Richard Addinsell composed the music for many notable British films during the 1930s to 1960s. He also wrote the music for Joyce Grenfell's songs. His most enduring and well known piece is the Warsaw Concerto, written in 1940 for the film Dangerous Moonlight. The Will Trust was established on his death in 1977 to receive all the royalty income, the majority of which is from the PRS. On the death of the last surviving life tenant, the Will Trust is to be divided between three existing musical charities. It is of great importance to the trustees that the royalty income flow be preserved and enhanced for the remaining period of the copyrights to pass on to the charities in due course.

The Trust receives a very small amount from the PRS for live performances and so currently would not be significantly affected by the abolition of the Classical Music Subsidy. However, the trustees are concerned by the some of the justifications used by the PRS for the subsidy abolition:

—  "Only 11 per cent of the subsidy is paid to living PRS composers. 44 per cent of the subsidy is paid to the estates of deceased composers." Surely this is inevitable with a copyright period of 70 years after death? Many composers establish charitable foundations to receive royalties after death, so the benefit is re-invested in music.

—  "Much of the subsidy to deceased composers is paid to 'overseas estates' and so leaves the UK." What about all the overseas income earned by UK composers of all genres (not just classical) for the PRS? 80 per cent of the PRS income received by the Richard Addinsell Will Trust comes from outside the UK. I believe the foreign collection agencies could use the abolition of the subsidy as an excuse to cut royalty payments to UK composers, both living and deceased, to the detriment of invisible exports and the many musical charities which receive this income.

I do not believe the abolition of the Classical Music Subsidy is in the best interests of British music of all genres.

May 1999