is also grateful for the vital ongoing and exceptional support of the charity’s public funders, Arts
Council England and Birmingham City Council.

The board is appreciative of the deep commitment of the orchestral musicians, administrative staff and
volunteers who help to maintain its standing as a word-class orchestra.

This report, incorporating the Strategic Report, was approved by the trustees on 11 October 2022.

By order of the trustees

David Burbidge CBE (Chair)

19
INDEPENDENT AUDITORS’ REPORT TO THE MEMBERS
OF CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

Opinion

We have audited the financial statements of City of Birmingham Symphony Orchestra (the ‘charitable
company’) for the year ended 31 March 2022 which comprise the Statement of Financial Activities, the Balance
Sheet, the Statement of Cashflows and notes to the financial statements, including significant accounting
policies. The financial reporting framework that has been applied in their preparation is applicable law and
United Kingdom Accounting Standards, including FRS 102 “The Financial Reporting Standard applicable in
the UK and Republic of Ireland” (United Kingdom Generally Accepted Accounting Practice).
In our opinion the financial statements:
• give a true and fair view of the state of the charitable company’s affairs as at 31 March 2022 and of
its incoming resources and application of resources, including its income and expenditure, for the
year then ended;
• have been properly prepared in accordance with United Kingdom Generally Accepted Accounting
Practice; and
• have been prepared in accordance with the requirements of the Companies Act 2006.

Basis for opinion

We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable
law. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the
audit of the financial statements section of our report. We are independent of the charitable company in
accordance with the ethical requirements that are relevant to our audit of the financial statements in the
UK, including the FRC’s Ethical Standard and we have fulfilled our other ethical responsibilities in accordance
with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate
to provide a basis for our opinion.

Conclusions relating to going concern

In auditing the financial statements, we have concluded that the trustees’ use of the going concern basis of
accounting in the preparation of the financial statements is appropriate.
Based on the work we have performed, we have not identified any material uncertainties relating to events
or conditions that, individually or collectively, may cast significant doubt on the charitable company’s ability
to continue as a going concern for a period of at least twelve months from when the financial statements
are authorised for issue.
Our responsibilities and the responsibilities of the trustees with respect to going concern are described in
the relevant sections of this report.

Other information

The other information comprises the information included in the Annual Report other than the financial
statements and our auditor’s report thereon. The trustees are responsible for the other information
contained within the Annual Report. Our opinion on the financial statements does not cover the other
information and, except to the extent otherwise explicitly stated in our report, we do not express any form
of assurance conclusion thereon.
Our responsibility is to read the other information and, in doing so, consider whether the other information
is materially inconsistent with the financial statements or our knowledge obtained in the course of the audit
or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent
material misstatements, we are required to determine whether this gives rise to a material misstatement in
the financial statements themselves. If, based on the work we have performed, we conclude that there is a
material misstatement of this other information, we are required to report that fact.

We have nothing to report in this regard.

20
INDEPENDENT AUDITORS’ REPORT TO THE MEMBERS
OF CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

Opinions on other matters prescribed by the Companies Act 2006

In our opinion, based on the work undertaken in the course of the audit:
• the information given in the Report of the Trustees, which includes the Directors’ Report and the
Strategic Report prepared for the purposes of company law, for the financial year for which the
financial statements are prepared is consistent with the financial statements; and
• the Directors’ Report and the Strategic Report included within the Report of the Trustees have been
prepared in accordance with applicable legal requirements.

Matters on which we are required to report by exception

In the light of the knowledge and understanding of the charitable company and its environment obtained
in the course of the audit, we have not identified material misstatements in the Directors’ Report or the
Strategic Report included within the Report of the Trustees.

We have nothing to report in respect of the following matters where the Companies Act 2006 requires us to
report to you if, in our opinion:
• adequate accounting records have not been kept, or returns adequate for our audit have not been
received from branches not visited by us; or
• the financial statements are not in agreement with the accounting records and returns; or
• certain disclosures of trustees’ remuneration specified by law are not made; or
• we have not received all the information and explanations we require for our audit.

Responsibilities of trustees

As explained more fully in the Statement of Trustees’ responsibilities set out on page 18, the trustees (who
are also the directors of the charitable company for the purposes of company law) are responsible for the
preparation of the financial statements and for being satisfied that they give a true and fair view, and for such
internal control as the trustees determine is necessary to enable the preparation of financial statements
that are free from material misstatement, whether due to fraud or error.

In preparing the financial statements, the trustees are responsible for assessing the charitable company’s
ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using
the going concern basis of accounting unless the trustees either intend to liquidate the charitable company
or to cease operations, or have no realistic alternative but to do so.

Auditor’s responsibilities for the audit of the financial statements

Our objectives are to obtain reasonable assurance about whether the financial statements as a whole
are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that
includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an
audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists.
Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate,
they could reasonably be expected to influence the economic decisions of users taken on the basis of these
financial statements.

21
INDEPENDENT AUDITORS’ REPORT TO THE MEMBERS
OF CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

The extent to which the audit was considered capable of detecting irregularities, including fraud

Irregularities are instances of non-compliance with laws and regulations. The objectives of our audit are
to obtain sufficient appropriate audit evidence regarding compliance with laws and regulations that have
a direct effect on the determination of material amounts and disclosures in the financial statements, to
perform audit procedures to help identify instances of non-compliance with other laws and regulations
that may have a material effect on the financial statements, and to respond appropriately to identified or
suspected non-compliance with laws and regulations identified during the audit.

In relation to fraud, the objectives of our audit are to identify and assess the risk of material misstatement of
the financial statements due to fraud, to obtain sufficient appropriate audit evidence regarding the assessed
risks of material misstatement due to fraud through designing and implementing appropriate responses
and to respond appropriately to fraud or suspected fraud identified during the audit.

However, it is the primary responsibility of management, with the oversight of those charged with
governance, to ensure that the entity’s operations are conducted in accordance with the provisions of laws
and regulations and for the prevention and detection of fraud.

In identifying and assessing risks of material misstatement in respect of irregularities, including fraud, the
audit engagement team:
• obtained an understanding of the nature of the sector, including the legal and regulatory framework
that the charitable company operates in and how the charitable company is complying with the
legal and regulatory framework;
• inquired of management, and those charged with governance, about their own identification and
assessment of the risks of irregularities, including any known actual, suspected or alleged instances
of fraud;
• discussed matters about non-compliance with laws and regulations and how fraud might occur
including assessment of how and where the financial statements may be susceptible to fraud.

As a result of these procedures we consider the most significant laws and regulations that have a direct
impact on the financial statements are FRS 102, Charities SORP (FRS 102), Companies Act 2006, Charities
Act 2011, the charitable company’s governing document, tax legislation and Charities (Protection and
Social Investment) Act 2016. We performed audit procedures to detect non-compliances which may have
a material impact on the financial statements which included reviewing the financial statements including
the Report of the Trustees, remaining alert to new or unusual transactions which may not be in accordance
with the governing documents and evaluating advice received from external advisors.

The most significant laws and regulations that have an indirect impact on the financial statements are
those in relation to the General Data Protection Regulation (GDPR) and employment law, including the
Employment Rights Act 1996 and Employment Relations Act 1999. We performed audit procedures
to inquire of management and those charged with governance whether the charitable company is in
compliance with these law and regulations.

The audit engagement team identified the risk of management override of controls as the area where
the financial statements were most susceptible to material misstatement due to fraud. Audit procedures
performed included but were not limited to testing manual journal entries and other adjustments, evaluating
the business rationale in relation to significant, unusual transactions and transactions entered into outside
the normal course of business, and challenging judgments and estimates.

A further description of our responsibilities for the audit of the financial statements is located on the
Financial Reporting Council’s website at http://www.frc.org.uk/auditorsresponsibilities. This description
forms part of our auditor’s report.

22
INDEPENDENT AUDITORS’ REPORT TO THE MEMBERS
OF CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

Use of our report

This report is made solely to the charitable company’s members, as a body, in accordance with Chapter 3
of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the
charitable company’s members those matters we are required to state to them in an auditor’s report and
for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to
anyone other than the charitable company and the charitable company’s members as a body, for our audit
work, for this report, or for the opinions we have formed.

ANNA SPENCER-GRAY (Senior Statutory Auditor)

For and on behalf of RSM UK AUDIT LLP, Statutory Auditor
Chartered Accountants
103 Colmore Row
Birmingham B3 3AG 12 October 2022

23
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
STATEMENT OF FINANCIAL ACTIVITIES
(including income and expenditure account)
for the year ended 31 March 2022

Unrestricted Designated Restricted Total Total

funds funds Fund funds funds
2022 2022 2022 2022 2021
Notes £’000 £’000 £’000 £’000 £’000
INCOME FROM:

Voluntary Income
- Donations & Legacies 2 1,697 60 742 2,499 1,213
- Grant Income 3 3,959 - 198 4,157 5,435

Charitable Activities 4 2,460 - 149 2,609 197

Investments 5 - - - - 2

Other Income 6 7 - - 7 9

TOTAL 8,123 60 1,089 9,272 6,856

EXPENDITURE ON:

Raising Funds 7 284 - - 284 291

Charitable Activities 7 8,421 98 827 9,346 5,967

TOTAL 8,705 98 827 9,630 6,258

NET (EXPENDITURE) / INCOME 9 (582) (38) 262 (358) 598

FOR THE YEAR BEFORE TAX
Tax receivable 11 1,172 - - 1,172 25

Transfers between funds 16 &17 227 - (227) - -

Other recognised gains / (losses):

Actuarial gain / (loss) on defined 15 672 - - 672 (55)
benefit pension scheme

NET MOVEMENT IN FUNDS 1,489 (38) 35 1,486 568

RECONCILIATION OF FUNDS

Fund balances brought forward (6,280) 379 3,218 (2,683) (3,251)

FUND BALANCES CARRIED (4,791) 341 3,253 (1,197) (2,683)

FORWARD

All income and expenditure and the resulting net movement in funds arise from continuing operations.
There are no recognised gains or losses other than the net movement in funds for the year.

24
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
BALANCE SHEET
31 March 2022 Company Registration No. 01262018

Notes 2022 2022 2021 2021

£’000 £’000 £’000 £’000

FIXED ASSETS
Tangible assets 12 3,419 3,527

CURRENT ASSETS
Debtors 13 2,315 1,751
Cash at bank and in hand 3,538 4,199

5,853 5,950

CREDITORS: Amounts falling due within one year 14 (2,959) (3,603)

NET CURRENT ASSETS 2,894 2,347

NET ASSETS (excluding Pension Liability) 6,313 5,874

DEFINED BENEFIT PENSION SCHEME LIABILITY 15 (7,510) (8,557)

TOTAL NET LIABILITIES (1,197) (2,683)

THE FUNDS OF THE CHARITY

RESTRICTED FUNDS 16 3,254 3,218

UNRESTRICTED FUNDS:
General reserve 17 2,718 2,277
Designated reserve 17 341 379
Pension reserve 17 (7,510) (8,557)

(4,451) (5,901)

TOTAL FUNDS (1,197) (2,683)

The financial statements on pages 24 to 43 were approved by the board of directors and authorised for
issue on 11 October 2022 and are signed on its behalf by:

David Burbidge Sundash Jassi
Trustee Trustee

25
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
STATEMENT OF CASH FLOWS
for the year ended 31 March 2022

2022 2021
£’000 £’000
Cash flows from operating activities:
Cash (used in)/ provided by operating activities (513) 1,801

Cash flows from investing activities:

Interest receivable - 2
Purchase of property, plant and equipment (148) (169)

Net cash used in investing activities (148) (167)

Change in cash and cash equivalents in the year (661) 1,634

Cash and cash equivalents at the beginning of the year 4,199 2,565

Cash and cash equivalents at the end of the year 3,538 4,199

Reconciliation of net income/(expenditure) to net cash flow

from operating activities

Net (expenditure) /income for the year (358) 598

Tax receivable 1,172 25
Interest receivable - (2)
Depreciation charges 256 225
Defined Benefit Pension Scheme (375) 5
(Increase) / decrease in debtors (565) 83
Increase / (decrease) in creditors (643) 867

Net cash provided by operating activities (513) 1,801

Analysis of cash and cash equivalents

Total cash and cash equivalents 3,538 4,199

26
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
ACCOUNTING POLICIES
for the year ended 31 March 2022

1 ACCOUNTING POLICIES

GENERAL INFORMATION
City of Birmingham Symphony Orchestra is a charitable company incorporated in England which does not
have share capital. The charity is governed by its Articles of Association.

The address of the charity’s registered office is CBSO Centre, Berkley Street Birmingham, B1 2LF.

BASIS OF ACCOUNTING
The financial statements have been prepared in accordance with Accounting and Reporting by Charities:
Statement of Recommended Practice applicable to charities preparing their accounts in accordance with
the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January
2015) - (Charities SORP (FRS 102)), the Financial Reporting Standard applicable in the UK and Republic of
Ireland (FRS 102) and the Companies Act 2006.

Going concern
The Trustees acknowledge that the unprecedented level of uncertainty caused by COVID-19 and rapidly
changing circumstances mean that the judgements and estimates required by management are more
challenging than under normal circumstances. As set out in the going concern section of the Strategic
Report, included within the Report of the Trustees, on page 13, there has been a positive financial result for
the year leading to an increased level of free reserves. This together with the ongoing support offered by
Arts Council England’s Culture Recovery Fund and the government’s Job Retention Scheme, a healthy cash
balance, the benefit of Orchestra Tax Relief as well as other returning sources of income and the continued
support of its major funders and the CBSO Development Trust, mean that the going concern basis remains
appropriate for the preparation of these financial statements.

City of Birmingham Symphony Orchestra meets the definition of a public benefit entity under FRS 102.
Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in
the relevant accounting policy.

The principal accounting policies adopted, judgements and key sources of estimation uncertainty in the
preparation of the financial statements are set out below.

BASES AND DEFINITION OF INCOME AND EXPENDITURE

Income:
• Income is stated net of value added tax and represents amounts invoiced to third parties and
amounts receivable from members and donors.
• Income relating to concert performances is recognised when the concert has been performed.
• Income received in respect of future periods is deferred until such time as the charity has
entitlement.
• Donations and legacies are recognised when the charity is entitled to the funds, when receipt
is probable, and the monetary value can be measured reliably. Where donor imposed or implicit
conditions in relation to the timing of expenditure are attached to an income stream, the income is
deferred and released over the specified time period
• Gift aid donations are inclusive of recoverable income tax.
• Grants of a revenue nature are recognised in the period to which they relate.
Grants of a capital nature are credited to a restricted fund account and released to income over the useful
economic life of the asset in line with depreciation.

27
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
ACCOUNTING POLICIES
for the year ended 31 March 2022

Interest receivable:
Interest on funds held on deposit is included when receivable and the amount can be measured reliably by
the charity; this is normally upon notification of the interest paid or payable by the bank.

Expenditure:
Expenditure is recognised once there is a legal or constructive obligation to make a payment to a third party,
it is probable that settlement will be required and the amount of the obligation can be measured reliably.
Expenditure is classified under the following activity headings:
• Raising funds comprises fundraising costs, which are incurred in raising funds for the charity.
• Charitable activities includes expenditure on the maintenance of the orchestra, marketing and
staging concerts, broadcasting and recording, learning & engagement and activities at CBSO
Centre.

Support Costs:
Support costs are those functions that assist the work of the charity but do not directly undertake charitable
activities. These costs have been allocated on a basis consistent with the use of the resources. The bases on
which support costs have been allocated are set out in note 7.

Donated services:
The value of services provided by volunteers has not been included in these financial statements.

Translation of foreign currencies:

Transactions denominated in foreign currencies are translated at the rate of exchange on the day the
transaction occurs. Assets and liabilities denominated in foreign currencies are translated at the exchange
rate ruling at the balance sheet date. Exchange differences are included in the statement of financial
activities.

Irrecoverable VAT:
Irrecoverable VAT is included in general expenses within support costs and apportioned to activities on the
basis of income.

TAXATION
The charitable activities of the company are not subject to taxation; therefore, no provision for taxation is
required.

Orchestra Tax Relief is recognised as and when the receipt is considered probable and can be reasonably
measured.

FUNCTIONAL CURRENCY
The financial statements are presented in sterling which is also the functional currency of the charity.
Figures included in the financial statements are rounded to the nearest £1,000.

FIXED ASSETS AND DEPRECIATION

Tangible fixed assets are measured at cost, net of depreciation and any impairment losses. Depreciation is
provided on all tangible fixed assets, other than assets under the course of construction, at rates calculated
to write off the cost or valuation of each asset to its estimated residual value on a straight line basis over its
expected useful life, as follows:
Long term leasehold property 20 – 50 years
Technical, stage & musical equipment 5 – 20 years
Plant, fixtures, computers & motor vehicles 3 – 10 years
Works of Art 10 years

Individual assets under £2,500 are written off in full in the year of purchase.

28
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
ACCOUNTING POLICIES
for the year ended 31 March 2022

FINANCIAL INSTRUMENTS
The charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments.
Basic financial instruments are initially recognised at transaction value and subsequently measured at their
settlement value.

TRADE DEBTORS
Trade and other debtors which are receivable within one year are initially recognised at the transaction price
and subsequently measured at amortised cost, being the transaction price less any amounts settled and
any impairment losses.

TRADE CREDITORS AND LIABILTIES

Trade creditors payable within one year are initially measured at the transaction price and subsequently
measured at amortised cost, being the transaction price less any amounts settled.

Liabilities are recognised when either a constructive or legal obligation exists.

FUND ACCOUNTING
Unrestricted funds are available for use at the discretion of the trustees in furtherance of the general
objectives of the charity and which have not been designated for other purposes.

Designated funds represent unrestricted funds which have been designated for a specific purpose based on
decisions approved by the Board of Trustees.

Restricted funds are funds which are to be used in accordance with specific restrictions imposed by the
donors. The cost of raising and administering such funds are charged against the specific fund. The aim and
use of each restricted fund is set out in note 16 to the financial statements.

RETIREMENT BENEFITS
Defined contribution scheme
For the defined contribution scheme, the amount charged to the Statement of Financial Activities is the
contributions payable in the year. Differences between contributions payable in the year and contributions
actually paid are shown as either accruals or prepayments.

Defined benefit scheme

For the defined benefit retirement scheme, the cost of providing benefits is determined using the projected
unit credit method.

Asset/Liability
The net defined benefit liability represents the present value of the defined benefit obligation minus the fair
value of scheme assets out of which obligations are to be settled. Any asset resulting from this calculation is
limited to the present value of available refunds or reductions in future contributions to the scheme.
The rate used to discount the benefit obligations to their present value is based on market yields for high
quality corporate bonds with terms and currencies consistent with those of the benefit obligations.

Gains/losses
Gains and losses are recognised in the Statement of Financial Activities.

29
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
ACCOUNTING POLICIES
for the year ended 31 March 2022

CRITICAL ACCOUNTING JUDGEMENTS AND KEY SOURCES OF ESTIMATION UNCERTAINTY

In the application of the charity’s accounting policies, which are described above, the trustees are required
to make judgements, estimates and assumptions about the carrying amounts of assets and liabilities that
are not readily apparent from other sources. The estimates and associated assumptions are based on
historical experience and other factors that are considered to be relevant. Actual results may differ from
these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting
estimates are recognised in the period in which the estimate is revised if the revision affects only that period
or in the period of the revision and future periods if the revision affects both current and future periods.

The estimates and assumptions that have a significant risk of causing a material adjustment to the carrying
amounts of assets and liabilities within the next financial year are discussed below.

Defined Benefit Pension Scheme Actuarial assumption

The present value of the defined benefit pension scheme liability depends on a number of factors that are
determined on an actuarial basis using a variety of assumptions. The assumptions used in determining the
net cost for pensions include the discount rate. Any changes in these assumptions, which are disclosed
in note 15, will impact the carrying amount of the pension liability. Furthermore, a roll forward approach,
which projects results from the latest full actuarial valuation performed at 5 April 2021, has been used by
the actuary in valuing the pension’s liability at 31 March 2022 (6 April 2018 actuarial valuation for pension’s
liability at 31 March 2021). Any differences between the figures derived from the roll forward approach and
a full actuarial valuation would impact on the carrying amount of the pension liability.

30
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

2 DONATIONS AND LEGACIES

Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000

Trusts 1,115 102

Donations, Membership and Legacies 1,163 1,109
Sponsorship 221 2

2,499 1,213

Income from donations and legacies was £2,499,000 (2021: £1,213,000) of which £1,761,000
was unrestricted (2021: £1,149,000), £60,000 was designated (2021: £2,000) and £678,000 was
restricted (2021: £62,000).

3 GRANT INCOME
Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000

Arts Council England grant 2,221 2,221

Arts Council England Culture Recovery Fund grant 653 671
Arts Council England Capital grant 198 -
Birmingham City Council grant 608 608
Other grants: Job Retention scheme 477 1,935

4,157 5,435

All grants were wholly unrestricted in both years with the exception of the Arts Council Capital grant
of £198,000 (2021: £nil) which is restricted. The restricted Capital grant received in the year is the
final instalment of a £215,000 award made in October 2018 to help fund the purchase of a new
instrument truck. The charity took delivery of this new truck in July 2021.

The Arts Council Culture Recovery Fund grant relates to a carry forward from the first round of
funding in 2021 amounting to £172,500 together with a second round of funding amounting to
£480,000. The funds have been used to help offset the impact of the ongoing COVID-19 restrictions
on the charity’s activity and income streams in the current financial year.

31
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

4 INCOME FROM CHARITABLE ACTIVITIES

Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000
Birmingham Concerts and promotions 1,029 20
Other UK engagements 245 -
Overseas engagements 942 15
Broadcasting and recording 166 80
Learning & Engagement 176 44
CBSO Centre income 51 35
Other Income - 3

2,609 197

Income from charitable activities was £2,609,000 (2021: £197,000) of which £2,460,000 was
unrestricted (2021: £162,000), £nil was designated (2021: £3,000) and £149,000 was restricted
(2021: £32,000).

5 INVESTMENT INCOME
Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000

Interest receivable - 2

Investment income is wholly unrestricted.

6 OTHER INCOME
Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000

Disposal of fixed assets 7 9

Other income is wholly unrestricted.

