Information about Guildhall school of music&drama

June 5, 2016 at 03:17 PM · Hi guys

i want to ask if anyone have any experience about guildhall school of music&drama.(any help_experience and info would be appreciated).

i searched the internet (also you tube).

and all i found was just a few people's audition experience video and non of them are violin applicants.(just actor&actress).

i want to know how hard is it to get accepted in Guildhall as a violinist?

does anyone know about their percentage of accepting violin applicants?

as i see in their website they want:

1)1st movement of a standard concerto(i called them and they accept Mozart violin concertos as i don't have 5 famous romantic violin concertos in my repertoire)with cadenza.

2)a caprice or etude.

i need your suggestion guys.please name some easy but acceptable etudes between Fiorillo/Dont or Rode/ i didn't mention Gavinies since i already looking to in my laptop and my fingers say no!

3)what do you think about my choices below ?do i have any chance?

Mozart violin concerto 3_4_5/ 1st movement.after your suggestion for one of Mozart's concertos please also name the famous and acceptable cadenzas for that concerto.

Bach sonata in C major.

an etude from Kreutzer(no.26 onward)/Fiorillo/Dont/Rode.

the reason i choose London for music study is they don't have upper age limit.i'm 23 and i know in Europe and the U.S.A people begin sooner but in my country it was hard to find people who can teach me and help me.and i didn't have access to too many things.

my priority is Guildhall/however any information even about other academies or easiest way to reach London and begin my study would be appreciated. thank you/

Replies (20)

June 5, 2016 at 05:20 PM ·

June 5, 2016 at 06:07 PM ·

June 5, 2016 at 06:52 PM · The repertoire you suggest should be fine. The standard varies concerning the instrument (piano very hard to get in) but violin not too hard at all, I would imagine. I know students and their teachers who have reasonable success in getting their pupils in.

June 6, 2016 at 01:03 PM · Bach, C major solo Sonata is enthusiastic. Which movement?

Mozart, hope you play it well. If you can, great. If intonation or technique isn't on point, then I'd look at something else. Fairly unforgiving Mozart is.

I'm skeptical if you're saying Gavinies etudes are a "nope." After naming the Bach piece... you shouldn't have any issues with Gavinies.. Which etude did you have in mind?

June 6, 2016 at 02:13 PM · Similarly, if you can do Dont (op. 35) and Rode, Gavinies shouldn't be a problem.

June 6, 2016 at 10:07 PM · There are also the Royal College of Music, and the Royal Academy of Music, in London (though I may be out of date?)

June 6, 2016 at 11:19 PM · Greetings,

I assume the RCM still exists. ... I am not sure I agree that thes epalces are eays to get into. The line up is pretty hard core teacher wise at most of the London Institutes and you have to have great potential and chops to get in. For a musicla institute to take lower lvel ability and potential players to make up numbers would simply be immoral. It is a surefire way of destroying young peoples lives when they would be bette roff doing something else.



June 7, 2016 at 02:13 AM · Both Royal College and Royal Academy of Music exist and are part of the University of London (I believed they were both part of Imperial College, but this is not mentioned in Wikipedia). Guildhall is part of London Metropolitan University, as the London College of Music is part of University of West London. When I was growing up, Guildhall was known for concentration on violin technique (Pupils of Max Rostal had great influence), and it was common for students not to study a second instrument; not so the Royal Schools, where it was virtually compulsory to take a second instrument. This may all have changed.

As regards intonation, as a candidate you would, I think, require special consideration, as Asian scales are slightly different from European. It might be a good idea to look up who the prospective teachers are, and see whether any of them might relate well to your situation. Perhaps, if you wrote to Nigel Kennedy or another well known Menuhin pupil, he might be able to recommend you someone to approach.

The best reasonably available cadenzas for the Mozart are, I think, by Joachim and Kreisler (which latter you would rightly expect to be very difficult). Ferdinand David wrote cadenzas also, but they may not be as easy to obtain - I would expect them to be of the same standard of difficulty as Mendelssohn's (composed in collaboration with David). Those in old Peters editions, by such as Henri Marteau, would be acceptable for audition, I think, but I would not wish to perform using one.

If you can play the C major Fugue reasonably, I would think you're in!

June 7, 2016 at 04:02 AM · Greetings,

that's interesting. The four years I was at RCM nobody ever mentione dthat we wer connected to another Unioversity. As far as I was aware the RCM is an independent musical establishment. It is of course, next to Imperial College so they use dto use our canteen at times.

The fouc was on being a balanced musician when I wa s there but you still had to have the chops. The problem was, and probably still is that everything gets in the way of all thos ehours of practic eneeded to recover from trying to learn the violin in England....


June 7, 2016 at 09:21 AM · thank you guys for your answers.

June 7, 2016 at 09:32 AM ·

June 7, 2016 at 10:53 AM ·

June 7, 2016 at 10:54 AM · "Greetings,

that's interesting. The four years I was at RCM nobody ever mentione dthat we wer connected to another Unioversity. As far as I was aware the RCM is an independent musical establishment. It is of course, next to Imperial College so they use dto use our canteen at times.

