Oxford Philomusica

May 2015

Performance

Educatio

n Comm

unity

A Strategic and Business Plan for the next three years

Music Director Marios Papadopoulos MBEArtist in Residence Maxim Vengerov

Towards 20

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MISSION  STATEMENT   4  

STRUCTURE   5  

ACTIVITIES   7  

GEOGRAPHICAL  CLAIM   9  

BUILDING  FOR  THE  FUTURE   10  

YEARS  2011  –  2014   10  

OUR  HOME   10  THE  ORCHESTRA   11  REHEARSAL  TIME   11  NUMBER  OF  CONCERTS   11  AUDIENCE  NUMBERS   12  INTERNATIONAL  ARTISTS   12  ARTIST  IN  RESIDENCE   13  

THE  OXFORD  PHILOMUSICA  ACADEMY   14  

PIANO  FESTIVAL   14  UNIVERSITY  RESIDENCY   14  YOUNG  TALENT  -­‐  COUNTY  MUSIC  SERVICE   16  CONCERTO  COMPETITION   16  

COMMUNITY   16  

SCHOOLS   16  FAMILY  CONCERTS   17  HOSPITALS   18  

RECORDINGS   19  

OPERA   20  

MANAGEMENT  AND  ADMINISTRATION   21  

MANAGEMENT  STYLE   21  SYSTEMS   21  

PR  &  PRESS   22  

MEDIA   22  

MARKETING   22  

RECOGNITION   23  

TOWARDS  20   24  

THE  PATHWAY  TO  THE  FUTURE   24  CHANGE  OF  NAME   24  

TABLE  OF  CONTENTS  

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ARTISTIC  POLICY   26  

MEMBERSHIP   26  SOUND  AND  STYLE   27  REPERTOIRE   27  CHAMBER  MUSIC   28  ARTIST  RELATIONSHIPS   28  

FORWARD  PLANNING   29  

CELEBRITY  SERIES   29  ARTIST  IN  RESIDENCE   29  RECORDINGS   30  TOURING  AND  ENGAGEMENTS   30  NUMBER  OF  CONCERTS   33  REHEARSALS   33  

ACADEMY   34  

PIANO  FESTIVAL   34  UNIVERSITY  RESIDENCY   34  

COMMUNITY   34  

FAMILY  CONCERTS   35  

OPERA   35  

PR  &  MARKETING   35  

BOX-­‐OFFICE  SYSTEMS   37  MANAGEMENT  AND  ADMINISTRATION   37  

SWOT  ANALYSIS   38  

THE  ECONOMIC  ENVIRONMENT   40  

EXPENDITURE   40  

CONCERT  ACTIVITY   40  PLAYERS  FEE  STRUCTURE   40  CELEBRITY  ARTISTS  COSTS   41  VENUE  COSTS   41  MARKETING/ADVERTISING  COSTS   42  ARTIST  IN  RESIDENCE  COSTS   44  RECORDINGS  COSTS   44  RUNNING  THE  ACADEMY   44  RESIDENCY  COSTS   44  PIANO  FESTIVAL  COSTS   44  SERVING  THE  COMMUNITY   45  OVERHEADS   45  

INCOME   46  

TICKET  SALES   46  TRUSTS  AND  FOUNDATIONS   46  INDIVIDUALS   46  FUNDRAISING  EVENTS   46  

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GIFT  AID   47  

FORECAST  2014/15   48  

FORWARD  PLANNING  2015  –  2018   49  

PROMOTIONS/ENGAGEMENTS   49  

SEASON  2015/16   50  

SEASON  2016/17   51  

SEASON  2017/18   52  

SOURCES  OF  FUNDING   54  

BOX-­‐OFFICE  REVENUE   54  RESERVES   54  

SPONSORSHIP/FUNDRAISING  TARGETS   55  

CORPORATE  SPONSORSHIP   55  UNIVERSITY  SUPPORT   55  STATUTORY  FUNDING   55  INDIVIDUAL  GIVING   56  TRUST  AND  FOUNDATION  GRANTS   57  BENEFIT  CONCERTS   57  PIANO  FESTIVAL  SPONSORSHIP   57  THE  TRUSTEE  BOARD   58  

CODA   58  

APPENDICES  

OXFORD  PHILHARMONIC  ORCHESTRA     59  

RATES  OF  PAY   61  

ADMINISTRATION   62  

     

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MISSION  STATEMENT  

The  Oxford  Philomusica   is  Oxford’s  professional   symphony  orchestra   serving   the   Oxfordshire   and   Thames   Valley  regions  and  beyond,  offering:    

• Concert   performances   -­‐   symphony   and   chamber  orchestra,  chamber  music  and  recitals  

• educational   programmes   ranging   from   primary   to  tertiary  level  tuition  

• performing  opportunities  for  young  artists  • a  platform  for  new  compositions  • recordings    • opera  

 Oxford  Philomusica  is  dedicated  to  the  highest  standards  of  artistic  excellence  and  integrity.            

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The   Oxford   Philomusica   was   founded   in   1998   by   Marios   Papadopoulos,   the  orchestra’s   Music   Director.   Since   its   inception,   it   has   been   at   the   forefront   of  Oxford  musical  life,  at  the  service  of  the  community.    STRUCTURE  Oxford  Philomusica  embraces   two  companies:  The  Oxford  Philomusica  Trust,  a  registered   charity,   (Charity   Registration   number   1084256;   Company  Registration   number   3608496),   and   Oxford   Philomusica   Productions   Ltd  (Company   Registration   number   3592323).   Both   are   companies   with   limited  liability,   the  Trust   limited  by  guarantee  and  the  Productions  company  by  share  capital  wholly  owned  by  the  Trust.  Both  are  governed  by  a  set  of  Memorandum  and  Articles  of  Association.    Apart  from  their  fiduciary  duties,  members  of  the  trust  provide  funding,  handle  donations  and  disburse  funds  to  the  Production  company  as  necessary  to  enable  concerts  and  other  activities  as  per  our  mission  statement.      As  the  trading  arm  of  the  organisation,  the  Production  company  carries  out  and  runs  the  every  day  affairs  of  the  orchestra.  It  is  governed  by  a  board  of  directors  and  run  by  a  management  team.                                        The   review   of   our   financial   operations   is   conducted   by   a   Finance   and   General  Purposes  Committee,  which  meets  regularly  and  reports  to  the  trustees.    As  a  charity  we  are  regulated  by  the  Charity  Commission.  Our  annual  accounts,  which  are  independently  examined  and  audited,  are  filed  with  Companies  House  and  the  Charity  Commission.      Our  Advisory  Council  is  comprised  of  18  members  of  high  social  standing  in  the  Oxfordshire  community.  The  Council  aims  to   further   the  cause  of   the  orchestra  locally   and   serves   as   a   channel   of   professional   advice   within   the   areas   of  expertise  of  its  members.      

MANAGEMENT  

PRODUCTIONS    

TRUST  

ORCHESTRA  

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Royal Patron HRH Princess AlexandraLife Presidents Geoffrey de Jager Harry LeventisZvi MeitarMary WestonHonorary President The Rt Hon Lord Patten CH Vice President Sir Victor Blank Patron Vladimir AshkenazyArtist in Residence Maxim VengerovPiano Festival Patron Alfred Brendel KBEPiano Festival President Sir András SchiffPatron for New Music Marina, Lady MarksMusic Director Marios Papadopoulos MBE Oxford Philomusica Trust Registered Charity Number 1084256Peter Earl (Chairman)Geoffrey de Jager (Deputy Chairman)Elena Ambrosiadou Saphieh AshtianyRaymond Blanc OBEProf Michael EarlPeter Frankopan

Jacob GriersonDavid HaenleinSir David KeeneMargarita Louis-DreyfusAviad MeitarSir Michael Parkinson CBESir Curtis PriceKim Samuel Francesca Schwarzenbach James SherwoodRichard Smethurst George TsavlirisGeorg von OpelBruno Wang

Oxford Philomusica Advisory CouncilSaphieh Ashtiany (Chair)Prof Roger AinsworthBaroness DeechProf Raymond Dwek CBEProf Michael EarlJoanna Foster CBEPeggotty GrahamJeff HewittRobert JacksonLady Kenny Lord KrebsFelicity LuskLady NorthDr Jill PellewCllr Bob Price Sir Ivor RobertsProf Peter Tufano Suzy Webster

Finance and General Purposes CommitteeProf Michael Earl (Chairman) Geoffrey de JagerDavid HaenleinJeff HewittAnthony LoehnisRichard Smethurst

Honorary MembersLord Butler of BrockwellSir Jeremy GreenstockLady HeseltineJohn Leighfield CBEDr Michael PeagramAnthony Smith CBEProf Reinhard Strohm

Oxford Philomusica Productions LtdCompany Number 3592323DirectorsPeter EarlDavid HaenleinAnthi PapadopoulosMarios Papadopoulos MBE

Administration

CONCERTSOrchestral Personnel Alexa Butterworth Planning Rebeccah Considine Logistics Sumita Menon Stage Management Max Howard

DEVELOPMENTSpecial Advisor Carmen Zgouras Research & Administration Rebeccah Considine

MARKETING/EVENTSDirector Anthi Papadopoulos Marketing John Bowker Box Office/Events Kirsten DunnPress and PR Julie Peacock Advisor Simon Wall

EDUCATION/COMMUNITYDirector David Haenlein Coordinator Rebeccah Considine County Music Partnership Kirsten Dunn

PIANO FESTIVALCoordinator Rebeccah Considine

PRODUCTIONDesign/Office SupervisorLarisa Blackwood Media Simon Wall Librarian Martin Sargeson

Oxford Philomusica

Oxford Philomusica is pleased to work exclusively with International Classical Artists Ltd on its UK and overseas touring programme.

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Oxford Philomusica is a full member of the Association of British Orchestras

Programme design by Larisa Blackwood. Photography credits: Hugo Burnand, Brendon Fraser.

The University of Oxford logo is the registered trade mark of the University of Oxford. Oxford Philomusica is licensed to use the mark in the branding of events in the United Kingdom. Oxford Philomusica Trust is a registered charity which is not part of the University of Oxford.

 

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ACTIVITIES  The  Oxford  Philomusica’s  activities  are  concentrated  in  five  main  areas:    

• Performance  • Education  • Community  Work  • Recordings  • Opera  

 The  Oxford  Philomusica’s  many  achievements  to  date  include:    

• Extensive  annual  concert  seasons  in  Oxford  • Touring  performances  across  the  UK  and  a  growing  list  of  international  

engagements  • Acclaimed  recordings  of  Haydn’s  Creation  and  Handel’s  Acis  and  Galatea  • Major  anniversary  celebrations  of  Mozart,  Haydn  and  Beethoven  • Hugely  popular  family  concerts  • Annual  Piano  Festival  and  Summer  Academy  • A  highly  successful  Chamber  Music  Series  and  Summer  Baroque  Festival  

both  showcasing  the  Soloists  of  Oxford  Philomusica  –  a  tight-­‐knit  group  of  musicians  described  by  The  Times  as  the  orchestra’s  ‘glorious  individual  players’.  

• Our  first  fully  staged  Opera  in  May  2015      The  Oxford  Philomusica  is  considered  today  to  be  one  of  the  leading  orchestras  in   the   UK.   Our   reputation   is   based   on   uncompromising   artistic   standards  maintained   by   some   of   the   finest  musicians   in   the   country   and   is   reflected   in  performances   that   create   bold   musical   statements   with   every   concert   we  perform.        

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With   our   home  Wren’s   Sheldonian   Theatre   and   our   close   association  with   the  University  of  Oxford  we  attract  internationally  acclaimed  artists  to  appear  in  our  series.        

     With  a  comprehensive  season  of  concerts  in  Oxford  that  encompasses  all  musical  styles  and  genres  and  an  ever-­‐increasing  schedule  of  appearances  in  other  parts  of  the  UK  and  abroad,  the  Oxford  Philomusica  is  the  fastest  growing  orchestra  in  the  UK.      

   

Vadim Repin

Maxim Vengerov

Pinchas Zukerman

Nicola Benedetti

Renée Fleming

Nigel Kennedy

Leonard Elschenbroich

Season 2015/16 Guest Artists

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GEOGRAPHICAL  CLAIM  With   no   other   orchestra   within   a   large   radius   from   Oxford   we   have   clear  territorial  claims  and  a  remit  to  serving  the  community  around  the  area  in  which  we  operate.    Orchestras  which  make  a  territorial  claim,  mostly  those  operating  in  the  regions  and  serving  local  communities,  appear  to  have  a  longer  life-­‐span  than  those  who  don’t.      Those  that  have  built  their  reputations  around  strong  individual  personalities  or  claim  a   specific  niche  have  enjoyed  short-­‐lived  success  but   those  which  have  a  clearly  identifiable  regional  presence  seem  to  have  better  prospects  for  a  longer  life-­‐span.    Given   the   parlous   financial   state   of   some   orchestras,   it   would   be   difficult   to  predict  the  long-­‐term  viability  of  those  who  do  not  have  a  clearly  defined  remit  to  serve  a  particular  geographical  region  or  who  lack  certain  characteristics  that  appeal  to  a  niche  market.                                                            

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BUILDING  FOR  THE  FUTURE  Years  2011  –  2014    In   our   2011   Business   Plan   entitled   ‘Building   for   the   Future’,   we   set   out   an  ambitious   three-­‐year  programme   to  place   the  Oxford  Philomusica  amongst   the  top  orchestras  in  the  UK.        At   the   heart   of   this   strategy  was   a   series   of   proposals   aimed   at   recruiting   the  finest   freelance   musicians   as   members   of   the   orchestra,   increasing   rehearsal  time  and  the  number  of  concerts.    Over  the  last  few  years,  we  enjoyed  performances  that  were  better  prepared  and  executed  as  a  result.    Our  Home  The  17th-­‐century  Sheldonian  Theatre   is   the  Oxford  Phil’s  home.   It   seats  around  800   people   and   is   steeped   in   history   having   played   host   to   both   Haydn   and  Handel.      Sir   Christopher   Wren’s   amphitheatre-­‐style   architectural   masterpiece,   and   the  University  of  Oxford’s  ceremonial  hall,  offers  patrons  the  unique  opportunity  to  be  enveloped   by   the   sound   and   provides   an   intimacy   between  audience  and  musicians  that  few  if  any  venues  in  the  UK  could  equal.      