32
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

7 ANALYSIS OF TOTAL EXPENDITURE

Support &
Direct governance Total Total
Costs costs (note 8) 2022 2021
£’000 £’000 £’000 £’000
RAISING FUNDS:
Fundraising expenses 35 249 284 291

CHARITABLE ACTIVITIES:
Birmingham concerts and promotions 3,871 354 4,225 514
Other UK engagements 527 68 595 -
Overseas engagements 1,372 219 1,591 56
Concert marketing and advertising 235 613 848 456
Broadcasting and recording 889 130 1,019 1,513
Learning & Engagement 357 225 582 325
CBSO Centre - 95 95 83
Inactive period - 391 391 3,020

SUBTOTAL 7,251 2,095 9,346 5,967

TOTAL 7,286 2,344 9,630 6,258

Expenditure on raising funds was £284,000 (2021: £291,000) all of which was unrestricted.

Expenditure on charitable activities was £9,346,000 (2021: £5,967,000) of which £8,421,000

was unrestricted (2021: £5,871,000), £98,000 was designated (2021: £2,000) and £827,000 was
restricted (2021: £94,000).

33
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

8 ANALYSIS OF SUPPORT AND GOVERNANCE COSTS

The charity identifies the cost of its support functions and the costs which relate to the governance
function. These costs are apportioned between the activities of the charity pro rata in line with the
basis of usage as noted below:
Support Governance Total Basis of
costs costs 2022 apportionment
£’000 £’000 £’000

Salaries (including pensions) 1,244 174 1,418 Time spent

Rent, rates & service charge 119 - 119 Income
Maintenance, buildings
& equipment 173 - 173 Income
Professional charges - 82 82
Income
Depreciation 257 - 257
Income
General expenses 295 - 295
Income

2,088 256 2,344

9 NET INCOME/EXPENDITURE FOR THE YEAR

Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000

This is stated after charging:

Auditors’ remuneration
- for audit services 24 13
- for non-audit services 9 5
Depreciation of tangible fixed assets 257 225

10 STAFF COSTS & TRUSTEE REMUNERATION

Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000

Wages and salaries 3,999 3,539

Social security costs 361 309
Pension costs 170 161

4,530 4,009

Pensions costs are allocated to activities in proportion to the related staffing costs incurred and are
wholly charged to unrestricted funds.

34
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

10 STAFF COSTS & TRUSTEE REMUNERATION (Continued)

The number of employees during the year was as follows:

Average Headcount Full Time Equivalent
2022 2021 2022 2021
No. No. No. No.

Senior Management 6 5 6 5
Other Office Staff 36 35 33 32
Orchestra 71 71 67 66

113 111 106 103

The number of employees whose emoluments, excluding pension contributions but including
benefits in kind, were in excess of £60,000 in the year ended 31 March was:
2022 2021
No. No.

£60,001 to £70,000 - 1
£90,001 to £100,000 - 1
£100,001 to £110,000 1 -

The employers’ contribution to the CBSO Group Stakeholder Plan for the above employee(s) was
£4,201 (2021: £3,773).

The senior management personnel of the charity comprise the Chief Executive and the Directors
for Finance & Resources, Development, Marketing & Digital, Concerts and Learning & Engagement.
The total compensation including national insurance and pension contributions payable to the
senior management personnel of the charity was £356,104 (2021: £358,921).

The charity benefits greatly from the involvement and enthusiastic support of its many volunteers,
details of which are provided in our Trustee Report. In accordance with FRS102 and the Charities
SORP (FRS102), the economic contribution of general volunteers is not recognised in the accounts.

The trustees who are members of the Orchestra received total compensation, including national
insurance and pension contributions, totalling £85,551 (2021: £86,641), on the same pay scale as
that paid to other playing members in respect of their performance with the Orchestra. No extra
payments were made for their services as trustees of the charity. All other charity trustees were not
paid and/or received any other benefits from employment with the charity in the year (2021: £nil)
neither were they reimbursed expenses during the year (2021: £nil).

A trustee indemnity insurance premium of £9,520 (2021: £9,395) was paid in the year.

35
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

11 TAXATION

The charity is exempt from tax on income and gains falling within section 505 of the Taxes Act 1988
or section 252 of the Taxation of Chargeable Gains Act 1992 to the extent that these are applied to
its charitable objects.
The charity has included a tax credit in respect of Orchestra Tax Relief received/receivable as
follows:
Year ended Year ended
31 March 2022 31 March 2021
£’000 £’000

Current year relief receivable 1,176 -

Over/(under) provision of prior years’ relief (4) 25

1,172 25

Tax receivable income is wholly unrestricted.

12 FIXED ASSETS
Plant,
Technical, fixtures,
Long term stage & computers
leasehold musical and motor
property equipment vehicles Works of Art Total
£’000 £’000 £’000 £’000 £’000
COST
At 1 April 2021 4,744 1,200 1,014 18 6,976
Additions - 4 144 - 148
Disposals - - (124) - (124)

At 31 March 2022 4,744 1,204 1,034 18 7,000

DEPRECIATION
At 1 April 2021 2,081 697 653 18 3,449
Charged in the year 113 56 88 - 257
Disposals - - (124) - (124)

At 31 March 2022 2,194 753 617 18 3,582

NET BOOK VALUE

At 31 March 2022 2,550 451 417 - 3,418

At 31 March 2021 2,663 503 361 - 3,527

36
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

12 FIXED ASSETS (Continued)

On 15 May 2014, as a condition of the Arts Council England grant towards the refurbishment of CBSO
Centre, the charity executed a 20-year legal charge over the building. This charge gives Arts Council
England a first legal mortgage over CBSO Centre up to an amount of the £1.32m grant award.

13 DEBTORS
2022 2021
£’000 £’000

Trade debtors 263 56

Other debtors 77 276
Prepayments and accrued income 1,975 1,419

2,315 1,751

14 CREDITORS: Amounts falling due within one year

2022 2021
£’000 £’000

Trade creditors 528 441

Other creditors 52 180
Taxation and social security costs 37 7
Deferred income 1,384 2,511
Accruals 958 464

2,959 3,603

Deferred income:
2022 2021
£’000 £’000

At 1 April 2021 2,511 1,490

Amount deferred in year 590 1,238
Amount released to income earned from charitable activities (1,717) (217)

At 31 March 2022 1,384 2,511

Deferred income consists of monies received (including the unrecognised element of a £0.8m
legacy which is being recognised equally over a period of eight years in line with the donor’s
wishes), to support the charity’s recovery from COVID-19 and for future education projects and
other charitable activities, Chorus membership fees and rent invoiced in advance.

Accruals includes £31,309 (2021: £30,634) of unpaid pension contributions in respect of the
Defined Benefit Pension Scheme.

37
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

15 PENSION AND SIMILAR OBLIGATIONS

An approximate actuarial valuation of the Defined Benefit Scheme was carried out by a qualified
independent actuary as at 31 March 2022.

The major financial assumptions used by the actuary were:

2022 2021

Discount rate (% p.a.) 2.90% 2.20%

Salary increase rate (% p.a.) 3.35% 2.50%
Rate of revaluation in deferment (% p.a.)
- CPI max 5% p.a. 3.35% 2.50%
- CPI max 2.5% p.a. 3.35% 2.50%

Pension increase rate (% p.a.)

- RPI, capped at 5% p.a. 3.70% 3.30%
- RPI, capped at 3% p.a. 2.75% 2.55%
- RPI, capped at 2.5% p.a. 2.35% 2.25%
- CPI, capped at 3% p.a. 2.55% 2.40%
Price inflation rate (% p.a.) 3.90% 3.40%
Consumer inflation rate (% p.a.) 3.40% 2.90%

2022 2021
Years Years
Life expectancy at age 65:
Current pensioners - Men 21.4 21.4
Current pensioners - Women 23.7 23.6

Future pensioners now 45 - Men 21.8 21.8

Future pensioners now 45 - Women 24.3 24.2

Mortality table – pre and post retirement S3PXA with CMI

2018 - 0.50%

At the balance sheet date, the fair value of the assets of the Scheme was made up as follows:

2022 2021
£’000 £’000

Multi Asset Funds 545 7,434

Equities 9,475 6,850
Property 1,132 181
Gilts & Hedging 6,708 4,730
Alternatives 3,103 951
Cash 287 159

Total 21,250 20,305

38
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

15 PENSION AND SIMILAR OBLIGATIONS (Continued)

Balance sheet: 2022 2021
£’000 £’000

Present value of Scheme liabilities (28,760) (28,862)

Fair value of Scheme assets 21,250 20,305

Deficit in Scheme (7,510) (8,557)

In addition, the trustees held insured annuities. The value of these annuities has been excluded
from the assets and liabilities. Their inclusion would have a neutral effect on the deficit figure as the
liability value is exactly matched by the value of the insurance policy held.
The employer’s best estimate of company contributions to be paid in respect of the Scheme during
the financial year ending 31 March 2023 is £444,000.
The scheme does not invest in the employer’s own property or other assets.

Analysis of the amount charged to the Statement of Financial Activities

2022 2021
£’000 £’000

Interest on Scheme liabilities 625 628

Interest on Scheme assets (442) (428)
Administration costs 167 174

Amount charged to operating costs 350 374

Actuarial loss on Scheme liabilities 236 1,989
Actual (gain) on Scheme assets (908) (1,936)

Total (gain)/expense (322) 427

Total return on Scheme assets 1,350 2,364

Changes in the present value of the defined benefit obligation are as follows:

2022 2021
£’000 £’000

Opening defined benefit obligation 28,862 27,115

Interest cost 625 628
Benefits paid (963) (870)
Actuarial loss 236 1,989

Closing defined benefit obligation 28,760 28,862

39
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

15 PENSION AND SIMILAR OBLIGATIONS (Continued)

Changes in the fair value of the scheme assets are as follows:

2022 2021
£’000 £’000

Opening scheme assets 20,305 18,618

Expected return on assets 442 428
Employer contributions 725 367
Benefits paid (963) (870)
Administration costs (167) (174)
Actuarial gain 908 1,936

Closing scheme assets 21,250 20,305

16 RESTRICTED FUNDS

1 April 31 March
2021 Income Expenditure Transfers 2022
£’000 £’000 £’000 £’000 £’000

CBSO Centre reserve 2,704 - - (84) 2,620

CBSO Truck reserve - 262 - (6) 256
Arts Council capital grant 491 - - (136) 355
Youth Orchestra reserve 23 - - - 23
Education & Chorus reserve - 149 (149) - -
Charitable activities reserve - 678 (678) - -

3,218 1,089 (827) (226) 3,254

1 April 31 March
2020 Income Expenditure Transfers 2021
£’000 £’000 £’000 £’000 £’000

CBSO Centre reserve 2,788 - - (84) 2,704

Arts Council capital grant 604 - - (113) 491
Youth Orchestra reserve 23 - - - 23
Education & Chorus reserve - 32 (32) - -
Charitable activities reserve - 62 (62) - -

3,415 94 (94) (197) 3,218

40
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

16 RESTRICTED FUNDS (Continued)

Name of Restricted Fund Description, Nature and Purposes of the Fund

CBSO Centre reserve The CBSO Centre reserve comprises amounts received
in grants and used to fund both the initial build and future
enhancements of CBSO Centre. The transfer in the year is
equivalent to the depreciation charge on the assets.

Arts Council capital grant The Arts Council capital grant represents monies received
CBSO Centre from Arts Council England to support the refurbishment of
CBSO Centre.

Arts Council capital grant The Arts Council capital grant represents monies received
Truck reserve from Arts Council England to support the purchase of a new
instrument truck.

In line with the terms of these grants, the monies received

are shown as separate restricted grants. The transfers in the
year is equivalent to the depreciation charge on the CBSO
Centre refurbishment with the instrument truck purchase
only completed in July 2021.

Youth Orchestra reserve The Youth Orchestra reserve comprises funds donated by
the Midlands Youth Orchestra and a subsequent legacy, to
be used in support of the CBSO Youth Orchestra. There was
no use of this grant during the year (2021: £nil).

Education & Chorus reserve The Education & Chorus reserve represents monies received
from Trusts, Foundations and Corporate sponsors to fund
our Learning & Engagement work in schools and the wider
community.

Charitable activities reserve The Charitable activities reserve represents monies from
Trusts and individual sponsors to support other charitable
activities including large scale concerts and the Music
Director and Orchestra Leader positions.

17 UNRESTRICTED FUNDS
Actuarial
gain on
1 April Surplus in pension 31 March
2021 year scheme Transfers 2022
£’000 £’000 £’000 £’000 £’000

General reserve 2,277 214 - 227 2,718

Designated reserve 379 (38) - - 341
Pension reserve (8,557) 375 672 (7,510)

(5,901) 551 672 227 (4,451)

41
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

17 UNRESTRICTED FUNDS (Continued)

Actuarial
loss on
1 April Surplus in pension 31 March
2020 year scheme Transfers 2021
£’000 £’000 £’000 £’000 £’000

General reserve 1,455 625 - 197 2,277

Designated reserve 376 3 - - 379
Pension reserve (8,497) (5) (55) - (8,557)

(6,666) 623 (55) 197 (5,901)

The designated reserve was created in previous financial years to fund the increased artistic cost of
the Orchestra’s centenary celebrations. Given the impact of COVID-19 on the planned centenary
activities the Board has agreed that use of this reserve can be extended to cover activities in the
2021-22 and 2022-23 seasons. Amounts used in the year £38,000 (2021: £3,000 used). Any
unused element of the reserve will be returned to the general reserves at the end of that period.

18 NET ASSETS BY FUND

Restricted Unrestricted Total

2022 2022 2022
£’000 £’000 £’000
Funds are represented by:

Fixed assets 3,207 211 3,418

Net Current assets 47 2,848 2,895
Defined benefit pension liability - (7,510) (7,510)

3,254 (4,451) (1,197)

Restricted Unrestricted Total

2021 2021 2021
£’000 £’000 £’000
Funds are represented by:

Fixed assets 3,207 320 3,527

Net Current assets 11 2,336 2,347
Defined benefit pension liability - (8,557) (8,557)

3,218 (5,901) (2,683)

42
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
NOTES TO THE FINANCIAL STATEMENTS
for the year ended 31 March 2022

19 CAPITAL COMMITMENTS

Future capital expenditure contracted for, but not provided in the financial statements as at 31
March 2022 was £nil (2021: £81,331).

20 RELATED PARTY TRANSACTIONS

The following trustees during the year were nominated by Birmingham City Council, a major public
funder of the charity, Cllr Sir A Bore, and Cllr A Yip.

The CBSO Pension Trustee Limited, which was incorporated on 22 April 2013, is a wholly owned
subsidiary of the charity. The CBSO Pension Trustee Limited acts as the corporate trustee for the
charity’s defined benefit pension scheme. The registered address of The CBSO Pension Trustee
Limited is CBSO Centre, Berkley Street, Birmingham. BI 2LF. There have been no transactions during
the year and thus the CBSO Pension Trustee Limited is not consolidated within these accounts. In
the year end accounts to 31 March 2022 the net assets of the company were £1.

43
City of Birmingham Symphony Orchestra
WITH GRATEFUL THANKS TO THE CBSO’S SUPPORTERS

EXCEPTIONAL SUPPORTERS MAJOR DONORS

The following individuals, trusts and companies have We are grateful to the following supporters for their
nurtured the CBSO’s world-class excellence and broad major gifts this year and over the life of our Sound of
community reach by offering exceptional philanthropic the Future campaign.
support to the CBSO and the CBSO Development
Trust’s private endowment fund over time, either by £250,000+
making major gifts, by leaving a legacy or through John Osborn (*Gabriel Dyker)
sustained annual giving. David and Sandra Burbidge
Clive Richards Foundation
City of Birmingham Orchestral Endowment Fund (Principal Supporter of the CBSO’s work with young people)
Rachel Baker Memorial Charity
£100,000+
The late Roy Collins
Peter How (*Tim Birchall)
Dunard Fund
Alison and Jamie Justham (*David Vines)
John Osborn cbe
Barry and Frances Kirkham
Garfield Weston Foundation
Chris and Jane Loughran (*Jonathan Martindale)
Barclays
The late Miss G Brant £50,000+
David and Sandra Burbidge Maurice Millward (*Chris Yates)
John Ellerman Foundation Jerry Sykes in support of keynote concert programming
Esmée Fairbairn Foundation (*Catherine Ardagh-Walter)
The John Feeney Charitable Trust
Charles Henry Foyle Trust £25,000+
The JABBS Foundation Sir Dominic and Lady Cadbury
Alison and Jamie Justham
Barry and Frances Kirkham MEMBERS
Maurice Millward Over 1,500 members contribute annually to ensure the
Clive Richards Foundation Orchestra’s vital work both on and off the concert platform
(Principal Supporter of the CBSO’s work with young people) can happen. Thank you to each and every one of you.
Jerry Sykes
The late Mr P S Day BENEFACTORS (£10,000+)
Deutsche Bank Felonious Mongoose in memory of Dolores
The late Elnora Ferguson
The late Mrs Marjorie Hildreth SYMPHONY CIRCLE (£5,000+)
Peter How John Cole and Jennie Howe (*Peter Campbell-Kelly)
The Helen Rachael Gill and Jonathan Evans (*Charlotte Skinner)
Mackaness Charitable Trust Stephen and Stephanie Goldstein
The late Blyth and Myriam Major Anita and Wyn Griffiths
Mrs Thelma Justham The Charlotte Heber-Percy Charitable Trust
The late Mr John Thomas Knight Len Hughes and Jacquie Blake (*Anthony Alcock)
The Leverhulme Trust David Knibb in memory of Lorraine (*Jon Quirk)
The LJC Fund Graham Russell and Gloria Bates (*Ruth Lawrence)
Chris and Jane Loughran Sue and Graeme Sloan
The late Martin Purdy
The late Norman Thomas and our other anonymous supporters
The late Sheri and Mrs Janet Tullah
The Roger and Douglas CONCERTO CIRCLE (£2,500+)
Turner Charitable Trust Viv and Hazel Astling (*Graham Sibley)
Wolfson Foundation The Barwell Charitable Trust
Allan and Jennifer Buckle (*Helen Benson)
Mrs Jayne Cadbury
Jill S Cadbury (*Julia Åberg)
Isabel, Peter and Christopher in loving memory of Ernest
Churcher (*Elspeth Dutch)
Gay and Trevor Clarke (*Bryony Morrison)
Charlie and Louise Craddock (*Kirsty Lovie)
Mike and Tina Detheridge (*Andrew Herbert)
Duncan Fielden and Jan Smaczny (*Matthew Hardy)
David Gregory (*Stefano Mengoli)

44
City of Birmingham Symphony Orchestra
WITH GRATEFUL THANKS TO THE CBSO’S SUPPORTERS

David Handford (*David Powell) Keith and Mavis Hughes

The Andrew Harris Charitable Trust Lord Hunt of Kings Heath
Dr Allan Hough (*Arthur Boutilier) Basil Jackson
Peter How (*Tim Birchall) In memory of Harry and Rose Jacobi
Cliff Hubbold Mr Michael and Mrs Elaine Jones
Valerie Lester (*Jacqueline Tyler) John and Jenny Kendall
Paddy and Wendy Martin (*David BaMaung) John and Lisa Kent (*Veronika Klírová)
Patrick and Tricia McDermott (*Helen Edgar and Rachael Charles and Tessa King-Farlow
Pankhurst) Jane Lewis
Carole McKeown and David Low (*Miguel Fernandes) Richard Lewis
Carol Miller James and Anthea Lloyd
Frank North Tim Marshall (*Nikolaj Henriques)
Angela O’Farrell and Michael Lynes (*Toby Kearney) David R Mayes
Dianne Page (*Catherine Arlidge) Philip Mills
Gerard Paris (*Amy Marshall) Paul and Elaine Murray
Simon and Margaret Payton (*Julian Atkinson) Ian C Norton
Robert Perkin Andrew Orchard and Alan Jones
Margaret Rogers (*Moritz Pfister) Roger and Jenny Otto in memory of Juliet
Gillian Shaw Rob Page
Eleanor Sinton (*Adrian Spillett) Sir Michael and Lady Joan Perry
Mr D P Spencer (*Oliver Janes) Dr John Peterson
Lesley Thomson (*Jessica Tickle) Julie and Tony Phillips (*Philip Brett)
Basil and Patricia Turner (*Marie-Christine Zupancic) Rosalyn and Philip Phillips
Howard and Judy Vero (*Richard Watkin) Clive and Cynthia Prior
Michael Ward Ian Richards
Diana and Peter Wardley (*Oliver Janes) David and Jayne Roper
Dr Roger Shinton
Robert Wilson (*Emmet Byrne)
Peter and Shirley Robinson
and our other anonymous supporters Mr A M and Mrs R J Smith
Mark and Amanda Smith
OVERTURE CIRCLE (£1,000+) Pam and Alistair Smith
Jan Adams in memory of Mike (*Eduardo Vassallo) William Smith
Katherine Aldridge in memory of Chris Colin Squire
Michael Allen in memory of Yvonne Mr M and Mrs S A Squires
Roger and Angela Allen Jan and Peter Sterling and the Newport Music Coach (*Jeremy
Miss J L Arthur (*Julian Walters) Bushall)
Kiaran Asthana Brenda Sumner
Mr M K Ayers Tenors of the CBSO Chorus (*Joanna Patton)
John Bartlett (*Mark O’Brien) Alan Titchmarsh (*Matthew Hardy)
Michael Bates Mr R J and Mrs M Walls
Peter and Jane Baxter Mr E M Worley and Mrs A Worley DL
Tim and Margaret Blackmore Mike and Jane Yeomans in memory of Jack Field (*Michael
Christine and Neil Bonsall Jenkinson)
Mrs Jennifer Brooks in memory of David (*Julia Åberg) Richard and Emma Yorke
Helen Chamberlain in memory of Allan Chamberlain (*Sally and our other anonymous supporters
Morgan)
Dr Anthony Cook and Ms Susan Elias
The following players are supported by anonymous members
Ann Copsey
of the Overture, Concerto and Symphony Circles, to whom we
John Cunningham-Dexter
are very grateful:
Julian and Lizzie Davey
Tony Davis and Darin Qualls Mark Goodchild Adam Römer
Jenny Dawson Joanna Patton Katherine Thomas
Dr Judith Dewsbury in memory of Tony (*Kate Setterfield) Mark Phillips Jeremy Watt
Alan Faulkner * Player supporter
Elisabeth Fisher (*Colette Overdijk)
Wally Francis
Mary and Tony Hale

45
City of Birmingham Symphony Orchestra
WITH GRATEFUL THANKS TO THE CBSO’S SUPPORTERS

GOLD PATRONS (£650+ per year) SILVER PATRONS (£450+ per year) PATRONS (£250+ per year)
Mike Bowden Mr and Mrs S V Barber Mrs Thérèse Allibon
Lady Cadbury Richard Allen and Gail Barron David and Lesley Arkell
Mr C J M Carrier Mr P G Battye Val and Graham Bache
Christine and John Carroll Paul Bond Leon and Valda Bailey
Tim Clarke and family Professor Lalage Bown Andrew Baker
Mr A D and Mrs M Campbell Andrew Barnell
Professor and Mrs M H Cullen
Peter and Jane Christopher Mr P and Mrs S Barnes
Roger and Liz Dancey
Alan Cook Mr and Mrs Barnfield
Robin and Kathy Daniels
Sue Clodd and Mike Griffiths Di Bass
Professor Sir David Eastwood Paul Beckwith
David and Marian Crawford-Clarke
Sir Ian and Lady Dove Mrs A P Crockson Mr I L Bednall
Mr G L and Mrs D Evans Dr. Margaret Davis and Dr. John Davis Gareth Beedie
Geoff and Dorothy Fearnehough Alistair Dow Peter and Gill Bertinat
Nicola Fleet-Milne Naomi and David Dyker Philip and Frances Betts
Susan and John Franklin Jane Fielding and Benedict Coleman Mrs Ann Billen
Mr R Furlong and Ms M Penlington Mrs D R Greenhalgh Michael and Beryl Blood
Averil Green in memory of Terry Green John Gregory in memory of Janet Bridget Blow cbe
Tony and Shirley Hall Cliff Haresign Anthony and Jenni Bradbury
Dr M Kershaw Mr and Mrs G Jones Dr Jane Flint Bridgewater
Neil Maybury Bob and Elizabeth Keevil and Mr Kenneth Bridgewater
Rodney and Alyson Kettel Mr Arthur Brooker
Miss C Midgley
Rebecca King in loving memory of Ian M. L. Brown
Nigel and Sarah Moores
Mr Peter T Marsh Ross Browning
Andrew and Linda Murray
James and Meg Martineau Ann Bruton
Chris and Eve Parker Mr and Mrs J H Bulmer
Peter and Julia Maskell
Phillipa and Laurence Parkes Mr G H and Mrs J M Butler
Dr and Mrs Bernard Mason
Chris and Sue Payne Benedict and Katharine Cadbury
Carmel and Anthony Mason
Canon Dr Terry Slater Anthony and Barbara Newson Jeannie Cadman
Dr Barry and Mrs Marian Smith Richard Newton Elizabeth Ceredig
Pam Snell Mrs A J Officer Carole and Richard Chillcott
Ian and Ann Standing Liz and Keith Parkes Dr J and Mrs S Chitnis
Rimma Sushanskaya Mr R Perkins and Miss F Hughes Ann Clayden and Terry Thorpe
Janet and Michael Taplin Dr and Mrs Plewes Dr A J Cochran
Roger and Jan Thornhill The Revd. Richard and Mrs Gill Postill Dee and Paul Cocking
Bryan and Virginia Turner Kath and Mike Poulter Mrs S M Coote in memory of John
Eileen Poxton in memory of Reg Poxton D and M Coppage
Roy Walton
Dr and Mrs R C Repp Luned Corser
Revd T and Mrs S Ward
Ray Smith Mr Richard and Mrs Hilary Crosby
David Wright and Rachel Parkins Maurice and Ann Crutchlow
Sheila and Ian Sonley
and our other anonymous supporters. Andy Street Judith Cutler and Keith Miles
John and Dorothy Tesh Stephen and Hilary Daly
Professor and Mrs J A Vale Sue Dalley and Martin Willis
William and Janet Vincent Robert and Barbara Darlaston
Wilf Davey
Tony and Hilary Vines
Trevor Davis
Peter Walling
Kath Deakin
Julie and Simon Ward
John and Sue Del Mar
Stephen Williams
Dr J Dilkes
John and Daphne Wilson
Brian and Mary Dixon
Geoff and Moira Wyatt
Barbara Donaldson
Paul C Wynn
Terry Dougan and Christina Lomas
and our other anonymous supporters. Mr and Mrs C J Draysey

46
City of Birmingham Symphony Orchestra
WITH GRATEFUL THANKS TO THE CBSO’S SUPPORTERS

John Drury Brian Langton Mrs L J Sadler

Catherine Duke Colin and Joan Lapworth Carole and Chris Sallnow
Chris Eckersley Mrs D Larkam Stephen Saltaire
Linda and William Edmondson Jennie Lawrence in memory of Philip William and Eileen Saunders
Alex and Fran Elder Steve Leonard and Debbie Fuller Margaret and Andrew Sherrey
Robert van Elst M. E. Ling Dr and Mrs Shrank
Miss E W Evans Mr J F and Mrs M J Lloyd Keith Shuttleworth
Dr D W Eyre-Walker Professor David London Elizabeth Simons
Jill Follett and John Harris Geoff and Jean Mann Mr N R Skelding
Chris Fonteyn mbe Geoff and Jenny Mason Ed Smith
Alan and Christine Giles Mr A A McLintock Mary Smith and Brian Gardner
Professor J E Gilkison and Prof T Hocking Patro Mobsby in memory of John and Jen
Stephen J Gill Norah Morton Matthew Somerville and Deborah Kerr
R and J Godfrey Geoff Mullett Lyn Stephenson
Jill Godsall P J and H I B Mulligan Robin and Carol Stephenson
J Godwin Mrs M M Nairn Anne Stock
Laura Greenaway Richard and Shirley Newby Mr and Mrs J B Stuffins
in memory of David Richards Richard Newton and Katharine Francis J E Sutton
Paul Hadley Brian Noake Barbara Taylor
Roger and Gaye Hadley Ms E Norton obe in memory of Michael Taylor
Nigel and Lesley Hagger-Vaughan In memory of Jack and Pam Nunn Claire Tilt
Miss A R Haigh Marie and John O’Brien John Turney in loving memory of Anne
Mr W L Hales Mr and Mrs R T Orme Mrs J H Upward
Malcolm Harbour S J Osborne Bob and Louise Vivian
Ian Hartland Nigel Packer Stephen Vokes and Erica Barnett
Phil Haywood in memory of Ann Rod Parker and Lesley Biddle Tim and Wendy Wadsworth
Keith R Herbert Graham and Bobbie Perry Kit Ward
Keith Herbert and Pat Gregory David and Julia Powell Ann Warne
Hanne Hoeck and John Rawnsley Gill Powell and John Rowlatt Neil Warren
Susan Holmes in memory of Peter C Predota Mrs M L Webb
Valerie and David Howitt Roger Preston Elisabeth and Keith Wellings
Penny Hughes Eileen and Ken Price Mr and Mrs J West
Richard and Lynda Price Roger and Sue Whitehouse
David Hutchinson
Mr William and Mrs Rosemary Whiting
Henry and Liz Ibberson John Randall
Pippa Whittaker
Mr R M E and Mrs V Irving Dr and Mrs K Randle
John and Pippa Wickson
Ken and Chris Jones Katy and David Ricks
Richard and Mary Williams
Paul Juler Peter and Pauline Roe
Barry and Judith Williamson
Mrs P Keane Jane and Peter Rowe
John Winterbottom
Mr and Mrs R Kirby Helen Rowett and David Pelteret
Ian Woollard
Mr A D Kirkby Christopher and Marion Rowlatt
Professor and Mrs R J Knecht Dr Gwynneth Roy and our other anonymous supporters
Bill Lane Vic and Anne Russell and our Friends.

47
City of Birmingham Symphony Orchestra
WITH GRATEFUL THANKS TO THE CBSO’S SUPPORTERS

DONORS Philip Mills

Thank you to those who have chosen to make a gift to The late Peter and Moyra Monahan
the CBSO this year. The late Arthur Mould
The late June North
Katherine Aldridge Stephen Osborne
Baltimore Friends of the CBSO Gill Powell
John Cole and Jennie Howe Dr and Mrs K Randle
Professor Dame In memory of David Reeve, a true music lover
Sandra Dawson The late Mrs Edith Roberts
Naomi Dyker Martyn and Kathryn Roberts
Wally Francis Philip Rothenberg
Peter Graham The late Mr Andrew Roulstone
Ian McAlpine The late Thomas Edward Scott
Chris Morley Mrs C E Smith and Mr William Smith
Members of the Newport Music Coach Pam Snell
Mr and Mrs P Rawle The late Mrs Sylvia Stirman
Frances and Bob Young The late Mrs Eileen Summers
Miss K V Swift
and our other anonymous donors.
John Taylor
Mr D M and Mrs J G Thorne
LEGACY DONORS
John Vickers
We’re incredibly grateful to the following individuals
Mrs Angela and Mr John Watts
who have chosen to remember the CBSO in their will,
Philip Wilson
passing on the baton for music-lovers of the future.
Alan Woodfield
In memory of Chris Aldridge and our other anonymous donors.
In memory of Peter Ashton
The late Terence Baum ENDOWMENT DONORS
The late Elizabeth Bathurst Blencowe We are grateful to all those who have given to the CBSO
The late Mr Peter Walter Black Development Trust’s private endowment fund, thus
Philip Bowden enabling the Orchestra to become more self-sufficient
Allan and Jennifer Buckle for the long term.
The late Miss Sheila
Margaret Burgess Smith Mike and Jan Adams
Isabel Churcher Arts for All
The late Colin W Clarke Viv and Hazel Astling
Mr and Mrs P Cocking The Barwell Charitable Trust
John Cole and Jennie Howe In memory of Foley L Bates
The late Roy Collins Bridget Blow cbe
David in memory of Ruth Deloitte
Pauline Holland Miss Margery Elliott
Tony Davis and Darin Qualls Simon Fairclough
The late Mr Peter S. Day Sir Dexter Hutt
Mark Devin Irwin Mitchell Solicitors
Alistair Dow The Justham Trust
The late Mary Fellows Mrs Thelma Justham
Felonious Mongoose Barry and Frances Kirkham
Valerie Frankland Chris and Jane Loughran
Jill Godsall Linda Maguire-Brookshaw
The late Colin Graham Mazars Charitable Trust
David and Lesley Harrington Andrew Orchard and Alan Jones
Tricia Harvey John Osborn
The late Mrs Marjorie Hildreth Margaret Payton
Mr Trevor and Mrs Linda Ingram Roger Pemberton and Monica Pirotta
Robin and Dee Johnson David Pett
Alan Jones and Andrew Orchard Pinsent Masons
Ms Lou Jones Martin Purdy
The late William Jones Peter and Sally-Ann Sinclair
The late Mr John Thomas Knight Jerry Sykes
Peter Macklin Alessandro and Monica Toso
The late Mr and Mrs F. McDermott and Mrs C. Hall Patrick Verwer
The late Myriam Josephine Major R C and F M Young Trust
The late Joyce Middleton

48
 THANK YOU The support we receive from thousands of individual donors, public funders,
businesses and private foundations allows us to present extraordinary performances
and to create exciting activities in schools and communities. Your support makes such

Education Partners Principal funders

Corporate Partners
Partners in Orchestral Development

Supporter of
Schoolsʼ Concerts

William King Ltd

In-kind supporters Trusts and Foundations

29th May 1961 Charitable Trust The JABBS Foundation
ABO Trust’s Sirens Programme Lillie Johnson Charitable Trust
Miss Albright Grimley Charity The Kobler Trust
The Andor Charitable Trust James Langley Memorial Trust
The Lord Austin Trust The Leverhulme Trust
The John Avins Trust LJC Fund
Backstage Trust Limoges Charitable Trust
The Rachel Baker Memorial Charity The S & D Lloyd Charity
Bite Size Pieces The Helen Rachael Mackaness Charitable Trust
The Boshier-Hinton Foundation The MacRobert Trust
British Korean Society The McLay Dementia Trust
The Charles Brotherton Trust The James Frederick & Ethel Anne Measures Charity
The Edward & Dorothy Cadbury Trust The Anthony and Elizabeth Mellows Charitable Trust
G l o b e fl o w Edward Cadbury Charitable Trust MFPA Trust Fund for the Training of Handicapped
The George Cadbury Fund Children in the Arts
The R V J Cadbury Charitable Trust Millichope Foundation
CBSO Development Trust The David Morgan Music Trust
City of Birmingham Orchestral Endowment Fund The Oakley Charitable Trust
The John S Cohen Foundation The Patrick Trust
The Cole Charitable Trust The Misses C M Pearson & M V Williams
The George Henry Collins Charity Charitable Trust
The Concertina Charitable Trust Perry Family Charitable Trust
Funders Baron Davenport’s Charity The Bernard Piggott Charitable Trust
The D’Oyly Carte Charitable Trust PRS Foundation’s The Open Fund for Organisations
Dunard Fund The Radcliffe Trust
The W E Dunn Trust Rathbones Trust Company
The W.G. Edwards Charitable Foundation The Ratcliff Foundation
John Ellerman Foundation The Rainbow Dickinson Trust
The Eveson Charitable Trust Clive & Sylvia Richards Charity
www.prsformusicfoundation.com The John Feeney Charitable Trust Rix-Thompson-Rothenberg Foundation
George Fentham Birmingham Charity The M K Rose Charitable Trust
Allan and Nesta Ferguson Charitable Settlement The Rowlands Trust
Fidelio Charitable Trust RVW Trust
The Garrick Charitable Trust The Saintbury Trust
The Golsoncott Foundation The E H Smith Charitable Trust
Grantham Yorke Trust F C Stokes Trust
The Grey Court Trust Sutton Coldfield Charitable Trust
The Grimmitt Trust C B & H H Taylor 1984 Trust
For more information on LG Harris Trust G J W Turner Trust
The Derek Hill Foundation The Roger & Douglas Turner Charitable Trust
how your organisation can
The Joseph Hopkins and Henry James Sayer Charities Garfield Weston Foundation
engage with the CBSO, please John Horniman’s Children’s Trust The Wolfson Foundation
contact Megan Bradshaw The Irving Memorial Trust The Alan Woodfield Charitable Trust
on 0121 616 6500 or
[email protected] Thank you also to our Major Donors, Benefactors, Circles Members, Patrons and
Friends for their generous support.

City of Birmingham Symphony Orchestra

CBSO Centre, Berkley Street, Birmingham, B1 2LF | +44 (0)121 616 6500 | [email protected]
22
facebook.com/thecbso twitter.com/thecbso instagram.com/thecbso cbso.co.uk
Patron: HRH The Earl of Wessex KG GCVO | Music Director: Mirga Gražinytė-Tyla | Chief Executive: Stephen Maddock OBE | Chair: David Burbidge CBE DL
Registered in England and Wales no. 1262018 | Registered charity no. 506276 | All information correct at time of publication. Subject to change, subject to availability.