The fouc was on being a balanced musician when I wa s there but you still had to have the chops. The problem was, and probably still is that everything gets in the way of all thos ehours of practic eneeded to recover from trying to learn the violin in England...."


If you stood in the mains halls of either the R College or the Academy in London you would think little or nothing has changed. Even the same dust on the old paintings hanging in old frames since 1.5 centuries ago.

However, both places have acquired new buildings and extensions and so offer rather better facilities than in the old days when we kicked out heels and carried out mischief in those corridors ...

They have also become connected to "Universities" or "institutions" but I'm not sure if this just makes them look good on paper. The level of teaching is generally very high, and there are some very fine young students from just about everywhere in the world. These make up possibly about 2% of the students and another 5% are probably home grown and pretty good too. The remaining 93% will mostly do a lot of teaching and some freelance gigs on a casual basis. (Many will get married or whatever, have kids, and possibly drop out of playing and even teaching altogether. I know some who can't really keep up an orchestral career, either permanent of free-lance, and so teach at home or in nearby schools).

I do still frequent these places a bit when they have concerts or masterclasses but the nostalgia has worn off and I sometimes think I won't re-visit, but after a gap, do end up going back. But that's the story of my life ...

June 7, 2016 at 11:48 AM · Hi Peter,

the connection was probably after my time as well I suppose. The RCM seemed to still be centered around a group of fine English players when I was there. The there were great young players comig from all over the world to study with Rodney Friend and the rest of the cream went to an archeypal representaitve of the Czech school who churned out superb technicians who followed his directions very closely. Many of tose are now front desk players in top British orchestras. Last time I looked at the homepage this wa slal gone and the lineup seemed to be mainly representatives of the Russian school including some very notable players and teachers so I think the standard has swung considerably higher. In my day the Academy was generally said to be more specialized and had some very famous names. Perhaps their overall standard was a little higher but I doubt if there wa smuch in it. One of my great memories is a player called Steve Bryant who is now front desk LSO I think (or he was) who sight read a manuscript of a rather arcane and extremely difficult manuscript by Leopold Auer who was a very very distant relative of an uncle of one of Ken Pipers students. The work itslef was not of that much interest but Steve sight read it like he had been playing it for ten years. That wa sreal violin palying in action.

At that time the Guildhall was shaking off the Rostal influence and David Takeno seemed to be one of the bigger names there at least for technique. The stupidest thing was when , under the malign influence of Thatcherism it was deemed illogical to have different colleges teaching the same subject so it became a really hard core competition not to be closed down that turned into a major farce. That had a detrimental effect on a lot of young players. The Academy brought in a soloist whose name I wont mention who upset just about every sane teacher in Britain with remarks about not knowing how to teach people to be soloists. Simon Fischer wrote a brillliant essay about why Britains young people don`t have the time or resources to develop n that direction most of the time. Might still be o his web site. Blame the demand s of the education system. Most of us were learning technique at college we should have been taught when we were twelve. At least the beer was good though...

Sitting under a cherry tree drinking sake and waiting for the Chinese to invade is much more fun...



June 7, 2016 at 12:04 PM · 15-20 years ago when people of my age I knew were applying for music college (though not I), the Royal College of Music and the Royal Academy of Music were regarded as more demanding than Guildhall.

They were the musical Oxbridge while Guildhall was the musical LSE, if you like (a comparison which won't make any sense at all unless you already know the snobberies of the British university system ;) )

June 7, 2016 at 01:45 PM · I think David Takeno is still there at the Guildhall. It has certainly gone up in the world as they have the Takacs Quartet attached to them now, and they have a brand new concert hall nearby which is stunning. The organisation that my wife is head of piano at is now attached also to the Guildhall and so there is a lot of cross fertilisation going on. Trinity has also become bigger and better with some excellent teachers.

The biggest problem these days is that it costs so much to study at any music college, and there a no longer any grants, although I suppose some scholarships exist for the most worthy.

Yes, the beer was good then. The Academy has a student bar now, but the beer's not as good as it should be!

June 8, 2016 at 04:28 PM · Stephen Brivati

i have some can i get in touch with you?

June 9, 2016 at 12:25 AM · Buri, I think it would have been around the mid '80s that the Music Colleges got affiliated to Universities and started being able to dish out degrees. In the '70s they still couldn't.

June 9, 2016 at 12:37 AM · Gottit.

Missed it by a few years. Funny thing to do...

Mohammad, you can mail me ia this site, but as far a sthis parituclar question is concernd I am out of date so you are probably better off asking someone else.



June 9, 2016 at 09:18 AM ·

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Pirastro Strings
Pirastro Strings

Find a Summer Music Program
Find a Summer Music Program

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases Business Directory Business Directory Guide to Online Learning Guide to Online Learning

Dominant Pro Strings

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases


Los Angeles Violin Shop

Nazareth Gevorkian Violins

Metzler Violin Shop

Leatherwood Bespoke Rosin



Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine