Civic Intelligence

Boston Symphony Orchestra Inc.

990 • Fiscal year 2013 • EIN 04-2103550

Sep 01, 2012 to Aug 31, 2013 • Filed on Jul 03, 2014

301 Massachusetts AvenueBoston, MA 02115
Siviq Scores

Precomputed percentiles for this filing year versus similar nonprofits in the same peer cohort.

Liabilities / Assets

19th percentile

0.11x

Higher debt load relative to assets than 19% of similar nonprofits.

2013 filings • 501(c)3 • $250M-$1B nonprofits • Source year 2013

Liabilities / Revenue

50th percentile

0.58x

Higher debt load relative to revenue than 50% of similar nonprofits.

2013 filings • 501(c)3 • $250M-$1B nonprofits • Source year 2013

Net Margin

70th percentile

11%

Higher net margin than 70% of similar nonprofits.

2013 filings • 501(c)3 • $250M-$1B nonprofits • Source year 2013

Top Officer Pay

Score unavailable

No value available

This filing does not contain officer compensation rows.

Source year 2013

Asset Growth

49th percentile

6.1%

Faster asset growth than 49% of similar nonprofits.

2013 filings • 501(c)3 • $250M-$1B nonprofits • Annualized from 2012 to 2013

Revenue Growth

Score unavailable

No value available

No earlier valid filing was available within the previous three public years.

Source year 2013

Assets

Up

$524,519,502

Up $30,318,478 (+6.1%) from 2012

Net Assets

Up

$467,849,199

Up $47,319,928 (+11%) from 2012

Liabilities

Down

$56,670,303

Down $17,001,450 (-23%) from 2012

Revenue

$98,057,222

No earlier filing loaded for comparison.

Expenses

Up

$87,208,693

Up $1,363,935 (+1.6%) from 2012

Net Income

$10,848,529

No earlier filing loaded for comparison.

Historical Trend

Balance Sheet Trend

The highlighted filing sits inside the broader history for assets, liabilities, and net assets.

$800M$600M$400M$200M$0Assets 2010: $458,330,094Liabilities 2010: $61,906,486Net Assets 2010: $396,423,6082010Assets 2011: $493,519,685Liabilities 2011: $55,353,253Net Assets 2011: $438,166,4322011Assets 2012: $494,201,024Liabilities 2012: $73,671,753Net Assets 2012: $420,529,2712012Assets 2013: $524,519,502Liabilities 2013: $56,670,303Net Assets 2013: $467,849,1992013Assets 2014: $571,114,027Liabilities 2014: $59,428,654Net Assets 2014: $511,685,3732014Assets 2015: $558,346,417Liabilities 2015: $83,071,196Net Assets 2015: $475,275,2212015Assets 2016: $558,309,675Liabilities 2016: $99,319,054Net Assets 2016: $458,990,6212016Assets 2017: $590,620,270Liabilities 2017: $83,582,303Net Assets 2017: $507,037,9672017Assets 2018: $609,309,578Liabilities 2018: $70,740,983Net Assets 2018: $538,568,5952018Assets 2019: $593,071,088Liabilities 2019: $96,820,536Net Assets 2019: $496,250,5522019Assets 2020: $625,657,259Liabilities 2020: $90,624,217Net Assets 2020: $535,033,0422020Assets 2021: $745,262,219Liabilities 2021: $83,441,882Net Assets 2021: $661,820,3372021Assets 2022: $654,476,272Liabilities 2022: $72,730,268Net Assets 2022: $581,746,0042022Assets 2023: $653,461,654Liabilities 2023: $66,374,064Net Assets 2023: $587,087,5902023Assets 2024: $680,310,474Liabilities 2024: $61,931,986Net Assets 2024: $618,378,4882024

Highlighted filing

2013

Assets$524,519,502
Liabilities$56,670,303
Net Assets$467,849,199

Operations Trend

Revenue, expenses, and net income across loaded years, with this filing highlighted.

$150M$100M$50M$0-$50MExpenses 2010: $83,741,7412010Expenses 2011: $83,582,2052011Expenses 2012: $85,844,7582012Revenue 2013: $98,057,222Expenses 2013: $87,208,693Net Income 2013: $10,848,5292013Revenue 2014: $100,653,882Expenses 2014: $88,543,401Net Income 2014: $12,110,4812014Revenue 2015: $106,807,329Expenses 2015: $91,321,051Net Income 2015: $15,486,2782015Revenue 2016: $84,738,790Expenses 2016: $99,336,161Net Income 2016: -$14,597,3712016Revenue 2017: $85,167,757Expenses 2017: $103,630,393Net Income 2017: -$18,462,6362017Revenue 2018: $110,596,695Expenses 2018: $105,633,470Net Income 2018: $4,963,2252018Revenue 2019: $95,876,005Expenses 2019: $109,772,097Net Income 2019: -$13,896,0922019Revenue 2020: $92,537,202Expenses 2020: $82,833,685Net Income 2020: $9,703,5172020Revenue 2021: $89,872,398Expenses 2021: $64,012,623Net Income 2021: $25,859,7752021Revenue 2022: $116,038,188Expenses 2022: $98,574,259Net Income 2022: $17,463,9292022Revenue 2023: $93,229,092Expenses 2023: $110,636,685Net Income 2023: -$17,407,5932023Revenue 2024: $117,090,967Expenses 2024: $123,724,110Net Income 2024: -$6,633,1432024

Highlighted filing

2013

Revenue$98,057,222
Expenses$87,208,693
Net Income$10,848,529
Jump To
Filing Snapshot
Filing Period
Sep 1, 2012 to Aug 31, 2013
Signed
Jul 3, 2014
Return Version
2012v2.0
Gross Receipts
$283,908,392
Mission and Program Overview

Mission

The mission of the Boston Symphony Orchestra (BSO) is to foster and maintain an organization dedicated to making music consonant with the highest aspirations of the musical art, creating performances and providing educational and training programs at the highest level of excellence.

Major Activities

Activity 2
Education: Education is integral to the BSO's mission and comprises two main components: 1.) training of young professional musicians at the Tanglewood Music Center, the BSO's world-renowned summer academy for advanced musical study; and 2.) Education and Community Engagement programs that offer individuals of all backgrounds, at all stages of life, an opportunity to develop their relationship with the BSO and build their ownership of and engagement with orchestral music through high quality, relevant, multileveled, and interactive education and community engagement experiences. Over the past seven decades, the Tanglewood Music Center (TMC) has established itself as the preeminent professional music-training center of its kind, and its alumni have shaped and changed the musical landscape in all parts of the world. The TMC program is truly unique, having a fully-integrated relationship with a world-class symphony orchestra, continuously drawing on the musicians, ideas, and resources of the BSO, and enlisting the participation of its artists to create and contribute to the educational experience of young musicians in the most profound manner. The mission of the TMC is to serve as a bridge from the conservatory to the professional world, allowing young musicians of the highest promise to gain access to the guidance of the music world's most esteemed senior professionals. The relationships cultivated at the TMC offer direct entrée to upper levels of the profession. Upon completing their time at TMC, TMC "fellows" are deemed to have all of the requisite skill and training for highly successful careers as performing musicians. Since its inception the TMC has also functioned as a think tank in which faculty are encouraged to pursue directions that will open new avenues in the field. The principal areas of study and performance at the TMC are orchestral and chamber music, with a heavy emphasis on contemporary music, vocal repertoire including art song and staged opera (also involving instrumentalists), composition, and conducting. In the summer of 2013, 155 accomplished fellows studied and performed for eight weeks under the direction of 60 resident and guest faculty members and members of the Boston Symphony Orchestra. Participating fellows represented 30 states and 17 foreign countries. Performance and study of new music, always central to the TMC methodology, were programmed throughout the summer, and the TMC fellows played a prominent role in Tanglewood's annual Festival of Contemporary Music, which was directed in 2013 by pianist and passionate new music advocate Pierre-Laurent Aimard. The festival concluded with the U. S. premiere of George Benjamin's new opera Written on Skin, which received widespread acclaim from press and audience for the impact of the work and strength of the performance. Some 28,000 people participate each year in an array of BSO Education and Community Engagement programs intended to serve as a resource for educators, families, and students. BSO education programs welcome and include individuals of all backgrounds and learning styles, at all points in their relationship with orchestral music, and connect with residents in a wide range of communities across their lifespans. During FY2013 the BSO offered, among other programs, a total of fifteen Youth and Family Concerts attended by more than 12,000. Through the Metropolitan Youth Concerts series, the BSO fully underwrites admission to the Youth Concerts for students in the Boston Public Schools and other metro-Boston school systems. This program serves more than 4,000 urban children in third through twelfth grades from approximately 50 schools. The BSO's High School Open Rehearsals, a relatively new initiative launched in FY08 that brings interested teenagers to Symphony Hall to observe how the orchestra prepares its repertoire, were attended by 3,010 students. The BSO has offered a Concerto Competition for advanced high-school instrumentalists (piano, str
Activity 3
Historic Preservation and Conservation and Facility Rental:Symphony Hall has long been considered the finest concert hall in the United States, and its spectacular acoustic qualities have earned it a place among the top three concert auditoriums in the world, a fact underscored by the hall's designation as a National Historic Landmark in 1999. Symphony Hall resonates with a century of great performances by leading artists, the musical vibrancy of the 20th century, and the important voices of history. It is a familiar location for millions of viewers nationwide who have watched "Evening at Pops" on PBS. Since 1900, virtually all of the world's great concert artists have appeared (and continue to appear) on the Symphony Hall stage, either with the BSO or in solo recitals. Touring ensembles have also taken advantage of the hall's acoustics, from renowned symphony orchestras to the U.S. Marine Band. The hall is also the main performance venue for a number of ensembles and presenters, including the Handel & Haydn Society, one of the nation's first permanent performing groups, established in 1815. Symphony Hall is also the primary venue for the Celebrity Series of Boston and the Boston Youth Symphony Orchestras. Frequently used as a civic auditorium, Symphony Hall has hosted many non-musical events that bear upon U.S. history and reflect the development of the United States as a world leader. In the early years of the 20th century, the hall served as a place to honor and present the luminaries of that era. World figures in politics and literature have lectured in Symphony Hall regularly, and controversial social issues were also given their due in debates. Tanglewood is the summer performance home of the Boston Symphony Orchestra and is located in Lenox, Massachusetts, amid the scenic splendor of the Berkshire hills. Established in 1936 by then-BSO Music Director Serge Koussevitzky, Tanglewood is now one of the world's preeminent summer music festivals. Tanglewood is also a festival renowned for its vital role in the development of America's contributions to music. Tanglewood attracts more than 350,000 visitors from around the world annually, and presents ten weeks of diverse programming each summer, the central feature of which is approximately two dozen BSO concerts featuring the finest classical music and the most esteemed conductors and soloists. The festival also includes a weekly chamber music series, solo recitals by acclaimed artists, some fifty concerts and recitals by fellows of the Tanglewood Music Center, the weeklong Festival of Contemporary Music, and a Popular Artists Series. Comprising the former Tanglewood and Highwood estates, Tanglewood covers more than 500 scenic acres and remains open to the public year-round, much like a state park. There are 23 buildings on the grounds, including three principal performance venues: the Koussevitzky Music Shed, Seiji Ozawa Concert Hall, and the Tanglewood Theatre. Built in 1938 from plans by Eliel Saarinen, the Koussevitzky Music Shed is a seasonal hall that is open on three sides and has 5,121 seats with additional seating for more than 10,000 on the adjacent lawn. All BSO and visiting orchestra concerts are performed in the shed. Opened in 1994, Seiji Ozawa Hall provides a venue for the Tanglewood festival's solo and chamber music performances, including Friday-evening prelude concerts. The brick and wood structure also provides space for rehearsals by Tanglewood's guest artists, serves as the headquarters of the Tanglewood Music Center, and acts as a recording facility. It seats up to 750 audience members on the orchestra level and an additional 450 in the two balconies, as well as hundreds more on the adjacent lawn. The Theatre is the second Tanglewood structure designed by Eero Saarinen. It is used primarily by the TMC for opera and other staged productions not suited for presentation in Ozawa Hall. This wooden structure has a full orchestra pit and fully rigged stage. The
Filing and Contact Details

Filer

EIN
04-2103550
Raw XML AppendixShowing 400 of 1,379 raw XML fields

This appendix keeps the raw XML leaves available for debugging and edge-case review. The human report above is the primary experience.

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IRS990/Activity2/Description0Education: Education is integral to the BSO's mission and comprises two main components: 1.) training of young professional musicians at the Tanglewood Music Center, the BSO's world-renowned summer academy for advanced musical study; and 2.) Education and Community Engagement programs that offer individuals of all backgrounds, at all stages of life, an opportunity to develop their relationship with the BSO and build their ownership of and engagement with orchestral music through high quality, relevant, multileveled, and interactive education and community engagement experiences. Over the past seven decades, the Tanglewood Music Center (TMC) has established itself as the preeminent professional music-training center of its kind, and its alumni have shaped and changed the musical landscape in all parts of the world. The TMC program is truly unique, having a fully-integrated relationship with a world-class symphony orchestra, continuously drawing on the musicians, ideas, and resources of the BSO, and enlisting the participation of its artists to create and contribute to the educational experience of young musicians in the most profound manner. The mission of the TMC is to serve as a bridge from the conservatory to the professional world, allowing young musicians of the highest promise to gain access to the guidance of the music world's most esteemed senior professionals. The relationships cultivated at the TMC offer direct entrée to upper levels of the profession. Upon completing their time at TMC, TMC "fellows" are deemed to have all of the requisite skill and training for highly successful careers as performing musicians. Since its inception the TMC has also functioned as a think tank in which faculty are encouraged to pursue directions that will open new avenues in the field. The principal areas of study and performance at the TMC are orchestral and chamber music, with a heavy emphasis on contemporary music, vocal repertoire including art song and staged opera (also involving instrumentalists), composition, and conducting. In the summer of 2013, 155 accomplished fellows studied and performed for eight weeks under the direction of 60 resident and guest faculty members and members of the Boston Symphony Orchestra. Participating fellows represented 30 states and 17 foreign countries. Performance and study of new music, always central to the TMC methodology, were programmed throughout the summer, and the TMC fellows played a prominent role in Tanglewood's annual Festival of Contemporary Music, which was directed in 2013 by pianist and passionate new music advocate Pierre-Laurent Aimard. The festival concluded with the U. S. premiere of George Benjamin's new opera Written on Skin, which received widespread acclaim from press and audience for the impact of the work and strength of the performance. Some 28,000 people participate each year in an array of BSO Education and Community Engagement programs intended to serve as a resource for educators, families, and students. BSO education programs welcome and include individuals of all backgrounds and learning styles, at all points in their relationship with orchestral music, and connect with residents in a wide range of communities across their lifespans. During FY2013 the BSO offered, among other programs, a total of fifteen Youth and Family Concerts attended by more than 12,000. Through the Metropolitan Youth Concerts series, the BSO fully underwrites admission to the Youth Concerts for students in the Boston Public Schools and other metro-Boston school systems. This program serves more than 4,000 urban children in third through twelfth grades from approximately 50 schools. The BSO's High School Open Rehearsals, a relatively new initiative launched in FY08 that brings interested teenagers to Symphony Hall to observe how the orchestra prepares its repertoire, were attended by 3,010 students. The BSO has offered a Concerto Competition for advanced high-school instrumentalists (piano, str
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IRS990/Activity3/Description0Historic Preservation and Conservation and Facility Rental:Symphony Hall has long been considered the finest concert hall in the United States, and its spectacular acoustic qualities have earned it a place among the top three concert auditoriums in the world, a fact underscored by the hall's designation as a National Historic Landmark in 1999. Symphony Hall resonates with a century of great performances by leading artists, the musical vibrancy of the 20th century, and the important voices of history. It is a familiar location for millions of viewers nationwide who have watched "Evening at Pops" on PBS. Since 1900, virtually all of the world's great concert artists have appeared (and continue to appear) on the Symphony Hall stage, either with the BSO or in solo recitals. Touring ensembles have also taken advantage of the hall's acoustics, from renowned symphony orchestras to the U.S. Marine Band. The hall is also the main performance venue for a number of ensembles and presenters, including the Handel & Haydn Society, one of the nation's first permanent performing groups, established in 1815. Symphony Hall is also the primary venue for the Celebrity Series of Boston and the Boston Youth Symphony Orchestras. Frequently used as a civic auditorium, Symphony Hall has hosted many non-musical events that bear upon U.S. history and reflect the development of the United States as a world leader. In the early years of the 20th century, the hall served as a place to honor and present the luminaries of that era. World figures in politics and literature have lectured in Symphony Hall regularly, and controversial social issues were also given their due in debates. Tanglewood is the summer performance home of the Boston Symphony Orchestra and is located in Lenox, Massachusetts, amid the scenic splendor of the Berkshire hills. Established in 1936 by then-BSO Music Director Serge Koussevitzky, Tanglewood is now one of the world's preeminent summer music festivals. Tanglewood is also a festival renowned for its vital role in the development of America's contributions to music. Tanglewood attracts more than 350,000 visitors from around the world annually, and presents ten weeks of diverse programming each summer, the central feature of which is approximately two dozen BSO concerts featuring the finest classical music and the most esteemed conductors and soloists. The festival also includes a weekly chamber music series, solo recitals by acclaimed artists, some fifty concerts and recitals by fellows of the Tanglewood Music Center, the weeklong Festival of Contemporary Music, and a Popular Artists Series. Comprising the former Tanglewood and Highwood estates, Tanglewood covers more than 500 scenic acres and remains open to the public year-round, much like a state park. There are 23 buildings on the grounds, including three principal performance venues: the Koussevitzky Music Shed, Seiji Ozawa Concert Hall, and the Tanglewood Theatre. Built in 1938 from plans by Eliel Saarinen, the Koussevitzky Music Shed is a seasonal hall that is open on three sides and has 5,121 seats with additional seating for more than 10,000 on the adjacent lawn. All BSO and visiting orchestra concerts are performed in the shed. Opened in 1994, Seiji Ozawa Hall provides a venue for the Tanglewood festival's solo and chamber music performances, including Friday-evening prelude concerts. The brick and wood structure also provides space for rehearsals by Tanglewood's guest artists, serves as the headquarters of the Tanglewood Music Center, and acts as a recording facility. It seats up to 750 audience members on the orchestra level and an additional 450 in the two balconies, as well as hundreds more on the adjacent lawn. The Theatre is the second Tanglewood structure designed by Eero Saarinen. It is used primarily by the TMC for opera and other staged productions not suited for presentation in Ozawa Hall. This wooden structure has a full orchestra pit and fully rigged stage. The
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IRS990/ActivityOrMissionDescription0The mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of the musical art, creating performances and providing educational and training programs at the highest level of excellence and presenting this music to the widest audience possible. BSO concerts include: the Boston Symphony winter season in Symphony Hall in Boston; the Boston Symphony's summer festival at Tanglewood, its outdoor summer home in Lenox and Stockbridge, Massachusetts; and Boston Pops concerts in Symphony Hall that reach a third audience for whom orchestral music may not be as familiar. Additionally, an array of BSO education and community engagement programs are held each year that are intended to serve as a resource for educators, families and students.
IRS990/ActivityOther/Description0Electronic Media: During FY13, the BSO was featured in live local broadcasts of weekly Symphony Hall and Tanglewood Concerts on 99.5 Classical New England (formerly WCRB, now a subsidiary of public radio station WGBH) and streamed live online streaming via the WGBH website. A few days following, streaming of the recorded program becomes available via the BSO Media Center at www.bso.org/media. Streams remain available via bso.org/mediacenter for up to a year after the original performance, surpassing the usual industry standard of just a few weeks. The BSO's website (www.bso.org) continued to prove its value as one of the orchestra's most vital business assets, receiving nearly 7 million visits in FY13, 15 percent of which were international. This generated nearly 33 million page views. The BSO's website continues to be the largest and most-visited orchestral website in the country. The website is also essential to executing the orchestra's educational and community engagement mission. For each of the BSO's winter season programs, the orchestra releases a concert-overview podcast that offers insight into how listeners may approach given compositions, as well as audio or video clips from the BSO's archives and live interviews, when applicable. Currently, the BSO's podcast series has 135,000 subscribers, of which 101,000 are active. All audio and video podcasts are published through the BSO Media Center, which is available at www.bso.org and also via download through the iPhone or iPad podcast app.
IRS990/ActivityOther/Description1Merchandise Sales: The Boston Symphony operates retail shops at both Symphony Hall and Tanglewood. These shops sell recordings of the BSO and other featured performers, books, music, posters and clothing and other items that serve to promote and disseminate the name and music of the Boston Symphony, Boston Pops and Tanglewood.
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IRS990/Description0Orchestra Music Programs: Founded in 1881, the mission of the Boston Symphony Orchestra (BSO) is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of the musical art, creating performances and providing educational and training programs at the highest level of excellence. Recognized as one of the world's finest orchestras, the BSO presents an average of 27 programs in approximately 100 concerts at Symphony Hall between September and April each year that embrace the full range of orchestral repertoire. Another 34 concerts are presented each summer at Tanglewood, the BSO's summer music festival in western Massachusetts. The BSO also offers an annual series of concerts in New York's Carnegie Hall, 15 Youth and Family Concerts, and a series of three open rehearsals for high school students. Following the close of the BSO's winter season through early July and during the December holiday season, the Boston Pops give approximately eighty concerts. All told, the BSO is the world's largest orchestral operation and the fourth-largest performing arts institution in the United States. The BSO's 2012-13 subscription season marked the orchestra's 132nd year. During the 2012-13 season, the Orchestra's level of playing remained exemplary, with concerts in Boston and New York receiving audience acclaim and many positive press notices. On September 22, 2012, world-renowned musician Itzhak Perlman joined the orchestra on Opening Night in his first BSO appearances in the dual role of conductor and soloist, presenting an all-Beethoven program featuring Romances Nos. 1 and 2 for violin and orchestra and Symphony No. 7. The subscription season opened on September 27 with the BSO's first Symphony Hall concert performance of Gershwin's Porgy and Bess, reprising one of the most exciting evenings of the 2011 Tanglewood season. Conductor Bramwell Tovey returned to the podium for this program, with bass-baritone Alfred Walker and soprano Laquita Mitchell again taking the title roles. January 31-Feburary 5, 2013, Andris Nelsons (named BSO Music Director Designate in May, 2013) conducted his first BSO concerts at Symphony Hall. Notable guest soloists during 2012-13 included violinists Joshua Bell, Gil Shaham, and Nikolaj Znaider. Pianists included Christian Zacaharias, Jean-Yves Thibaudet, and Garrick Ohlsson. Prize-winning young Russian pianist Daniil Trifonov and the celebrated Lang Lang made their BSO subscription series debuts. In April, Oliver Knussen led his own Violin Concerto with soloist Pinchas Zukerman and his own Whitman Settings with soprano Claire Booth in her BSO debut. Two new BSO commissions entered the orchestra's repertoire: Finnish composer Kaija Saariaho's Circle Map for orchestra and electronics, a BSO co-commission, received its American premiere under the baton of Juanjo Mena in November, 2012 and American composer Augusta Read Thomas's Cello Concerto No. 3 received its world premiere with soloist Lynn Harrell and conductor Christoph Eschenbach in March, 2013. In the concluding months of the season, the BSO returned to Carnegie Hall (April 3, 4, and 5, 2013), presenting some of the best of the BSO subscription series, including works by Rachmaninoff, Bartok, Mahler, and Wagner. Rafael Fruhbeck de Burgos and Daniele Gatti directed the orchestra, reprising Symphony Hall programs from their guest conductor appearances in March and early April of 2013. April 18-23, 2013, the BSO members showcased their strength as an ensemble of virtuoso players with a "conductor-less" performance, featuring works by Britten, Mozart, Dvorak, and Tippett. In addition to those mentioned above, esteemed guest conductors who took the podium during the 2012-13 season included Charles Dutoit, Stephane Deneve, and Christoph von Dohnanyi, among others. Under the direction of conductor Rafael Fruhbeck de Burgos, the BSO opened the 2013 Tanglewood season on July 5, 2013 with an all-Tchaikovsky program f
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Filings

Balance SheetOperations
YearAssetsLiabilitiesNet AssetsRevenueExpensesNet Income
2024Facts available. Structured filing facts are available, but richer extracted sections are limited.$680$61.9$618$117$124$6.63
2023Detailed filing. Detailed filing data is available for this year.$653$66.4$587$93.2$111$17.4
2022XML pending. An XML filing is linked for this year, but detailed extraction is still pending.$654$72.7$582$116$98.6$17.5
2021XML pending. An XML filing is linked for this year, but detailed extraction is still pending.$745$83.4$662$89.9$64.0$25.9
2020XML pending. An XML filing is linked for this year, but detailed extraction is still pending.$626$90.6$535$92.5$82.8$9.70
2019Detailed filing. Detailed filing data is available for this year.$593$96.8$496$95.9$110$13.9
2018XML pending. An XML filing is linked for this year, but detailed extraction is still pending.$609$70.7$539$111$106$4.96
2017Facts available. Structured filing facts are available, but richer extracted sections are limited.$591$83.6$507$85.2$104$18.5
2016Detailed filing. Detailed filing data is available for this year.$558$99.3$459$84.7$99.3$14.6
2015Detailed filing. Detailed filing data is available for this year.$558$83.1$475$107$91.3$15.5
2014Detailed filing. Detailed filing data is available for this year.$571$59.4$512$101$88.5$12.1
2013Facts available. Structured filing facts are available, but richer extracted sections are limited.$525$56.7$468$98.1$87.2$10.8
2012Facts available. Structured filing facts are available, but richer extracted sections are limited.$494$73.7$421$85.8
2011Facts available. Structured filing facts are available, but richer extracted sections are limited.$494$55.4$438$83.6
2010Facts available. Structured filing facts are available, but richer extracted sections are limited.$458$61.9$396$83.7