 

 The   ‘Sheldonian  Musical   Experience’,   is   a   phrase   coined   by  many   of   our   loyal  followers  as  describing  this  unique  musical  experience.      In  addition  to  its  excellent  acoustics  and  architectural  marvel,  the  Sheldonian  has  huge  appeal  amongst  the  great  artists  whom  we  bring  to  Oxford.    

Daniel  Barenboim  and  the  Berlin  Philharmonic  performing  in  the  Sheldonian    

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 The  Orchestra  Membership  of   the  orchestra  comprises  some  of   the   finest  musicians   in  the  UK  and  Europe.  They  are  our  greatest  asset  whom  we  value  highly  and  look  after.    In   recent   years   a   number   of   positions   have   been   created   and   musicians   of  exceptional  ability  have  been  appointed.    While  not  implementing  a  strict  policy  on  the  number  of  concerts  our  musicians  are   asked   to   undertake,   we   expect   our   appointed   players   to   fulfill   a   high  percentage  of  the  work  we  offer.      Rehearsal  Time  For   most   of   our   concerts   we   now   have   at   least   one   extra   rehearsal.   This   has  enabled  us  to  delve  deeper  into  interpretative  issues  and  work  on  phrasing,  style  and  sound  in  more  detail.      Number  of  Concerts  The  number  of  concerts  has  increased  from  an  average  of  20  a  year  prior  to  the  expansion  in  2011  to  an  average  of  40  between  2011  –  2014.    

   The  surge  in  work  we  have  been  able  to  offer  our  players  has  enabled  many  of  our   finest   musicians   to   prioritise   the   Philomusica   over   work   offered   by   other  orchestras  and  has  increased  player  loyalty.    A  stable  membership  has  meant  that  the  Oxford  Phil  can  now  field  a  recognisable  team  of  players  for  most  of  our  concerts.        

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Audience  Numbers  Attendance   has   increased   year   on   year   to   reach   an   average   of   600,   or   75%  of  capacity,  for  every  concert.    Of  all  the  concerts  we  presented  in  the  Sheldonian  Theatre  in  2013/14,  14  were  sold  out.                              International  Artists  As  part  of  our  strategy  to  enhance  the  status  of  the  orchestra,  we  embarked  on  a  mission   to   attract   to   Oxford   some   of   the  world’s   leading   artists   to   collaborate  with  the  Oxford  Philomusica.      The  lure  of  Oxford  as  well  as  the  reputation  of  the  orchestra  led  to  a  number  of  important  and  fruitful  collaborations.        Lang  Lang  was  one  of  the  first  celebrity  artists  to  perform  with  us  in  a  concert  at  the   Sheldonian   Theatre   in   2012.   Since   then,   world-­‐renowned   artists   have  appeared   with   the   Oxford   Philomusica,   raising   the   profile   of   the   orchestra  internationally,  including:    

• Anne-­‐Sophie  Mutter  • Maxim  Vengerov  • Nigel  Kennedy  • András  Schiff  • Valery  Gergiev  

 To  have  been  able  to  persuade  such  artists  to  come  to  Oxford  and  perform  with  the  Oxford  Phil  was  in  itself  a  major  achievement.  However,  to  have  these  same  artists   express   the   desire   to   return   to   Oxford   to   work   with   us   again   speaks  volumes  for  the  quality  of  the  orchestra’s  playing,  which  today  stands  at  a  high  enough  level  to  meet  the  demands  and  expectations  of  the  great  and  the  good  of  the  international  musical  forum.    

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   Artist  in  Residence  Maxim   Vengerov   is   widely   recognised   as   the   greatest   violinist   alive   today.   He  came   to  Oxford   to  perform   the  Dvořák  and  Britten  Violin  Concertos  with  us   in  April   2013.   Following   the   success   of   this   first   collaboration,  Maestro  Vengerov  agreed   to   become   the   Oxford   Philomusica’s   first   Artist   in   Residence   and   has  performed  with  us  on  numerous  occasions,  both  as  soloist  and  conductor.    In   2014   he   chose   the   Oxford   Phil   as   the   orchestra  with  which   to  make   a   new  recording   of   the   Brahms   Violin   Concerto   to   add   to   his   1996   award-­‐winning  recording  of  the  same  work  with  the  Chicago  Symphony  Orchestra  under  Daniel  Barenboim.        Maestro   Vengerov’s   high   regard   of   and   close   affinity   with   the   musicians   of  Oxford   Philomusica   and   its   Music   Director   have   resulted   in   numerous  collaborations  of  great  artistic  merit.          

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THE  OXFORD  PHILOMUSICA  ACADEMY  The  Oxford  Philomusica  has  been   firmly  committed  to  education  work   from  its  earliest  days.      The   Oxford   Philomusica   Academy   incorporates   all   Oxford   Philomusica’s  educational  programmes  ranging  from  primary  to  tertiary  level  tuition,  including  our   Residency   Programme   at   the   University   of   Oxford,   the   high-­‐level   tuition  given  to  pianists  during  our  Piano  Festival,  as  well  as  our  partnership  with   the  Oxfordshire   County   Music   Service.   The   Academy   offers   tuition   by   the  Philomusica’s  own  principal  players,  as  well  as  visiting  international  artists,   for  students  at  all  levels.    Piano  Festival  The   Festival   and   Summer   Academy   was   founded   16   years   ago   as   part   of   the  Oxford   Philomusica’s   educational   activities.   It   has   since   become   a   mecca   for  young  pianists  from  all  over  the  world  who  converge  on  Oxford  to  study  with  the  world’s   most   renowned   artists   and   professors.   An   intensive   programme   of  masterclasses  during  the  day  is  complemented  by  a  series  of  evening  concerts  in  some  of  the  most  beautiful  venues  in  Oxford.    The   Festival   has   been   hailed   as   “the   most   significant   annual   musical   event   in  Oxford”  and  was  the  subject  of  an  extensive  article   in  the  New  York  Times  and  the  International  Herald  Tribune,  the  latter  devoting  its  whole  back  page  to  the  Festival.   It   is   a   residential   course   held   in   St  Hilda’s   College  with  masterclasses  and  lectures  taking  place  in  the  Jacqueline  du  Pré  Music  Building.    The  Festival   is  now   linked   to   the  Lang  Lang  Foundation  and  welcomes  a  select  number  of  their  talented  scholars  to  Oxford  to  take  part.    In   the   last   three   years,   the   Festival   has   reached  new  heights  with   applications  from  students   to   study   far   exceeding   the  places  available.  On  average,  we  now  receive   over   100   applications   for   just   15   places   and   we   are   therefore   in   the  enviable  position  of  selecting  the  very  best  students.  Some  of  the  artists  teaching  and   performing   at   our   2015   Festival   include   Sir   András   Schiff,   Menahem  Pressler,  Byron  Janis  (the  exemplary  student  of  Horowitz),  Veda  Kaplinsky  (Head  of   Keyboard   at   Juilliard   School),   Ferenc   Rados   (András   Schiff’s   teacher)   and  Alfred  Brendel.      University  Residency  The  University   of  Oxford’s   Faculty   of  Music   is   academically   oriented.   In   recent  years   emphasis  on  performance,   spearheaded  by   talented  performers   studying  at   Oxford,   has   grown   and   opportunities   for   students   to   improve   their  performance   skills   and   showcase   their   talents   have   been   sought.   Having  provided  such  opportunities  on  an  ad  hoc  basis  for  two  years  since  our  inception,  the  University  recognised  the  value  of  tuition  and  performance  opportunities  we  offered,   formally   appointing   the   Oxford   Philomusica   in   2002   as   its   first   ever  Orchestra  in  Residence.      

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The  agreement,  which  is  renewable  every  five  years,  is  between  the  Masters  and  Scholars  of   the  University  of  Oxford  and   the  Oxford  Philomusica.   In   its   current  format,  the  residency  is  unique  amongst  British  orchestras.      It  is  significant  to  note  that  the  Oxford  Philomusica  is  the  Resident  Orchestra  at  the  University  of  Oxford  as  a  whole  and  not  specifically  the  music  faculty.      As   part   of   our   Residency   we   offer   students   unique   and   unparalleled  opportunities  to  receive  tuition  from  members  of  the  orchestra  –  many  of  whom  hold   positions   in   the   major   UK   conservatoires   -­‐   and   by   visiting   international  artists.   In   recent   years,  we  have  organised  masterclasses   for   the  benefit   of   the  students  by  artists  such  as  Lang  Lang,  Maxim  Vengerov,  Anne-­‐Sophie  Mutter  and  Valery  Gergiev.          Our  Apprenticeship  Scheme  offers  a  select  number  of  students   the  opportunity  to  join  the  orchestra  in  some  of  our  performances  and  gain  orchestral  experience  and  training  by  professional  musicians.    Our  annual  Composer’s  Workshop  allows  student  composers  to  hear  their  works  performed  by   a   professional   orchestra   and   receive   invaluable   feedback.   At   the  end   of   each   session,   a   work   is   selected   for   public   performance   in   the   Oxford  Philomusica’s  series  of  concerts  in  the  Sheldonian.      Over   the  years,   the  orchestra  has  collaborated  with  many  of   the  College  Choirs  and  we   have  made   recordings   of   Haydn’s   Creation   (BBC  magazine’s   CD   of   the  Month)  and  Handel’s  Acis  and  Galatea  with  New  College  and  Christ  Church  choirs  respectively.      Our  Young  Artist’s  Platform  offers  those  selected  by  audition  a  performance  slot  just   before   one   of   our   Sheldonian   evening   concerts.   In   exceptional  circumstances,   a   student   is   invited   to   play   a   concerto   with   the   Oxford  Philomusica,  though  such  opportunities  are  limited  to  the  winners  of  our  annual  Concerto  Competition.        In  2013,  the  University  held  a  thorough  review  of  the  Residency  and  reappointed  the  Oxford  Philomusica  for  a  further  five-­‐year  term.      Many  of  the  benefits  we  enjoy  as  being  associated  with  Oxford  University  include  use  of   the  University   logo   in  our  publicity  material   in   the  UK  and  access   to   the  

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American  Friends  of  Oxford,  the  University’s  charity  in  US,  through  which  many  of  our  donors  make  their  contributions  to  the  Orchestra.    

       Young  Talent  -­‐  County  Music  Service  Working   closely  with   the  Oxfordshire  County  Music   Service,  we   are  one  of   the  key  partners  with  them  on  the  Arts  Council-­‐funded  Oxfordshire  Music  Education  Partnership,  bringing  music  education  to  every  child  in  the  County.      As  well  as  providing  workshops  and  masterclasses,  our  Apprenticeship  Scheme  offers   a   number   of   young  musicians   an   introduction   to   playing   professionally.  Our   Young   Artist   Platform   award   provides   a   unique   opportunity   to   perform   a  pre-­‐concert  recital  before  a  Philomusica  concert.    Concerto  Competition  The   Oxfordshire   Youth   Concerto   Competition,   a   joint   initiative   of   the   Oxford  Philomusica   and   Oxfordshire   County   Music   Service,   aims   to   showcase   and  reward   the   brightest   young   musical   talent   across   Oxfordshire,   and   attracts   a  huge   level   of   interest   each   year.   Musicians   from   across   the   county   and   the  University  compete  for  prestigious  prizes  including  the  opportunity  to  perform  a  concerto  with  the  Oxford  Phil.    COMMUNITY  Ever  since  our  inception  we  have  been  committed  to  bringing  music  to  areas  in  the   community   where   access   is   not   normally   available,   particularly   in  economically   deprived   parts   of   the   city   and   the   surrounding   environs.   Our  award-­‐winning   outreach   programme   includes   local   schools,   hospitals,   and  retirement  homes.        In  addition  we  have  initiated  the  new  concept  of  activity-­‐packed  family  concerts,  specially   aimed   at   the   very   young,   in   association   with   the   City   and   County  Councils.    Schools  Over  the  years  Oxford  Philomusica  has  delivered  school  programmes  benefitting  many   hundreds   of   pupils,   and   our   work   is   always   very   highly   evaluated   and  much  in  demand.    Our  specially   trained  musicians  work  with  teaching  staff   in  a  range  of  different  schools  to  develop  workshops  that  reflect  the  individual  needs  of  the  school.  The  workshops  might  focus  on  a  particular  curriculum  need,  or  be  used  to  elaborate  a  general  theme  or  project  that  the  school  is  working  on.        

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We   are   very   active   in   local   primary  schools,   bringing   music   where   few   of  the  participating   pupils   will   have   had  experienced   it   before.  We   have   a   long-­‐term  relationship  with  the  schools  on  the  Blackbird  Leys  estate  where  we  hold  regular  workshops   and   open  days,  working   in   close   collaboration  with   the   staff   of   the  newly  formed  Blackbird  Academy  Trust.    In   addition,   our   specially   trained  musicians   also   work   with   the   county’s  special  schools   where   the   children,   often   emotionally  disturbed   and  behaviourally   challenged,   reap  the   rewards   of   improved   social   and  communication  skills,  powers  of  concentration,  and  self  esteem.      Successful  series  of  musical  open  days  for  children  from  visiting  schools  are  held  in   collaboration   with   the   Dragon   School   and   the   County   Music   Service.   These  open   days   provide   local   state   schools   with   workshops   and   performance  opportunities  for  all  ability  levels.      

 Family  Concerts  Family  Concerts  branded  as  ‘FUNomusica’  are  created  specifically  with  younger  audiences  in  mind,  but  all  the  family  is  welcome.  We  set  our  concerts  in  the  Town  Hall  rather  than  a   formal  concert  hall:  no  sitting  stiffly  and   listening  raptly.  We  encourage  audiences  of  all  ages  to  have  fun  with  music.  For  an  hour  prior  to  each  concert,  we  provide  musical   games   and   crafts   and   instrument  demonstrations.  Each  concert  is  themed,  with  orchestra  and  children  all  in  fancy-­‐dress  reflecting  the   theme.   The   beneficiaries   are   mainly   children   aged   4-­‐8   from   the   local  community,   including   from   the   local   Oxfordshire   estates   with   high   levels   of  unemployment,   crime   and   social   service   intervention.     The   concert   capacity   is  600  and  previous  events  have  sold  out.  Tremendous  feedback  has  been  received  from  families  who  have  attended  our  concerts  over  the  past  six  years:  after  our  Halloween-­‐themed   ‘Spookacular’   100%   of   respondents   to   a   post-­‐concert  questionnaire  said  they  would  come  again.        

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FUNomusica  concerts  are  presented  in  partnership  with  Oxford  City  Council.    

   Hospitals  Over  the  years  we  have  been  very  active  in  local  hospitals  and  have  established  special  relationships  with  a  number  of  wards  where  our  workshops  have  always  been  regarded  as  having  extremely  beneficial  therapeutic  results.  Our   projects   at   the   Oxfordshire   Mental   Healthcare   NHS   Trust,   where   we  developed   specialist   therapeutic   work   at   the   Park   and   Highfield   Hospitals   for  disturbed   adolescents,   were   awarded   a   major   grant   from   Youth   Music.   For   a  number  of  years  we  have  been  running  workshops  at  the  Centre  for  Enablement  at   the   Nuffield   Orthopaedic   Centre,   for   physically   handicapped   outpatients.    Hospital  staff  rated  our  work  there  as  ‘the  most  valued  visiting  resource’.          A   more   recent   series   of   workshops   has   been   developed   at   the   Spinal   Unit   at  Stoke  Mandeville  Hospital  in  Aylesbury.  We  are  also  active  in  the  Geratology  Unit  of   the   John   Radcliffe   Hospital,   and   in   the   Fulbrook   Centre   of   the   Churchill  Hospital   for   older   adult   patients   suffering   from   acute   mental   conditions.   The  physiotherapist  at  the  Cherwell  hailed  this  work  as  the  “best  therapeutic  activity  they  have”.  Next  year  we  will  be  extending  this  work  to  include  the  Oxford  City  Community  Hospital.        

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RECORDINGS  In  2006,  Oxford  Philomusica  launched  its  own  label  and  released  its  first  CD  in  a  recording  of  Haydn’s  ‘Creation’  with  the  Choir  of  New  College  Oxford  conducted  by  Edward  Higginbottom.  The  recording  was  CD  of  the  Month  in  the  December  2008  issue  of  the  prestigious  BBC  Music  Magazine.      Our   second   recording   features   Handel/Mendelssohn’s   Acis   and   Galatea   with  Christ  Church  Cathedral  Choir  conducted  by  Stephen  Darlington.      Both  recordings  have  elicited  high  praise.    

 The   Oxford   Philomusica   label   has   also   released   a   number   of   solo   piano  recordings  of  the  Music  Director  previously  on  other  labels.      

   All  recordings  are  available  to  purchase  online  and  in  all  good  record  shops.        

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OPERA  In   past   years,   the   Welsh   National   and   Glyndebourne   Touring   Operas   visited  Oxford   twice   a   year   to   present   opera   to   the   local   community.   In   recent   years,  fully  staged  productions  of  a  high  quality  in  Oxford  have  been  confined  to  those  presented  by  WNO  once   a   year.   From   the   research  we  have  undertaken,   there  seems  to  be  considerable  demand  for  the  genre  and  the  Oxford  Philomusica,  as  the  City’s  professional  orchestra  and  the  principal  promoter  of  classical  music  in  Oxford,  aims  at  filling  the  identifiable  gap.    In   our   2011   Business   Plan  we   set   out   our   vision   and   budgeted   for   presenting  opera  in  Oxford.  Though  later  than  planned,  we  presented  Mozart’s    Così   fan  Tutte   in  a  new  production  at  the  New  Theatre   in  two  performances  on  the  1st  and  3rd  May  2015.      For   the   occasion,   we   have   teamed   up   with   Metta   Theatre   and   their   award-­‐winning   Director   Poppy   Burton-­‐Morgan,   whose   visionary   setting   of   Mozart’s  masterpiece   to   wartime   Britain   resulted   in   a   stunning   re-­‐enactment   of   the  opera’s  tale.      

         

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MANAGEMENT  AND  ADMINISTRATION  The   orchestra’s   day-­‐to-­‐day   affairs   are  managed  by   the   directors   of   the   trading  company  and  carried  out  by  8  fulltime  staff.  Their  duties  include:    

• Artistic  Planning  • Booking  the  musicians  • Operational  Planning  • Marketing  • Box  Office  and  Event  management  • Development  • Education  • Accounts  

 We  also  maintain  a  number  of  specialist  professionals  as  consultants  or  advisors.    For  a  full  list  of  employees,  consultants  and  advisors  please  refer  to  Appendix  3  on  page  62.    Management  Style  Our  Management  Team  has  underpinned  the  orchestra’s  meteoric  rise.      Because  we  are  a  small  team  we  are  able  to  make  quick  decisions  and  act  upon  them.      In  managing  our  affairs,  we  adhere  to  the  following  principles:  

 • We  are  not  afraid  to  do  things  differently    

 • We  often  persist  in  the  face  of  obstacles  and  don’t  like  to  take  “no”  for  an  

answer    

• We  have  a  passion  for  the  product.  (Those  who  don’t  believe  in  it,  have  no  place  in  the  organisation)  

 • We  avoid  taking  the  path  of  least  resistance,  which  often  produces  

mediocre  results,  however  convenient  at  times    

• We  aim  to  provide  a  “wow  factor”  in  performance  and  anything  else  we  present    

 • We  deliver,  and  people  have  come  to  rely  on  us  and  trust  us  

 Systems  From   the   beginning,   we   set   up   systems   in   the   office   that   allow   us   to   work  efficiently  and  turn  things  around  quickly.        

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These  have  included  databases  for  those  attending  our  events,  for  prospects,  for  orchestral   personnel,   for   creating   estimates,   and   systems   for   marketing   and  accountancy.    PR  &  PRESS  In  2008,  we  appointed  Peacock  PR  to  look  after  our  PR  and  Press  office.      Our   focus  has  been   the  core  Oxfordshire  press  and  UK   journalists,  all  of  whom  have  an  awareness  of  the  orchestra.  Key  messages  at  the  beginning  centered  on  the   University   link,   the   nurturing   of   young   talent,   Oxford   Phil’s   outstanding  outreach   programme   and   the   organisation’s   financial   stability.   More   recently  these   messages   have   focussed   on   the   star   guest   appearances   that   are   now   a  regular   feature   of   the   Oxford   Phil   season,   including   of   course   the   relationship  built  with  Maxim  Vengerov.    There  has  been  particular  success  with  the  major  magazines  over  the  years:  BBC  Music,  Gramophone,  Classical  Music  and  the  orchestra  has  enjoyed  a  number  of  good  reviews  although  having  consistent   review  coverage   remains  a   challenge,  as  with  all  music  organisations.      MEDIA  Since   2014,   we   have   been   collaborating   with   TallWall   Media,   a   leading  promotional   film   company,   whose   dedicated   team   have   produced   high-­‐quality  documentaries  on  the  Orchestra  and  some  of  our  concerts.    These  include  documentaries  on  visits  to  Oxford  to  perform  with  Oxford  Phil  by  Maxim  Vengerov  and  Valery  Gergiev  and  a  documentary  on  our  Piano  Festival.  Concerts  with  Maxim  Vengerov,  Anne-­‐Sophie  Mutter  and  Valery  Gergiev  are  also  available   as   are  masterclasses   given   by   these   artists.   The   films   appear   on   our  website  and  are  sent  out  for  promotional  use.      Simon  Wall,  WallMedia’s  director,   is  one  of  our   consultants  whose  background  both   as   an   artist  manager   and  marketing  manager   to   one   of   London’s   leading  artists  agencies  brings  a  wealth  of  experience  to  our  marketing  team.      MARKETING  Our  marketing  campaigns  in  recent  years  have  successfully  increased  awareness  of  the  orchestra  and  the  number  of  people  attending  our  concerts.    The   current   brochure   design   is   considered   strong   and   has   relevance   to  music  lovers,   journalists   and   promoters   who   still   appreciate   print   materials.   With   a  circulation   of   around   80,000   a   year,   the   orchestra’s   brochures,   listing   all   our  events,  are  disseminated  widely.      We   currently   have   over   14,000   people   listed   in   our   database   and   send   out  information   about   concerts   to  most   either  by  post   or   email   on   a   regular  basis.  Our  Newsletter  is  circulated  to  around  600  people  three  times  a  year.    

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Our   website   supports   all   our   events   and   provides   information   about   the  orchestra  in  general,  including  media  links.    An   increased   use   of   Social   Media   has   also   enabled   us   to   communicate   more  directly  with  our  patrons.    RECOGNITION  In  2013  the  Oxford  Philomusica  and  Music  Director  Marios  Papadopoulos  were  awarded  the  Oxford  City  Council’s  coveted  Certificate  of  Honour  in  recognition  of  the  contribution  we  have  made  to  education  and  performance  in  Oxford.    Oxford   City   Council   have   included   the   Oxford   Phil   in   their   portfolio   of   core-­‐funded  cultural  organisations.  While  the  grant  is  by  no  means  substantial,  it  is  a  recognition   of   our   efforts   and   provides   leverage   to   any   future   applications  we  submit  to  the  Arts  Council.    In  2014,  Marios  Papadopoulos  was  awarded  an  MBE  in  the  Queen’s  New  Year’s  Honours  List  for  services  to  music  in  Oxford.    

         

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TOWARDS  20  Years  2015  –  2018   Having   implemented   the   three-­‐year   strategy   as   set   out   in   our   2011   Business  Plan,  we  have  come  close  to   fulfilling  our  goal  of  placing  Oxford  Philomusica   in  the  top  league  of  UK  orchestras.      The  challenge  remains  to  maintain  the  momentum  and  realize  the  full  potential  of  the  orchestra  as  we  approach  our  20th  anniversary  in  the  year  2018.    The  Pathway  to  the  Future  In   order   to   identify   the   challenges   ahead,   we   held   Away   Day   meetings   in  February  2015  over  two  days  for  an  in-­‐depth  review  of  our  organisation  and  its  objectives,   involving  members   of   the   Trust,   the   Finance   and   General   Purposes  Committee,   the  Advisory  Council,  all  our  staff,  several  of  our  regular  musicians,  consultants,   friends  and  patrons  and  our  newly  appointed  agents   International  Classical  Artists.    During   the   course   of   the   two   days,   we   examined   every   aspect   of   Oxford  Philomusica’s   activities   in   a   series  of  presentations   and  discussion   sessions.  At  the  end  of  an  intensive  two-­‐day  symposium,  we  emerged  with  a  clearer  picture  of  the  main  objectives  of  the  organisation  and  what  we  might  set  out  to  achieve  over  the  next  three  years.    It   was   agreed   that   Oxford   Philomusica   faced   tremendous   challenges   and  opportunities.  The  question  was  posed  as  to  whether  we  grasp  these  and  move  forward   or   resort   to   being   a   provincial   orchestra   concentrating   mainly   on   a  series   of   concerts   in   our   home   town.   The   overwhelming   consensus   amongst  those  present  was  that  we  should  take  advantage  of  all  the  exciting  opportunities  presented  to  us  and  move  onwards  and  upwards.  As  one  of  our  leading  players  said:  “we  are  a  great  orchestra  and  we  want  to  be  recognised  internationally  as  such”.      The  three-­‐year  plan  set  out   in  this  document   is  based  on  the  conclusions  made  during  the  Away  Days.    Change  of  Name  It  is  plain  to  see  that  Oxford  Philomusica’s  activities  are  expanding  rapidly,  partly  because  of  our  collaborations  with  many  of  the  world’s  greatest  artists  and  also  because  of  a  rise  in  awareness  of  the  orchestra’s  quality  performances.      Access  to  some  of  the  world’s  most  prestigious  centres  is  now  closer  within  our  reach   than   ever   before.   We   have   been   advised   by   our   agents   International  Classical   Artists   (ICA)   as   well   as   by   other   agents   in   Germany   and   the   USA  working  on  our  behalf,  that  they  are  finding  it  difficult  to  sell  the  orchestra  with  its  name  as   it   currently   stands  because  promoters  are   confused  as   to  what  we  stand   for  and  often  wonder  whether  we  are  a   student  orchestra.  We  are  being  strongly  advised  to  change  our  name  to  Oxford  Philharmonic  Orchestra  as  soon  as  it  is  practical  to  do  so.  

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   Following  discussions  with  all  our  major  stakeholders  including  the  University  of  Oxford  we  have  decided  to  accept  the  recommendation  of  the  music  industry  to  allow   the   orchestra   to  move   forward   and   realise   its   full   potential.   The   Oxford  Philharmonic   Orchestra   has   a  more   permanent   ring   to   it   and  more   accurately  portrays   the   breadth   and   depth   of   the   organisation’s   current   and   future  activities.    The  orchestra’s  Board  of  Trustees  have  unanimously  approved  and  ratified   the  change.      From   September   2015   onwards   we   will   be   adopting   the   name   of   Oxford  Philharmonic  Orchestra.      Oxford  Philomusica   is  not  the  first  organisation  of   its  kind  to  change  name:  the  Philharmonia   once   changed   to   ‘New   Philharmonia’,   and   back   again.   Other  examples   include   the   Danish   Radio   Orchestra   and   Minneapolis.   Organisation  titles   can   sometimes   sound   parochial.   The   impacts   of   changing   the   orchestra’s  name   will   affect   perception,   marketing   and   ultimately   the   place   within   the  industry.      The  orchestra  will   still  be  known  by   its   colloquial  name,   the  Oxford  Phil.   In   the  initial  stages,  we  will  retain  the  logo,  which  is  an  acronym  for  Oxford  Phil,  so  that  people   clearly   connect   the   change   to   our   organisation.   The   domain   name  oxfordphil.com  will  also  remain  the  same.        Marketing   and   press   campaigns   will   ensure   that   the   public   and   the   musical  establishment  is  informed  of  the  change  and  the  reasons  behind  it.      Constitutionally,   the   legal   bodies   representing   the   organisation,   namely   the  Oxford  Philomusica  Trust  and  Productions  Ltd,  will  remain  intact  and  all  existing  contracts,   including   our   agreement  with   the   University   of   Oxford,   will   require  minor  modifications  to  reflect  the  change.        

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ARTISTIC  POLICY  Over  the  last  three  years  we  have  applied  a  policy  for  improving  the  orchestra  by  recruiting   outstanding   new   players,   increasing   rehearsal   time   and   procuring  opportunities  for  repeat  concerts.      Membership  Our  strings  in  particular  are  considered  today  to  be  amongst  the  best  in  the  UK  and   a   number   of   international   soloists   and   conductors,   including   Maxim  Vengerov,   Anne-­‐Sophie   Mutter   and   Valery   Gergiev,   have   praised   their  outstanding  qualities.    

                                   

   Members   of   the   orchestra   are   attracted   to   the   Oxford   Phil   for   a   number   of  reasons:    

• The  quality  of  the  music-­‐making  and  our  strong  musical  statements    • The  ability  to  work  with  like-­‐minded  musicians  of  the  highest  calibre  • The  quality  of  the  string  playing  • The  repertoire  • Working  with  world-­‐class  soloists  and  conductors  • Opportunities  to  play  solo  • Opportunities  to  play  chamber  music  • The  Sheldonian  Theatre’s  excellent  acoustics  and  intimate  environment  • Oxford’s  renowned  status  as  the  home  of  one  of  the  world  greatest  

universities    The  Music  Director  makes  all  final  decisions  on  the  membership  of  the  Orchestra.          

Our  Royal  Patron  HRH  Princess  Alexandra  meeting  OP  musicians  at  St  James’s  Palace  

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Sound  and  Style  With  the  recruitment  of  a  number  of  exceptional  musicians  from  Eastern  Europe  the  orchestra  has  acquired  a  special  sound,  possibly  unique  in  the  UK.    The  qualities  we  look  for  in  a  player  are:    

• Quality  of  sound  • Technical  proficiency  • Commitment  

 We  greatly  encourage  individuality  within  the  disciplines  of  teamwork.    We  abhor  a  deadpan  approach  to  music-­‐making  and  expect  players  to  play  each  concert  as  if  their  life  depended  on  it.    We  make  strong  musical  statements  and  avoid  routine  performances.      While   much   has   been   achieved,   we   cannot   rest   on   our   laurels   and   become  complacent.  The  challenge  of  ensuring  that  at  all  times  the  Oxford  Philharmonic  can  field  a  team  of  the  highest  order  remains.  Over  the  next  few  years  we  shall  continue   to   provide   the   right   environment   for   improving   the   quality   of   our  performances   and   seek   out   the   very   best   musicians   available   to   increase   our  membership.      Repertoire  With  no  other  orchestra  within  a  large  radius  from  Oxford,  we  are  not  restricted  by   the   programming   of   others   and   can   present   to   the   public  we   serve   a  wide  variety  of  repertoire.  Our  musical  activities,  therefore,  feature:    

• The  classical  repertoire  • The  full  symphonic  repertoire  • The  Baroque  repertoire  in  a  dedicated  Festival  in  July  • The  contemporary  repertoire  • Opera  

 Oxford   audiences   tend   to   be   conservative   and   while   the   core   repertoire   of  Mozart   and   Beethoven   –   highlighted   on   a   number   of   occasions   in   a   series   of  concerts  dedicated   to   these   composers   –  draw  a   large   audience,  more   esoteric  repertoire   featured   in  some  of  our  concerts,   like   the  Haydn  Series   in  2009  and  the  Britten   Series   in   2012/13,   proved   less   appealing.  Nevertheless,   new  music  represents   7%   of   the   repertoire   we   present,   which   is   as   high   as   many   other  orchestras  in  the  UK.  This  is  partly  because  of  our  association  with  the  University  of  Oxford  and  our  support  of  the  Faculty  of  Music’s  new  music  programme.        

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Chamber  Music  The  Oxford  Philharmonic  Orchestra  is  probably  the  only  orchestra  in  the  UK  that  offers   its   principal   players   opportunities   to   play   chamber   music   on   a   regular  basis.      Great   orchestras   have   a   uniformed   sense   of   style   and   it   is   through   chamber  music  that  The  Soloists  of  the  Oxford  Philharmonic  –  the  elite  group  of  some  of  the  finest  musicians  occupying  principal  positions  in  the  Orchestra  –  attain  a  unified  approach  to  music-­‐making  that  permeates  through  the  ranks  to  create  a  homogeneity   of   sound   and   style,   making   the   Oxford   Phil   a   distinct   musical  instrument.      

 Artist  Relationships  Having  concentrated  on  improving  the  quality  of  the  Orchestra,  we  have  created  a   musical   instrument   good   enough   for   artists   of   international   renown   to   play  with.   Return   visits   by   such   artists   as   Maxim   Vengerov,   András   Schiff,   Nigel  Kennedy,   Valery   Gergiev,   Anne-­‐Sophie   Mutter   and   Vladimir   Ashkenazy   are   a  testimony  of  the  esteem  in  which  the  Oxford  Phil  is  held  in  the  eyes  of  those  who  regularly  collaborate  with  the  world’s  greatest  orchestras.      The  notion  that  the  Oxford  Phil  has  buckets  of  money  to  throw  these  artists’  way  in   order   to   lure   them   to   Oxford   is   of   course   totally   false   and   needs   to   be  dispelled.  We   are   extremely   fortunate   that   these   artists   recognise   the   confines  within   which   we   operate,   such   as   the   limited   Box-­‐Office   revenue   from   the  Sheldonian   Theatre,   and   readily   accept   highly   discounted   fees   for   their  appearances  in  Oxford.    

The  Soloists  at  Buckingham  Palace  

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With  such  an  auspicious   line-­‐up  of   international  artists,  we  have  to  ensure  that  we  provide  an  environment  these  artists  are  accustomed  to  and  offer  rehearsal  time  commensurate  to  that  offered  by  other  orchestras.  Such  opportunities  will  not  reappear  if  we  renege  on  our  promise  to  deliver.    Beginning  as  a  relatively  unknown  entity,   the  Oxford  Phil  has  struggled  to  gain  recognition   from   those  within   the  musical   establishment.   Building   reputations  takes  time  and  when  artists  of  the  calibre  of  Maxim  Vengerov  and  Anne-­‐Sophie  Mutter   speak   highly   of   the   Oxford   Phil,   people’s   perceptions   begin   to   change,  even  though  the  orchestra’s  inherent  qualities  have  always  been  there  for  them  to  see.      FORWARD  PLANNING  Continuing   to   improve   the   Orchestra   and   seeking   closer   relationships   with  international  soloists  and  conductors  remain  at  the  core  of  the  Orchestra’s  future  planning.            Celebrity  Series  The  celebrities  we  collaborate  with  as  well  as  the  Oxford  brand  provide  us  with  a  passport  to  gaining  access  to  the  national  and  international  musical  arena.      Other   than   return   visits   by   Maxim   Vengerov,   Andras   Schiff,   Nigel   Kennedy,  Valery   Gergiev,   Anne-­‐Sophie   Mutter   and   Vladimir   Ashkenazy,   we   have   firm  commitments   from   the   following   artists   to   appear  with   the   Oxford   Phil   in   the  seasons  ahead:    

• Vadim  Repin  • Renée  Fleming  • Pinchas  Zukerman  • Anne  Sofie  von  Otter  • Cecilia  Bartoli  • Yuri  Temirkanov  

 Forming   close   relationships   with   these   artists   will   have   a   profound   effect   in  raising  the  Orchestra’s  national  and  international  profile.      Artist  in  Residence  Maxim  Vengerov’s   tenure  as   the  Oxford  Phil’s   ‘Artist   in  Residence’  comes  to  an  end  in  August  2016.  The  desire  for  the  association  to  continue  is  mutual  and  is  likely   to   result   in   a   renewal   of   the   agreement   allowing   the   relationship   to  blossom  further.      Since  we  embarked  on  this  relationship,  the  benefits  to  the  Oxford  Phil  have  been  immense  and  far-­‐reaching.  Maxim  Vengerov  has  appeared  with  us  on  numerous  occasions   in   Oxford   as   well   as   in   concerts   in   London,   Manchester   and  Basingstoke.   As   soloist,   he   has   performed   the   Britten,   Dvořák,   Brahms   and  Tchaikovsky   violin   concertos.   As   conductor,   he   has   led   the   Orchestra   in  performances  of  Mendelssohn’s  ‘Scottish  Symphony’.    

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In   June   2015,   he   will   be   the   soloist   in   the   Sibelius   Violin   Concerto   and   will  conduct  the  Orchestra  in  performances  of  Berlioz’s  Symphonie  fantastique.      Recordings  High   amongst   the   achievements   of   this   relationship  must   rank   the   recordings  Maxim  Vengerov   has  made  with   the  Oxford   Phil   due   for   release   later   in   2015.  These   feature  performances   of   the  Brahms  Violin  Concerto   and  Mendelssohn’s  ‘Scottish  Symphony’.  By  his  own  admission,   the   recording  of   the  Brahms  ranks  high  amongst  his  prodigious  discography  and  he  considers  it  superior  to  the  one  he   made   with   the   Chicago   Symphony   Orchestra   under   Daniel   Barenboim.   So  much  so,  that  he  gave  his  consent  to  have  the  recording  broadcast  on  BBC  Radio  3  and  on  Classic  FM  before  the  final  edit  was  completed.    Two  further  recordings  have  been  scheduled,  one  of   the  original  version  of   the  Sibelius   Violin   Concerto   in   2015   and   another   of   the   Elgar   Violin   Concerto   in  2016.   Releases   of   these   recordings   will   coincide   with   performances   in   major  concert  halls  including  London’s  Barbican.    Touring  and  Engagements  The   special   relationship   the  Oxford  Phil   has  with  Maestro  Vengerov   and   other  prominent  artists  pave  the  way  for  access  to  the  major  performing  centres  of  the  world.      The  music   industry   is   artist-­‐led   and   the   only  way   a   relatively   unknown   entity  such  as  the  Oxford  Phil  can  command  the  attention  of  the  musical  establishment  is   to   collaborate   with   the   eminent   artists   we   have   formed   close   relationships  with.      Adding   to   the  package  offered   to  promoters  a  brand   that   stands   for  excellence  the   world   over   augurs   well   for   procuring   engagements   and   performing   at  prestigious  venues  and  international  festivals.      The   opportunities   on   offer   need   careful   and   expert   handling.   This   is   why   in  January   2015  we   have   entered   into   an   agreement  with   International   Classical  Artists,   an   established   artists’   agency,   who   know   the   music   industry   and   the  national  and  international  promoters  who  might  invite  the  Orchestra  to  perform.  ICA’s  role  is  to  advise  and  assist  the  Oxford  Philharmonic  in  its  development,  to  seek   engagements   on   our   behalf,   to   offer   overall   strategic   planning   and   work  closely  with  our  team  to  deliver  our  long-­‐term  objectives.  Specifically,  ICA  will:    

• Devise  a  strategic  touring  plan  from  2015  onwards,  with  the  aim  of  achieving  up  to  30  additional  concerts  per  season  by  2017/18    

• Promote  and  sell  the  Oxford  Phil  to  new  venues,  festivals  and  agents,  both  in  the  UK  and  abroad  and  work  through  the  lining  up  of  key  territories  such  as  Asia,  Japan,  China,  Central  Europe,  South  America,  USA,  Scandinavia,  Germany/Austria/Switzerland    

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• Prospect  specific  touring  projects  and  identify  key  towns,  local  agencies  and  festivals  that  will  need  to  be  contacted  with  tailored  programmes/  soloists,  proposals,  budgets,  and  selling  conditions  for  the  orchestra    

• Liaise  with  venues,  book  dates  for  rehearsals  and  concerts,  negotiate  financial  terms  and  contractual  arrangements    

• Create  estimates  for  each  concert  and  for  potential  projects  to  assess  their  viability,  working  within  the  Oxford  Phil’s  overall  financial  parameters  for  touring  

 Heading  the  team  at  ICA  is  Stephen  Wright,  a  manager  whose  career  spans  over  forty  years  and  who  successfully  delivered  the  worldwide  touring  management  of   the   Oslo   Philharmonic   with   Mariss   Jansons   and   of   the   St   Petersburg  Philharmonic  with  Yuri  Temirkanov.      Stephen  and  his  team  will  seek  to  develop  the  Orchestra’s  career  and  reputation  at  both  national  and  international  levels  through  a  carefully  integrated  strategy.    ICA  have  already  procured  a  major  tour  of  the  UK  with  Nigel  Kennedy  as  soloist  in   the  Elgar  Violin  Concerto   for   spring  2016  and  have  set   into  motion  possible  tours   in   Germany   and   other   parts   of   Europe,   appearances   at   the   prestigious  Lucerne  and  Prague  Spring  festivals  as  well  as  at  the  BBC  Proms,  performances  in  New  York  and  a  tour  in  South  America.    As   indicated   by   Stephen   Wright   at   the   Away   Days,   international   touring   is   a  troubled  area  with  ferocious  competition.  The  Oxford  Philharmonic  will  need  to  start  from  scratch  and  ‘buy  in’  to  certain  musical  centres  such  as  Berlin  and  Paris.      At   this   stage  of   the  development  of   our   touring  programme  we  have   to   accept  low  fees  and  part-­‐subsidise  some  of  the  engagements  on  offer.      We  need  to  review/revise  the  concert   loss  strategy  of   the  UK  national  concerts  (i.e.   non-­‐Oxford/London)   and   readdress   the   current   budget   spend   allocating  some  of  this  to  a  development  fund  for  international  touring.    The  ‘Oxford’  brand  is  not  necessarily  helpful  in  the  UK  but  potentially  extremely  appealing   to   promoters   overseas.   Describing   the   Oxford   Philharmonic   as   “the  Resident  Orchestra  of  the  University  of  Oxford”  would  be  valuable  in  some  places  such  as  the  Salzburg  Festival.    Presenting   a   programme   that  weighs   heavily   on   our   Oxford   identity  may  well  prove   appealing   to   some   promoters.   Haydn   is   a   composer   whose   links   with  Oxford   are   strong.   To   offer   to   perform   Haydn’s   ‘Oxford   Symphony’   or   the  composer’s   Creation   with   an   Oxford   orchestra   and   College   Choir   could   be   an  attractive  proposition.      

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Given  the  advanced  planning  of  most  international  promoters,  ICA  have  already  begun  to  make  approaches  in  the  hope  that  engagements  are  procured  in  two  to  three  years  from  now.    A  careful  selection  of  possible  touring  territories  has  been  compiled  with  strong  emphasis   on   those   where   there   is   a   strong   Oxford   alumni   presence.   These  include  Asia  and  USA.      Markets   which   can   afford   to   pay   high   fees   such   as   Germany   are   also   being  pursued.      In  order   for   the  Oxford  Philharmonic   to   enhance   its  national   and   international  profile,   ICA  have  strongly  recommended  that  we  undertake  a  series  of  concerts  in  London  which  replicate  those  we  present  in  Oxford  with  celebrity  artists.      The   ‘regional   orchestra’   mentality   that   assumes   that   quality   is   lower   in   the  provinces  than  in  London  will  change  with  a  London  series.    The   artists   we   are   approaching   to   take   part   in   the   series   include   Maxim  Vengerov,   Evgeny   Kissin,   Vladimir   Ashkenazy,   Sir   Andras   Schiff   and   Valery  Gergiev.      Columbia  Artists  Management   Inc   (CAMI)   in   the  USA  strongly   recommend   that  we  take  up  a  two-­‐day  residency  at  the  Lincoln  Center  in  New  York  with  Maxim  Vengerov  as  Artistic  Director,  in  order  to  raise  the  orchestra’s  profile  in  America  and  pave  the  way  for  a  major  US  tour  in  future  years.    All   these   major   projects   are   being   pursued   for   2017/18,   offering   us   the  opportunity  to  make  a  quantum  leap  into  the  major  league.      In  summary,  they  include:    

• A  German  tour  with  violinist  Vadim  Repin  in  2017/18  • A  major  tour  of  Asia  in  2017/18  • A  two-­‐day  residency  at  New  York’s  Lincoln  Center  in  2017  • A  series  of  four  concerts  in  London’s  Barbican  in  2017/18  

   

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Number  of  concerts  The   quality   and   quantity   of   the   Oxford   Philharmonic’s   concerts   have   to   be  carefully   monitored   to   ensure   that   at   all   times   our   performances   are   at   the  highest  level.    Within   the   ranks   we   have   a   number   of   soloists   who   continue   to   pursue   solo  careers.  In  contemplating  the  number  of  concerts  the  OP  should  aim  to  do  a  year,  we   should  be   conscious   that   some  of   our  outstanding  players  may  not  be   able  commit   to   an   OP   schedule   that   overburdens   their   other   musical   pursuits.   We  must  therefore  provide  a  schedule  to  ensure   loyalty  while  allowing  our  players  the  freedom  to  undertake  other  commitments:    

• More  Concerts/Increased  player  loyalty  • Too  many  concerts/Decreased  player  loyalty  

 Over   the   next   three   years,   we   aim   to   increase   the   number   of   concerts  incrementally  to  an  optimum  of  60  by  the  season  2017/18.  This  should  provide  our  members  with  a  substantial   income  stream  while  allowing  them  the  luxury  of  pursuing  other  musical  interests.      It  is  not  the  objective  of  the  Oxford  Philharmonic  to  become  a  fulltime  orchestra  in  the  foreseeable  future.      Even   though   some   of   the   London   orchestras   provide   financial   stability   and  security   for   members,   we   have   recently   witnessed   an   exodus   of   some   fine  players   from   these   orchestras   to   the  Oxford   Phil   because   of   the   flexibility   and  variety  of  work  we  offer.      Rehearsals  It  is  our  aim  to  increase  rehearsal  time  to  provide  an  extra  six  hours  prior  to  the  dress  rehearsal  for  every  concert  we  present.      Once  a  programme  has  been  rehearsed  extensively  prior  to  the  first  concert  of  a  tour,   then   of   course   subsequent   concerts   with   the   same   programme   would  require  less  rehearsal.          

Maestro  Valery  Gergiev  conducting  the  Oxford  Phil  

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ACADEMY  Our  educational  activities  are  important  to  our  remit  and  we  shall  continue  over  the  years  to  provide  help  and  tuition  to  young  musicians.    Piano  Festival  The  basic  formula  for  our  Piano  Festival  has  changed  little  over  the  years.  While  it  would  be  ideal  to  extend  the  period  to  two  weeks,  the  amount  we  would  need  to  charge  resident  observers  attending  to  cover  our  costs  would  be  prohibitive.    Providing  a  variety  of  teachers  and  performers  who  represent  diverse  schools  of  piano  playing  will  continue  to  open  new  horizons  for  our  students.    While  maintaining  a  nucleus  of  returning  students,  we  will  continue  to  seek  out  others  who  might  benefit  from  the  knowledge  and  expertise  imparted  to  them  by  our  illustrious  faculty.    University  Residency  Our  Residency  at  Oxford  University  is  highly  beneficial  and  important  to  us.  Our  term  of  office  expires   in  October  2017.   In  order   to  ensure   that  we  can  still   call  ourselves  the  Orchestra  in  Residence  at  the  University  of  Oxford  when  talking  to  promoters   or   planning   our   activities   beyond   2017,   we   will   be   applying   for   a  renewal  of  the  residency  in  2016.    COMMUNITY  Our  programme  for  the  community  will  continue  and  expand  over  the  next  three  years.  Partnership  with  other  music  and  cultural  organisations  delivering  work  similar  to  ours  has  always  been  very  important,  and  going  forward  we  are  now  working   in   close   collaboration   with   two   very   important   local   cultural  organisations.      We  are  a  founding  member  and  major  partner  of  the  newly  formed  Oxfordshire  Music  Education  Partnership  (OMEP),  one  of  the  new  Music  Education  Hubs  that  are  central   to  the  UK  Government’s  National  Music  Education  Plan  which  came  about  following  the  report  on  music  education  by  Darren  Henley  in  2011.  Music  Education   Hubs,   of   which   there   are   now   over   100   nationally,   are   funded   and  overseen  by  the  Arts  Council  on  behalf  of  the  Department  of  Education.  This  is  a  partnership  between  music  organisations  working  together  to  ensure  that  every  child   aged   5-­‐18   in   the   area   has   the   opportunity   to   sing,   to   learn   a   musical  instrument,   to  perform  as  part  of  an  ensemble  or  choir  and  to  take  their   talent  further.    In   addition   we   are   planning   a   series   of   open   workshops   for   local   secondary  schools  which  will  be  based  on   the  GCSE  syllabus   for  children  studying   for   the  exam  in  music.    Similarly  we  are  now  a  partner  of  the  City  Council’s  funded  Cultural  Partnership  Group,   along   with   other   major   cultural   organisations   in   the   City   such   as   the  Oxford   Playhouse,   Pegasus   Theatre,   Modern   Art   Oxford   and   the   University  Museums.   In   promoting   the   cultural   life   of   the   city,   this   partnership   has   three  

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main  objectives:  leading  a  partnership-­‐based  approach  to  developing  the  cultural  life  of  the  city;  improving  opportunities  for  young  people  to  access  and  actively  participate   in   high-­‐quality   cultural   activities;   and   improving   opportunities   for  the   diverse   range   of   communities   in   the   city   to   participate   actively   in   high-­‐quality  cultural  activities  that  reflect  their  own  identities.    It  is  significant  to  note  that  our  Artist  in  Residence  Maxim  Vengerov  has  shown  enthusiasm   to   be   a   part   of   future   initiatives   and   of   course   brings   significant  experience  through  his  global  UNICEF  Ambassador  role.      Family  Concerts  Our   agreement   with   the   Oxford   City   Council   requires   that   we   increase   the  number  of  these  to  three  a  year.    OPERA  Opera  has  enormous  appeal  and  it  is  probably  the  most  attractive  of  all  classical  music  genres.      Following   the   successful   new   production   of  Così   fan  Tutte   in   2015,  we  will   be  evaluating  the  impact  this  has  had  on  our  audiences  and  on  our  finances.      From  the  feedback  we  have  received,  it  is  clear  that  the  public  warmly  embrace  our   efforts.   Evidence   also   suggests   that   funding   is   available   from   sources   that  would  otherwise  not  fund  any  of  our  other  activities.      In  an  ideal  world,  we  would  prefer  to  work  with  an  established  opera  company  such  as  Glyndebourne  Touring  where  we  provide  the  orchestra  and  they  provide  the  rest.  However,  we  have  proved  that  we  can  do  it  on  our  own,  working  as  we  did   for  Così  with   a   company   such   as  Metta  Theatre   and   their   talented  director  and  design  team.      An  opera  production  every  two  years  is  envisaged  as  a  first  step  to  establishing  a  more  regular  operatic  programme  for  the  future.    PR  &  MARKETING    The  first  task  facing  our  PR  and  Marketing  team  is  the  handling  of  the  change  of  name   and  making   the   announcement.   This   offers   an   opportunity   to   gauge   the  interest   of   the   press/media   who   might   consider   attaching   a   story   to   the  announcement.      The   change   of   name   also   offers   an   opportunity   to   revamp   our   website   which  needs  to  deliver  a  strong  message  about  who  we  are  and  what  we  do.      Further   challenges   to   our   PR   efforts   include   the   negative   media   perception  attached   to   regional   orchestras;   a   lack   of   understanding   as   to  why   the   Oxford  Phil  enjoys  so  many  high  level  collaborations/associations  with  leading  soloists  and  the  myth  of  OP  being  a  wealthy,  privately  funded  orchestra.  Journalists  hold  a   narrow  view  of   the   industry   and  2-­‐3   years   of   continued   focus   is   required   to  change  perceptions.  

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 High-­‐profile  visits  by  leading  soloists  rarely  present  a   ‘story’  as  such,  leading  to  the  potential  deepening  of  old  preconceptions.  Future  repeat  performances  with  these  personalities  would  help  underline  more  substantial  commitments   to   the  orchestra  by  such  soloists,  emphasising  OP’s  quality.        Few  journalists  will  travel  to  review  events  outside  of  London,  despite  c.60%  of  them  having   studied   at  Oxford.   For   instance,   Fiona  Maddocks   of   The  Observer  lives  in  Oxford  but  will  not  review  events  there.        The   proposed   London   series   will   help   counteract   this   and   positive   national  reviews  are  still  important  in  selling  overseas.        In   attempting   to   strengthen   the   Oxford   Phil   brand   we   need   to   address   the  following:    

• Communicate  our  reputation  for  being  ‘bold’  • Clarify  the  University  link    • Increase  communication  before  an  event  –  social  media  is  currently  the  

best  platform  for  this  • Become  known  as  a  renowned  academy  for  developing  young  talent    

 In  summary,  we  need  to:    

• Support  an  artistic  strategy  that  will  define  our  programming  • Communicate  why  OP  exists  and  contributes  to  the  UK  orchestral  

landscape  • Address  the  common  misconception  that  the  OP  buys  into  high-­‐calibre,  

high-­‐fee  soloists  • Strengthen  links  between  audience  and  orchestra:  ‘meet  the  orchestra’  

initiatives  to  profile  players  with  interviews/photos/online  presence  • Create  new  imagery  • Use  multimedia  provided  by  TallWall    • Explore  other  media  opportunities  –  BBC4,  Sky  Arts  • Explore  live  streaming  opportunities  such  as  Medici  TV  • Expand  our  social  media  network  • Broadcast  player  achievements  to  increase  relationship  and  connection  

between  audience/orchestra  • Update  frequently  the  ‘News’  section  of  our  website    

 Going   forward,  we  have  appointed  Nicky  Thomas  Media  Consultancy   to  handle  the  change  of  name  and  general  PR  for  the  orchestra.      With   over   15   years   experience   in   PR   and   corporate   media   relations,   Nicky  Thomas   Media   has   an   excellent   track   record   having   built   the   reputation   of  prestigious   arts   organisations   and   individual   artists   such   as   Antonio   Pappano  and  the  Accademia  di  Santa  Cecilia  Orchestra.    

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Box  Office  Systems  At   the  moment  most   of   our  bookings   are  handled  by   the  Playhouse  Box  Office  based   in  Oxford.  However,  we  sell  an   increasing  number  of   tickets  through  our  own  office.      We  will  seek  to  install  our  own  Box  Office  system  to  save  on  commissions  paid  to  the  Playhouse  and  allow  for  increased  audience  data  capturing  –  currently  a  very  difficult  and  time-­‐consuming  process  and  not  entirely  accurate  for  a  number  of  reasons.  Our  own  Box  Office  system  will  also  help  us  deliver  a  better  service  to  our  customers  in  general.      Management  and  Administration  To  underpin  and  provide  backup  to  all  our  expanding  activities,  our  small  team  in  the  office  is  stretched  to  the  full.    Resources  must  match  ambition  and  time  seems  to  be  the  biggest  issue  amongst  our   staff.   The   proposed   sales   strategy   of   repeat   performances   and   contracted  dates   brings   the   potential   for   economies   of   scale   in   terms   of   administrative  workload:   primarily   the   orchestra  wouldn’t   be   responsible   for  marketing   each  event  and  a  run  of  dates  would  create  defined  periods  of  work  for  both  staff  and  players.  However,  there  remains  a  concern  that  important  tasks  are  at  risk  when  the   team   is   under   pressure.  The   recruitment   of   supplementary   admin   staff   is  therefore  inevitable.      Communication,   resourcing,   expectations   and   the   appropriate   support   for  initiatives  must  be  continually  assessed.      With   operations   rising   as   fast   as   they   are,   it   will   not   be   long   before   the  management  team  at  a  higher  level  is  augmented  with  a  General  Manager  taking  charge  two  to  three  years  from  now.          

Maxim  Vengerov  visiting  our  offices  to  meet  the  team    

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In  contemplating   the   future  we   list  below  a  SWOT  analysis  of  what  we   feel  are  our  strengths  and  weaknesses  as  well  as  the  opportunities  and  threats:    SWOT  ANALYSIS    Strengths  

• Oxford  University  association  • Oxford  brand  • Strong  team  of  top-­‐level  musicians  eager  to  be  involved  • The  high-­‐level  artists  which  the  orchestra  collaborates  with  • Only  professional  orchestra  in  the  Region  • Strong  territorial  claims  • Healthy  reserves  • Strong  and  influential  Boards  of  Trustees  and  Advisors  • Sheldonian  Theatre  with  its  unique  identity  • Tight  and  prudent  control  of  finances  and  governance  • Strong  community  and  education  programme  • Versatility  in  size  of  ensemble  and  repertoire  to  be  presented  • Proficient  and  effective  management  and  administrative  team  • Realisation  of  ideas  delivered  at  speed  • Close  proximity  to  London  where  most  freelance  players  live  and  work  • Oxfordshire  as  a  region  is  cultured  and  affluent  

 Weaknesses  

• Annual  recurring  funding  not  to  the  level  required  to  ensure  financial  stability    

• Capacity  and  box-­‐office  revenue  at  Sheldonian  limited  • Poor  backstage  and  hospitality  facilities  at  the  Sheldonian  • Overstretched  personnel  resources  especially  at  senior  management  level  

 Opportunities  

• Capitalise  on  top-­‐name  associations  to  gain  wider  recognition  and  increase  engagements  

• ICA  representation  paves  the  way  for  wider  touring  prospects    • Celebrity  soloists  and  conductors  continue  to  show  interest  in  coming  to  

Oxford  and  to  perform  with  the  orchestra  • With  a  declining  number  of  opera  productions  in  Oxford,  opportunities  

arise  for  capitalising  on  a  large  market  share    Threats  

• Not  being  able  to  deliver  to  the  expectations  of  VIP  artists  because  of  lack  of  funding  

• Uncertainty  about  the  pentannual  renewal  of  the  University  residency  

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• Other  orchestras  such  as  the  Orchestra  of  the  Age  of  Enlightenment  vying  to  take  the  residency  over  

• A  serious  downturn  in  the  local  economy  • OP  Trustees  who  make  substantial  contributions  to  the  orchestra  may  

refuse  to  be  in  a  minority  if  the  financial  burden  is  not  equally  shared  amongst  all  members    

• Confusion  with  Oxford’s  amateur  orchestras  • Public  sector  cut-­‐backs  will  mean  other  arts  organisations  will  target  OP  

sources  of  funding  • Difficult  to  replace  key  sponsors  if  they  withdraw    • Should  the  Music  Director  retire,  it  will  be  difficult  to  sustain  the  

operation  as  currently  structured  and  which  relies  on  some  recurring  funding  due  to  the  personal  nature  of  his  links  to  major  sponsors        

 While   there   are   clear   threats   and   a   number   of  weaknesses,  most   of  which  we  intend  to  address,   the  Oxford  Philharmonic  has  excellent  prospects   to  reach   its  goals  and  attain  the  national  and  international  recognition  it  deserves.      

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THE  ECONOMIC  ENVIRONMENT    Like   all   orchestras   in   the  UK,   the  Oxford  Philharmonic  has   to  operate  within   a  parlous  economic  environment.      It  is  important  to  state  that  the  OP  receives  no  funds  from  statutory  bodies  such  as   the  Arts  Council  or   the  University  of  Oxford  –  despite  being   its  Orchestra   in  Residence   -­‐   and   relies   entirely   on   donations   from   individuals,   trusts   and  foundations.      Over   the   last   five  years   there  has  been  considerable  growth.  Total   revenue  has  approximately  doubled  driven  by  more  concerts,  reputation  and  ability  to  attract  “box  office  names”.    Direct   costs  have  grown  124%,   reflecting  more  performances,   higher  musician  fees,  high-­‐level  soloist  appearances  and  more  rehearsal  time.  Indirect  costs  have  grown   more   steadily   (78%)   keeping   the   cost   structure   in   a   more   stable  environment.    EXPENDITURE    CONCERT  ACTIVITY  Concert   Activity   accounts   for   51%   of   our   total   expenditure   and   15%   of   our  income.      All   our  promotions   in  Oxford  make   significant   losses.  This   is   partly  because  of  the   capacity   of   the   Sheldonian   Theatre   and   the   way   it   is   structured,   which  restricts   box-­‐office   revenue   with   few   premium   seats   available   to   sell   at   high  prices.  We  also  provide  as  many  as  300  seats  to  students  in  the  Upper  Gallery  for  just  £5.      Norman  Lebrecht  writing  in  the  Evening  Standard  in  2004  makes  the  following  point:  “a  sold-­‐out  symphony  concert  at  the  Royal  Festival  Hall  yields  an  average  loss  of   £48,000   [for   the  LSO]”.  The   loss-­‐making  nature  of   concerts   is   therefore  not  a  new  phenomenon.      Players  Fee  Structure  The  Oxford  Phil  has  devised  positions  within  the  ranks  that  best  serve  our  needs  and  which  are  quite  distinct  from  any  other  orchestra  in  the  UK.    In  the  string  sections,  we  have:    

• 3  Concertmasters  • 1  Co-­‐Concertmaster  • 4  Associate  Concertmasters  • 2  Assistant  Concertmasters  • 2  Solo  Violas  • 2  Solo  Celli  

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• 1  Solo  Bass  • Principals  and  Sub-­‐Principals  

 For  a  full  list  of  appointed  members  please  refer  to  Appendix  1  on  page  59.    Musicians  are  remunerated  according  to  their  status  and  not  according  to  where  they   sit.   For   instance,   if   all   three   Concertmasters   are   playing   –   and   this   has  happened  on  a  number  of  occasions  –  they  will  receive  their  Concertmaster’s  fee  regardless  of  where  they  sit.      The  Oxford   Phil   is   a   full  member   of   the   Association   of   British  Orchestras.   The  ABO/Musicians’  Union  Agreement  governs  the  rates  we  pay  our  musicians  which  are  comparable  to  those  paid  for  Category  1  orchestras  such  as  the  LPO,  LSO,  The  Philharmonia  and  the  RPO.      For  full  details  of  the  rates  the  Oxford  Phil  offers  to  its  members  please  refer  to  Appendix  2  on  page  62.    Celebrity  Artists  Costs  Even   though   concerts   featuring   luminary   names   are   more   expensive,   it   is   the  artists’  demand  for  extra  rehearsals  that  make  these  concerts  costly,  rather  than  their   fees.   Indeed,  we  are   fortunate   that  many  offer  us  a  considerable  discount  when  coming  to  Oxford.  However,  when  appearing  with  them  outside  our  home  territory,  their  fees  are  higher.                                  

   Venue  Costs  Despite   being   the   University’s   Resident   Orchestra,   the   OP   receives   no  preferential   rates   for   the  hire  of   the  University’s   ceremonial  hall.  Furthermore,  priority   booking   –   offered   to   many   other   UK   orchestras   with   residencies   in  places  such  as  the  Southbank  Centre  and  the  Barbican,  is  denied  to  us.          

Lang  Lang  with  the  Oxford  Phil    

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Marketing/Advertising  Costs  The  budget  for  this  is  relatively  small,  only  0.5%  of  the  total  direct  expenditure  of  a   concert,   and   is   increasingly   being   reduced   as   concerts   do   well   with   little  advertising.      The   table  below  shows   the  profit  and   loss  of  a   typical  Sheldonian  concert  with  one  extra  rehearsal  the  day  before:    

REVENUE      

Ticket  Sales   £  7,000  Programme  Sales   £  250  TOTAL  (A)   £  7,250  

       VARIABLE  EXPENSES      Orchestra  Fees   £  16,121  Soloists'  Fees   £  4,000  Conductor's  Fees   £  2,000  Hire  of  Hall   £  1,200  Hire  of  Instruments   £  1,000  Hire  of  Music   £  300  Advertising/marketing   £  600  Printing   £  350  Distribution   £  350  Stage  Mgt  &  van   £  250  Front  of  House  Staff   £  200  Travel   £  500  Accommodation   £  500  Receptions   £  800  Programme  notes   £  100  Staging   £  135  Contingency   £500  TOTAL  (B)   £  28,906  CONTRIBUTION  (C)   £  21,656  FIXED  EXPENSES  (D)   £  19,836  PROFIT/LOSS  (C-­‐D)   £  41,492  

 To   the   direct   costs   of   a   concert   we   add   a   share   of   our   overhead   expenses  apportioned   equally   to   all   income-­‐generated   activity   of   the   orchestra,   bringing  the  total  deficit  to  £41,492.      We  estimate  that  the  Oxford  Philomusica  subsidises  every  one  of  our  concerts  at  an   average   of   £70   a   seat   for   every   person   that   walks   through   the   Sheldonian  doors.          

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The  following  table  shows  the  estimated  profit  and   loss   for  all  our  concerts   for  2014/15:    

    Concert  Date   Title  

Direct  Costs  less    Ticket  Income  

%    of  Fixed  Expenses  

P/L  

1   13/10/2014   Anne-­‐Sophie  Mutter   £38,725   £19,836   £58,561  2   25/10/2014   Dvorak  9th   £21,345   £19,836   £41,181  3   26/10/2014   Family  Concert   £7,933   £19,836   £27,769  4   15/11/2014   Dvorak  8th   £18,956   £19,836   £38,792  5   16/11/2014   Queen's  Evensong   £4,683   £19,836   £24,519  6   29/11/2014   Bruckner  Te  Deum   £25,027   £19,836   £44,863  7   11/12/2014   Messiah   £7,474   £19,836   £27,310  8   20/12/2014   Birthday  Concert   £38,710   £19,836   £58,546  9   04/01/2015   New  Year's  Concert   £18,118   £19,836   £37,954  10   06/01/2015   Aylesbury   £13,059   £19,836   £32,895  11   12/01/2015   Cadogan   £62,778   £19,836   £82,614  12   24/01/2015   Mozart   £17,896   £19,836   £37,732  13   21/02/2015   Sibelius   £17,459   £19,836   £37,295  14   01/03/2015   Pires   £19,176   £19,836   £39,012  15   02/03/2015   Cheltenham   £18,538   £19,836   £38,374  16   12/03/2015   Angela  Hewitt   £33,030   £19,836   £52,866  17   15/03/2015   Family  Concert   £7,932   £19,836   £27,768  18   15/03/2015   Verdi  Requiem   £46,831   £19,836   £66,667  19   02/04/2015   Easter  Concert   £11,337   £19,836   £31,173  20   01/05/2015   Opera   £40,765   £19,836   £60,601  21   03/05/2015   Opera   £40,765   £19,836   £60,601  22   16/05/2015   Andras  Schiff   £34,121   £19,836   £53,957  23   22/05/2015   Kennedy  Tour   £13,825   £19,836   £33,661  24   23/05/2015   Kennedy  Tour   £13,825   £19,836   £33,661  25   25/05/2015   Kennedy  Tour   £13,825   £19,836   £33,661  26   27/05/2015   Buckingham  Palace   £25,000   £19,836   £44,836  27   05/06/2015   Ashkenazy   £23,957   £19,836   £43,793  28   06/06/2015   Guildford   £27,676   £19,836   £47,512  29   19/06/2015   Vengerov   £68,214   £19,836   £88,050  30   27/06/2015   Baroque   £3,000   £19,836   £22,836  31   04/07/2015   Baroque   £3,000   £19,836   £22,836  32   11/07/2015   Baroque   £3,000   £19,836   £22,836  33   18/07/2015   Baroque   £3,000   £19,836   £22,836  34   25/07/2015   Baroque   £3,000   £19,836   £22,836  35   02/08/2015   Piano  Festival   £16,500   £19,836   £36,336                                                               £762,480   £694,260   £1,456,740  

 

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   Artist  in  Residence  Costs  The   position   of   Artist   in   Residence   was   created   two   yeas   ago   especially   for  Maxim  Vengerov  in  order  to  signify  the  artist’s  close  association  with  the  Oxford  Phil   and   to   promote   the   orchestra’s   name   and   reputation   worldwide.   The  agreement   is   for   an   initial   period   of   three   years   and   comes   to   an   end   in  December  2016.      As  part  of  this  agreement  and  use  of  the  artist’s  name  as  Artist  in  Residence  we  pay  an  annual  fee.      As  the  Oxford  Philharmonic’s  global  ambassador,  Maestro  Vengerov  has  already  opened  many   doors   to   us.   The   stipend   for   the   title   is   offset   by   lower   fees   for  concerts   in   Oxford   and   repeat   performances.   Furthermore,   Maestro   Vengerov  waives  his  fee  in  full  for  specific  benefit  concerts  in  support  of  the  orchestra.      We  are  extremely  fortunate,  and  grateful,  that  one  of  our  Trustees  has  agreed  to  cover   the   cost   of   Maxim   Vengerov’s   association   with   the   Oxford   Phil   for   the  duration  of  our  agreement.      RECORDINGS  COSTS  Despite   dramatic   reductions   in   CD   sales   in   recent   years   and   ongoing   concern  over  free  downloads,  a  recording  still  has  the  capacity  of  reaching  a  far  greater  audience   than   any   one   single   concert.   Furthermore,   it   is   a   testament   of   a  performance   stored   for   posterity.   For   these   reasons,   the   Oxford   Philharmonic  Orchestra  has  been  investing  in  building  up  a  catalogue  of  recordings  including  those  with  Maxim  Vengerov.  In  2014/15,  our  investment  in  this  field  amounted  to  4%  of  our  total  expenditure.      RUNNING  THE  ACADEMY  Residency  Costs  The  OP  makes  a  contribution  of  around  £150,000  a  year  to  the  economy  of  the  University  of  Oxford.  This  includes  a  substantial  contribution  to  St  Hilda’s  College  for   the  use  of   its   facilities  during  our  Piano  Festival,   fees  paid  to  College  choirs  for   participating   in   our   concerts   and   the   hire   of   the   Sheldonian   and   other  University  venues.      0.5%  of  our  expenditure  is  allocated  to  running  our  Residency  Programme.      Piano  Festival  Costs  In  recent  years,  the  Piano  Festival  has  come  close  to  breaking  even.  With  the  help  of   many   individuals   we   are   in   a   position   to   offer   scholarships   to   most   of   the  outstanding  students  attending.  With  higher  profits   from  an  increasing  number  of   fee-­‐paying  observers,  sponsorship  of  some  of  the  events  and  good  box-­‐office  return  on  ticket  sales,  the  Festival  is  beginning  to  be  financially  on  an  even  keel  and  more  self-­‐reliant.      

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SERVING  THE  COMMUNITY  Our   special   projects   for   the   benefit   of   the   community,   including   work   we  undertake  in  hospitals  and  for  young  musicians  in  schools,  amount  to  1%  of  our  total   expenditure,   quite   comfortably   covered   by   donations   from   trusts   and  foundations   as   well   as   by   individuals   who   are   sensitive   to   this   area   of   our  activity.        OVERHEADS  The  OP  employs  8  full-­‐time  staff  and  retains  a  number  of  consultants  such  as  ICA  and  others   in  Press  and  PR,  Development  and  Marketing.  Salaries,  professional  fees  and  general  running  expenses  account  for  33%  of  our  total  expenditure,  of  which  salaries  is  56%.      Current  expenditure:    

     

51%  

6%  4%  

0.5%  

1%  

33%  

4.5%  

Concert  Activity  

Piano  Festival  

Recordings  

University  Residence  

Community  

Overheads/Salaries  

Artist  in  Residence  

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 INCOME    The  Oxford  Phil  relies  almost  entirely  on  donations  from  individuals,  trusts  and  foundations.      Ticket  Sales  These  amount  to  15%  of  our  income.      Trusts  and  Foundations  These  tend  to  support  our  educational  and  community  programmes.      Individuals  48%  of  our  total  income  comes  from  individuals  who  enjoy,  admire  and  wish  to  be  part  of   the   larger  OP  family.  Their  contributions  are  allocated  to  sponsoring  individual   events,   either   through   personal   donations   or   via   their   charitable  trusts,  or  to  support  the  overall  running  of  the  orchestra.    Fundraising  events  For   years   we   have   been   able   to   organise   annual   fundraising   events   in   special  venues   that   have   attracted   donors   contributing   to   our   charity   by   attending  and/or  placing  bids  at  the  auction  we  frequently  hold  at  the  end  of  some  of  our  events.      Special  events  have  been  held  at:    

• Palace  of  Westminster  • Buckingham  Palace  • No.  10  Downing  Street  • St  James’s  Palace  • Patrons’  homes  

         

Performing  at  St  James’s  Palace  in  July  2014  

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Gift  Aid  As  a  UK  registered  charity,  we  benefit  from  Gift  Aid  eligible  on  donations.    Sources  of  income:      

   

15%  

5%  

48%  

20%  

2%   10%  

Ticket  Sales  

Piano  Festival  

Individual  Donations  

Fundraising  Events  

Gift  Aid  

Trusts  and  Foundations  

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FORECAST  2014/15    Our  forecast  for  2014/151  is  as  follows:                

EXPENDITURE % of total INCOME %

of total P/L

SPECIFIC ACTIVITIES EARNED INCOME

Own Promotions £1,053,801 50.83% Ticket Sales £291,321 14.50%

Vengerov Residency £85,000 4.10% Programme Sales £5,410 0.27%

Recordings £85,000 4.10% Advertising Sales £5,500 0.27%

Piano Festival £125,000 6.03% Piano Festival £110,000 5.48%

£1,348,801 65.06% Total Earned Income £412,231 20.52% GENERAL ACTIVITIES UNEARNED INCOME

Community Work £20,000 0.96% Individual Donations £966,233 48.11%

University Residency £10,000 0.48% Fundraising Events £400,000 19.92%

£30,000 1.45% Trusts and Foundations £200,000 9.96%

FIXED EXPENSES Gift Aid £30,000 1.49% General & Administrative £89,630 4.32% Total Unearned

Income £1,596,233 79.48%

Advertising & Promotion £20,500 0.99%

Operating Expenses £85,100 4.11%

Wages & Salaries £421,030 20.31%

Occupancy Costs £18,000 0.87%

Equipment £60,000 2.89%

Total Fixed Expenses £694,260 33.49%

Total Expenditure £2,073,061 100.00% Total Income £2,008,464 100.00% £64,597

       

                                                                                                               1  The  data  has  been  compiled  three  months  prior  to  the  end  of  the  2014/15  financial  year  with  some  figures  given  as  estimates  

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Forward  Planning  2015  –  2018    Promotions/Engagements  In   order   to   provide  more  work   for   our  musicians   and   increase   both   rehearsal  times  and  repeat  performances  of  the  same  programme,  we  have  undertaken  a  number  of  self-­‐promotions   in   the  UK,  mostly  within  our  catchment  area.  These  included   concerts   in   Aylesbury,   where   the   Oxford   Phil   is   the   Orchestra   in  Association,   Bristol   and   Cheltenham.   Like   all   other   self-­‐promotions,   the   deal  varies  between  paying  for  the  hire  of  the  venue  and  all  associated  costs  in  return  for  a  receipt  of  ticket  sales,  or  a  box-­‐office  split,  usually  80/20,  in  our  favour.  In  both  cases,  the  orchestra  incurs  substantial  losses.  Nevertheless,  these  have  been  foreseen  and  budgeted  for  and  were  part  of  our  strategy  to  improve  the  quality  of  our  performances  and  increase  player  loyalty  and  awareness.      Currently   the   ratio   between   self-­‐promotions   and   paid   engagements   weighs  heavily  towards  the  former.  As  most  of  the  engagements  we  seek  over  the  next  few  years  will  need  to  be  artist-­‐led,  the  package  we  offer  to  promoters  is  likely  to  be  expensive  when  the  artists’  fees  are  added  to  those  of  the  orchestra,  requiring  a  level  of  subsidy  to  secure  them.      We   are   therefore   revising   the   loss   strategy   of   the   UK   concerts   in   order   to  readdress   the   current   level   of   commitment   and   allocate   some   resources   to   a  development  fund  for  Foreign  Policy.    We   will   continue   to   promote   our   own   series   in   Oxford,   which   acts   as   a   shop  window  of  who  we  are  and  what  we  do.    As  the  reputation  of  the  orchestra  continues  to  grow,  we  should  be  in  a  position  to   command   high   enough   fees   to   cover   all   our   costs   and   in   some   cases   turn  engagements  into  profitable  enterprises.      For   the   next   three   years,   we  will   be   allocating   funds   to   kick-­‐start   our   touring  programme.    In   order   to   concentrate   on   our   concert   activity   and   continue   to   build   the  reputation   of   the   Oxford   Philharmonic   both   in   the   UK   and   overseas,   it   is  envisaged   that   expenditure   for   other   non-­‐performing   activities   over   the   next  three   years,   including   those   in   the   education   and   community   sectors,   will   be  maintained   at   2014/15   levels.   However,   staffing   requirements   to   cope   with  expanding  activities  and  the  recruitment  of  at  least  one  executive  in  the  position  of  General  Manager  will  increase  our  overheads.          

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SEASON  2015/16  Season  2015/16  is  now  almost  complete  and  features  a  variety  of  programmes  to   suit   all   musical   tastes   and   showcase   the   orchestra   at   its   best.   Our  collaborations  with  eminent  international  artists  continue  with  appearances  by:    

• Nicola  Benedetti  • Vadim  Repin  • Renée  Fleming  • Pinchas  Zukerman  • András  Schiff  • Nigel  Kennedy  • Maxim  Vengerov  

 Of  particular  significance  are  the  following  projects:    

• A  UK  tour  in  the  spring  of  2016  with  Nigel  Kennedy  as  soloist  in  the  Elgar  Violin  Concerto  which  culminates  in  a  concert  at  London’s  Barbican  

 • Another  concert  in  the  Barbican  in  June  2016  to  launch  Maxim  Vengerov’s  

recording  of  the  Sibelius  Violin  Concerto  with  the  Oxford  Phil    

• An  appearance  at  the  prestigious  Spring  Prague  Festival  in  June  2016    

EXPENDITURE 2015/16 % of

total SPECIFIC ACTIVITIES Own Promotions £900,000 42% Artist in Residence £85,000 4% Recordings £80,000 4% Kennedy Tour £100,000 5% European Touring £50,000 2% Piano Festival £135,000 6% £1,350,000 63% EDUCATION/COMMUNITY Community Work £25,000 1% University Residency £12,000 1% £37,000 2% OVERHEADS Salaries £463,133 22% Running Expenses £300,575 14% £763,708 36% Total Expenditure £2,150,708 100%

 Expenditure  in  2015/16  is  expected  to  rise  to  £2,150,708,  an  increase  of  3.75%  from  2014/15  levels.        

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SEASON  2016/17  Oxford  concerts  will  retain  their  familiar  outlook  for  this  season.      In  addition,  we  plan  a  weekend  residency  at  the  Lincoln  Center  in  New  York  with  Maxim  Vengerov  as  Artistic  Director.  This  mini  Oxford  Festival  will   comprise  a  concert   at   the   Avery   Fisher   Hall   featuring   the   Oxford   Philharmonic   in  performances   of   Brahms   and   Mendelssohn   and   complemented   by   a   second  concert   of   chamber   music   featuring   The   Soloists   of   Oxford   Philharmonic   and  Maxim  Vengerov  in  a  performance  of  Mendelssohn’s  Octet.    

   A   new   recording  made   in   2015   of  Maxim   Vengerov   and  Marios   Papadopoulos  playing   Brahms   Violin   Sonatas   will   be   launched   in   recitals   at   London’s   Royal  Festival  Hall  and  the  Vienna  Musikverein,  and  will  kick  off  the  New  York  Oxford  Festival.    The  New  York  project  is  highly  prestigious  and  will  expose  the  orchestra  at  the  highest   echelons   of   the   American  musical   establishment,   paving   the  way   for   a  major  US  tour  in  years  to  come.            

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Following   the   success   of   our   production   of   Così   fan   Tutte,   we   plan   to   make   a  return  in  the  spring  of  2017  to  the  opera  with  a  performance  of  Puccini’s    La  bohème.      

EXPENDITURE 2016/17 % of

total SPECIFIC ACTIVITIES Own Promotions £800,000 34% Recordings £100,000 4% European Touring £150,000 6% New York Festival £150,000 6% Piano Festival £140,000 6% Opera £150,000 6% £1,490,000 63% EDUCATION/COMMUNITY Community Work £25,000 1% University Residency £15,000 1% £40,000 2% OVERHEADS Salaries £509,446 21% Running Expenses £330,633 14% Total Fixed Expenses £840,079 35% Total Expenditure £2,370,079 100%

 Expenditure  in  2016/17  is  expected  to  rise  to  £2,370,079,  an  increase  of  10.20%  from  2015/16  levels    SEASON  2017/18  In   2017/18   we   envisage   a   quantum   leap   reaching   our   goal   of   around   60  concerts.    Top  of  our  agenda  is  a  Barbican  Series  of  four  concerts  we  are  planning  featuring  artists  with  whom  we  now  have   a   close   relationship   such   as  Maxim  Vengerov,  András  Schiff  and  Vladmir  Ashkenazy  with  guest  appearances  by  Cecilia  Bartoli  and  Evgeny  Kissin.      During   this   season,   Anne-­‐Sophie   Mutter   is   scheduled   to   make   another  appearance   with   the   Oxford   Phil   in   Oxford   and   other   parts   of   the   UK.   Other  artists   that   have   agreed   to   perform  with   us   and  whose   concerts   in  Oxford   are  likely  to  take  place  during  the  2017/18  include:    

• Valery  Gergiev  • Yuri  Temirkanov  • Anne  Sofie  von  Otter  • Maxim  Vengerov  

     

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A  major  tour  of  the  Far  East  is  planned  for  September  2017  as  well  as  a  tour  of  major  venues  in  Germany.      

EXPENDITURE 2017/18 % of

total SPECIFIC ACTIVITIES Own Promotions £700,000 29% Recordings £120,000 5% European Touring £150,000 6% Asia Tour £100,000 4% Barbican Series £200,000 8% Piano Festival £150,000 6%

£1,420,000 59%

EDUCATION/COMMUNITY Community Work £28,000 1% University Residency £15,000 1% £43,000 2% OVERHEADS Salaries £560,391 23% Running Expenses £363,696 15% Total Fixed Expenses £924,087 39% Total Expenditure £2,387,087 100%

 Expenditure  in  2017/18  is  expected  to  be  £2,387,087,  a  slight   increase  of   .72%  from  2016/17  levels.    In  summary,  total  expenditure  for  the  next  three  years  is  as  follow:    

2015/16   £2,150,708  2016/17   £2,370,079  2017/18   £2,387,087  

 It   is  significant  to  note  that  the  budget  for  own  promotions  is  reduced  year-­‐on-­‐year   as   the   number   of   fee-­‐paying   engagements   increase   and   own   promotions  decrease.    On   average,  we   need   to   raise   a   total   of   £2,300,000   a   year   over   the   next   three  years  to  make  ends  meet.        

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SOURCES  OF  FUNDING    The  Oxford  Philharmonic  is  financially  sailing  perilously  close  to  the  wind.  Every  year  we  have  to  push  the  boat  out  in  the  hope  that  we  meet  our  targets.      Box-­‐Office  Revenue  One  means  of  raising  profits  in  a  price-­‐sensitive  market  is  to  increase  capacity  or  volume.  However,   the  Sheldonian  Theatre  does  not  have  additional  seats.  Even  though   a   50%   increase   in   ticket   prices   would   yield   another   £100,000  contribution,   this   would   prove   unaffordable   to   many   of   our   patrons.   A   slight  increase   in  prices   and  more   sell-­‐out   concerts   should   enable  us   to   increase  our  earned  income  stream.      Over  the  next  three  years,  we  aim  to  increase  our  ticket  sales  to  reach  21%  of  our  total  income  to  an  average  of  around  £440,000  a  year.    The   net   contribution   required   to   meet   our   current   plans   over   the   next   three  years  is  estimated  to  be  an  average  of  £1,900,000  a  year.    Reserves  In  order  to  avoid  hand-­‐to-­‐mouth  operation  we  need  to  create  a  recurring  income  stream  essential  for  our  long-­‐term  planning.      So   long  as   this  eludes  us,   the  only  way  we  can  survive  a  parlous   financial  situation  and  fulfill  our  long-­‐term  objectives  is  to  increase  our  reserves.      It   is   therefore   imperative   that  we  concentrate  on  raising   funds   for  general  use,  over  and  above  our  current  needs,  in  order  to  create  a  cushion  for  future  activity.      Our   reserves   currently   stand   at   £453,000,   not   enough   to  meet   our   immediate  needs.    

   

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   SPONSORSHIP/FUNDRAISING  TARGETS  Corporate  Sponsorship  Here  the  OP  is  seriously  lagging  behind  many  of  its  main  competitors.    In   the   arts   world,   individuals   or   companies   frequently   use   sponsorship  opportunities   to  help  build  goodwill  and  brand  recognition  by  associating  with  an   event   or   group.   As   such,   sponsorships   are   regarded   as   income-­‐generating  opportunities   for   the   orchestra,   where   we   offer   something   of   value   to   the  sponsor.  These  range  from  corporate  entertainment  and  company  promotion  to  opportunities  offered  to  individuals  to  celebrate  special  occasions  with  a  concert  and  dinner  afterwards.      While  we  acknowledge   the  philanthropic  nature  of   any  donations   received,  we  nevertheless  endeavour   to  offer  benefits   in  return   to   those  who  seek  a   level  of  recognition.   We   run   the   orchestra   as   a   business,   and   as   such,   we   feel   that  everything   we   do   as   part   of   our   wide   range   of   musical   activities   is   worth  something  to  somebody.  We  pride  ourselves  in  the  quality  product  we  “sell”  and  attach  a  value  accordingly.      Our  chances  of  procuring  sponsorship  deals  would  be  much  higher  if  OP  friends  with   connections   to   the   corporate   world  were   to   approach   companies   on   our  behalf  to  make  introductions.  A  letter  from  the  admin  team  will  more  often  than  not  be  ignored.      The   ‘Sheldonian   Musical   Experience’,   together   with   the   exceptional   level   of  music-­‐making  the  Oxford  Phil  offers  to  members  of  the  public,  provide  a  USP  for  corporate  sponsorship.        Our  target  is  to  raise  £150,000  a  year  from  sponsorships.      University  Support  With   a   unique   educational   programme   on   offer   to   Oxford   students   as   well   as  many  other  benefits,   including  opportunities   to  meet   and  nurture  prospects   at  our  events,  we  feel  that,  after  13  years  as  the  University  Orchestra  in  Residence,  the  University  should  be  making  a  contribution  to  our  efforts.    Even   though   there   are   some   indirect   benefits   attached   to   our   association  with  the   University,   such   as   the   ability   of   donors   to  make   a   contribution   to   the   OP  through   the   American   Friends   of   Oxford,   the   fundraising   systems   of   the  University  are  restricted  to  us  by  those  in  the  Development  Office  who  see  us  as  a  threat.      Our  target  is  to  persuade  the  University  to  sponsor  a  concert  annually  and  make  a  total  contribution  to  the  OP  of  £50,000  a  year.      Statutory  Funding  We  should  use  our  newly  acquired  status  as  one  of  Oxford  City  Council’s   core-­‐funded  organisations  to  apply  for  funding  from  the  Arts  Council,  which  has  thus  

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far  eluded  us.  Over  the  next  three  years,  any  such  funding  is  likely  to  come  from  their   Grants   for   the   Arts   programme   to   support   isolated   projects   as   it   is  unrealistic   to  hope   to  achieve  RFO   (Regularly  Funded  Organisation)   status  any  time  soon.    Our  target  is  to  receive  statutory  grants  of  £50,000  a  year.      Individual  Giving  The   Oxford   Philomusica   has   built   a   reputation   for   excelling   in   its   fundraising  efforts,   particularly   in   forging   close   relationships  with  major  donors   on  whose  annual  gifts  the  orchestra’s  main  activities  depend.      Such  relationships  have  been  created  based  on  trust  and  mutual  benefit:  

• Acknowledgments  are  afforded  to  all  who  contribute  to  our  efforts  • Donors  are  treated  in  a  special  way  and  feel  special  

Benefactors  are  often  reminded   that   their   funding   is   considered  an   investment  that  has   so   far   contributed   to   the  meteoric   rise  of   the  orchestra.  They  are  also  more  likely  to  lend  support  to  a  successful  organisation  than  to  fill  a  black  hole.    From   early   on   we   have   extended   hospitality   to   patrons   at   post-­‐concert  receptions,  offering  people  an  exclusive  environment  to  meet  like-­‐minded  people  and   learn  more   about   our   activities.   Complemented   by   a   select   group   of   local  residents,   mostly   from   the   University   of   Oxford,   our   post-­‐concert   receptions  offer   unprecedented   opportunities   for   people   to  meet   fellow  businessmen   and  women  in  a  convivial  environment  and  network.  Such  opportunities  enhance  the  value  attached  to  supporting  the  Oxford  Phil.    We  are  often  successful  during   that   critical  24-­‐hour  period   following  a   concert  where  a  member  of  the  audience  has  enjoyed  a  highly  emotive  experience.    We  often  organise  private  events  at  our  patrons’  stately  homes  in  Oxfordshire  in  order   to  meet   individuals  who  might   take   an   interest   in   our   affairs,  while   also  providing  our  players  with  further  opportunities  to  play  chamber  music.    The  Music  Director   is  always  available   to  meet  people  who  prefer   to  deal  with  the  head  of  the  organisation.    Even  though  we  enjoy  a  high   level  of  support   from  individuals  -­‐  either  through  personal  contributions  or  grants  made  via  their  charitable  foundations  -­‐  we  are  currently   too   dependent   on   a   small   number   of   major   donors   and   we   need   to  populate   the   bottom   end   of   the   giving   pyramid   in   fear   of   losing   those   at   the  higher  end.    We  also  need  to  seek  longer-­‐term  commitments  from  donors.  The  great  difficulty  is  not  to  secure  a  one-­‐off  gift  but  turn  that  into  a  recurring  one.      

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With  over  14,000  entries  in  our  database  of  people  who  have  either  attended  an  OP   event   or   should   be   targeted   we   may   only   be   tapping   into   30%   of   our  capability.  Systematic  research  and  analysis  of  our  database  will  identify  the  next  major  donor  who  is  staring  us  in  the  eye.    Our  target  is  to  raise  a  million  a  year  from  private  individuals,  either  directly  or  through  their  charitable  foundations,  and  seek  three-­‐year  commitments.      Trust  and  Foundation  Grants  Even  though  a  number  of  Trusts  and  Foundations  find  our  community/education  programmes   appealing,   we   should   be   able   to   procure   funding   for   our   concert  activity  and  other  operational  expenses.    Our  target  is  to  raise  £200,000  a  year  from  Trusts  and  Foundations.    Benefit  Concerts  High-­‐profile   events   such   as   the   ones   we   hold   in   Royal   Palaces   have   proved  hugely   beneficial   to   us.   Complementary   to   these   are   private   events   held   at  patrons’   homes   and   following   a   concert.   Auctions   have   also   yielded   healthy  profits  in  the  past.    Our  target  is  to  raise  £500,000  a  year  from  dedicated  fundraising  events.      Piano  Festival  Sponsorship  Having   attained   a   unique  position   as   the  world’s   leading   summer   academy   for  young  pianists,  the  Piano  Festival  can  attract  major  funding.        There   is  also  substantial   scope   for   increasing   the  Festival’s  earned   income,  not  least   by   a   flow   of   observers   from   places   such   as   China   where   the   Festival  recently  enjoyed  a  high  profile  campaign.      Our  target  is  to  raise  £100,000  a  year  to  support  the  Festival.      Targets  at  a  glance:  

                             

£0  £100,000  £200,000  £300,000  £400,000  £500,000  £600,000  £700,000  £800,000  £900,000  

£1,000,000  

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   If  we  were  to  meet  these  targets,  we  should  be  breaking  even.  However,  we  aim  to  surpass  them  in  order  to  increase  our  reserves  to  around  £1M  over  the  next  three  years.    The  Trustee  Board    The  trustees  exercise  duties  of  diligence  and  care.    While  the  former  is   linked  to  their   fiduciary  obligations,  the   latter   is  associated  with  providing  the  resources  for  the  orchestra  to  operate.    In  all  arts  organisations,  trustees  are  expected  to  either  provide  direct  financial  support   themselves   or   lead   the   organisation   to   sources   of   funding.   Indeed,   in  some   major   arts   organisations   such   as   the   Metropolitan   Opera   in   New   York,  donations  in  excess  of  £1M  are  required  before  a  seat  on  the  board  is  considered.    The  OP  has  become  a  prestigious  enough  organisation  to  attract  attention  from  individuals  with  the  capacity  to  assist  us  with  our  operations.  Indeed,  we  can  no  longer  afford  to  have  passengers  or  non-­‐performing  members  on  board.      When  we  seek  funding  to  underwrite  our  activities  our  first  port  of  call  has  to  be  the  trustees  who  serve  on  the  board  of  the  charity  which  provides  the  finance  for  the  orchestra’s  operations.          Some  trustees  have  been  immensely  generous  and  we  are  enormously  grateful  to  them.      A  multi-­‐tier  trust  of  people  who  donate  and  those  who  don’t  is  not  advisable.  A  trust  that  makes  distinctions  between  members  would  become  less  attractive  to  those  we  want  to  appoint.      CODA  The   momentum   behind   the   Oxford   Philharmonic   is   gathering   pace   at   an  unprecedented  scale.   If  we  were  to  grasp  all   the  opportunities  presented  to  us,  maintain  diligence  over  the  management  of  our  affairs  and  continue  to  seek  ways  of  improving  our  performances  there  is  no  reason  why  in  three  years  from  now  the  Oxford  Philharmonic  cannot  attain  a  position  amongst  the  great  orchestras  of  the  world.      At  this  critical  stage  in  our  development,  we  seek  visionaries  who  will   invest  in  our  future.              

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OXFORD  PHILHARMONIC  ORCHESTRA    

   

APPENDIX  1  

  60  

   

  61  

RATES  OF  PAY    

POSITIONS   MUSICIANS   RATES  Violin          Concertmaster   Carmine  Lauri   £400.00  Concertmaster   Tamas  Andras   £400.00  Concertmaster   Natalia  Lomeiko   £400.00  Co-­‐Concertmaster   Yuri  Zhislin   £260.00  Associate  Concertmaster   Eva  Bindere   £250.00  Associate  Concertmaster   Shlomy  Dobrinsky   £250.00  Associate  Concertmaster   Charlotte  Scott   £250.00  Associate  Concertmaster   Anna-­‐Liisa  Bezrodny   £250.00  Assistant  Concertmaster   Emily  Davis   £190.00  Assistant  Concertmaster   Michael  Gurevich   £190.00  Principal  Violin   Colin  Callow   £150.00  Principal  Violin   Helena  Smart   £150.00  Viola          Solo  Viola   Jon  Thorne   £190.00  Solo  Viola   Jonathan  Barritt   £190.00  Principal  Viola   Sophie  Renshaw   £150.00  Principal  Viola   Stephen  Wright   £150.00  Cello          Solo  Cello   Peter  Adams   £190.00  Solo  Cello   Mats  Lidstrom   £190.00  Principal  Cello   Martin  Thomas   £150.00  Bass          Solo  Doublebass   Tom  Martin   £200.00  Principal  Doublebass   Adam  Precious   £150.00  Flute          Principal  Flute   Tony  Robb   £170.00  Sub-­‐Principal  Flute   Robert  Manasse   £140.00  Oboe          Principal  Oboe   Tim  Watts   £170.00  Sub-­‐Principal  Oboe   Joe  Sanders   £140.00  Clarinet          Principal  Clarinet   David  Rix   £170.00  Sub-­‐Principal  Clarinet   Lorraine  Schulman   £140.00  Bassoon          Principal  Bassoon   John  Orford   £170.00  Sub-­‐Principal  Bassoon   Fiona  Bryan   £140.00  Horn          Principal  Horn   Richard  Dilley   £190.00  Sub-­‐Principal  Horn   David  Wythe   £170.00  Trumpet          Principal  Trumpet   Joe  Atkins   £170.00  Trombone          Principal  Trombone   Danny  Scott   £170.00  Principal  Bass  Trombone   Paul  Lambert   £150.00  Timpani          Principal  Timpani   Tristan  Fry   £170.00  

 

APPENDIX  2  

  62  

 ADMINISTRATION  

   

APPENDIX  3