Wednesday 5 November 2025
7pm​
​Barbican Hall
Guildhall Symphony Orchestra
Joshua Weilerstein conductor
Xu Peng piano
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Programme
Jessie Montgomery
Coincident Dances
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Maurice Ravel
Piano Concerto in G major
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Interval
Pyotr Ilyich Tchaikovsky
Symphony No 4 in F minor, Op 36
The performance duration is approximately 1 hour and 50 minutes, including a 20-minute interval.
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Barbican
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Please try not to cough until the normal breaks in the performance.
In accordance with the requirements of the licensing authority, it is not permitted to stand or sit in any gangway.
No smoking or eating is allowed in the auditorium.
No cameras or any other recording equipment may be taken into the hall.
Photo © Em Davis
Welcome
Welcome to our Guildhall Symphony Orchestra (GSO) concert. You are in for a treat with this evening’s programme. The music is rapturous, cacophonous, menacing and melancholy. It includes some of the most ominous passages in the orchestral repertoire and some of the most exquisite. It evokes modern city life with its confluence of sounds and cultures, and it harkens back to another time with references to folksong and the Classical style.
The first half has an American flair, opening with Jessie Montgomery’s Coincident Dances, a tribute to the melting pot that is New York City, and continuing with Maurice Ravel’s Piano Concerto in G major, a piece infused with the composer’s experiences of jazz from a US tour. The concerto demands dazzling virtuosity from the soloist in its outer movements and the capacity to entrance us in the slow second movement; we are delighted to present Guildhall piano student Xu Peng to perform this glorious piece with GSO this evening.
After the interval, the ‘fate’ motif that opens Pyotr Ilyich Tchaikovsky’s Symphony No 4 in F minor sets the scene for a monumental symphonic tussle of pain and joy; this is music that lays bare the extremes of human emotion and here it is the whole orchestra that demonstrates its range, from the virtuoso to the elegiac.
Guiding the players through this evening’s concert is conductor Joshua Weilerstein, making his GSO debut but well established at Guildhall School, having directed our chamber orchestra on numerous occasions. It’s a pleasure to welcome him back. Off the podium, Joshua hosts a celebrated classical music podcast called Sticky Notes; if tonight’s Tchaikovsky performance inspires you to learn more, let me recommend the 11 May 2023 episode dedicated to this symphony.
I wish you a wonderful musical evening.
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Armin Zanner FGS
Vice-Principal & Director of Music
Photo © Jiyang Chen
Jessie Montgomery (b. 1981)
Coincident Dances (2017)
12 minutes
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From the cries of 17th-century street-sellers in Gibbons and Dowland, through Vaughan Williams’ A London Symphony and Gershwin’s An American in Paris, to Varèse’s rowdy Amériques and beyond, composers have long translated the noise and rhythm of city life into music. Having grown up in Manhattan’s Lower East Side, it’s no surprise that Jessie Montgomery has done so too. Unlike its predecessors, though, the focus in Montgomery’s urban soundscape is New York City’s cultural diversity, and so a colourful variety of voices come and go – including English consort music, samba, South African mbira music, swing and techno – to create a rich, energetic layering that is the soundtrack of a city. “Working in this mode,” Montgomery says, “the orchestra takes on the role of a DJ of a multicultural dance track.”
Maurice Ravel (1875–1937)
Piano Concerto in G major (1929–31)
I. Allegramente
II. Adagio assai
III. Presto
23 minutes
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Xu Peng piano
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“Do you mind if it ends pianissimo and with trills?” Ravel asked the pianist Marguerite Long after announcing he was writing a concerto for her. Years later Long was surprised to see that the completed work in fact concluded with tartly percussive fortissimo chords, but she would soon have noticed that the promised quiet trills had shifted to conclude the second movement, where they drift off, to mesmerising effect.
Ravel himself claimed he conceived the Piano Concerto in G major as a “bright and brilliant” piece, “in the spirit of (the concertos) of Mozart and Saint-Saëns”, and he originally intended to call it a “Divertissement”. He worked on it alongside his Piano Concerto for the Left Hand, commissioned by the Austrian pianist Paul Wittgenstein who had lost his right arm in the First World War. The two concertos are contrasting and complementary, the Piano Concerto in G major being sunnier and more cleanly Classical than its darker sibling. That said, both concertos bear the influence of jazz – a sound re-awakened to Ravel during his American tour in 1928, when he met Gershwin and heard music in Harlem’s jazz clubs.
The first movement opens with what could be a sparkling parade of clockwork toys (of which Ravel was fond) but its sections of fast angular, geometric patterning contrast with slower episodes – in particular a sultry tune introduced by the piano (then taken up by high bassoon) and also a solo for harp, accompanying itself with a web of scintillating glissandos. The piano’s cadenza floats with the help of hovering right-hand trills that give the ethereal impression of a musical saw, or a flexatone.
Ravel sweated over the slow movement, assembling its effortlessly slow-unravelling tune bar by bar. He extracted even more beauty from the tune by gifting it to the cor anglais at the close, while the piano adorns it with decorative semiquavers.
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We’re rudely awoken from the second movement’s soothing close with a drum roll and four spicy wind chords, which set off the fizzing, motoric finale – suggesting the motion of a toccata, with the piano in perpetual motion. Hectic, brazen and spiked with solo bursts – could this even be another New York cityscape? – it is both a race and chase, a display of virtuosity for all players and an emblem both of Ravel’s cheeky humour and of the much-revered precision of his writing.
Interval (20 minutes)
Pyotr Ilyich Tchaikovsky (1840–93)
Symphony No 4 in F minor, Op 36 (1877–78)
I. Andante sostenuto
II. Andantino in modo di canzone
III. Scherzo: Pizzicato ostinato – Allegro
IV. Finale: Allegro con fuoco
44 minutes
Like Beethoven’s Fifth Symphony before it, Tchaikovsky’s Fourth traces a darkness-to-light scenario over its four movements, in which personal struggle overcomes Fate.
Tchaikovsky was going through a personal crisis at the time of composing this work. In July 1877 he entered into a hasty marriage with an ardent admirer, Antonina Milyukova, probably as a cover (or perhaps an intended ‘cure’) for his homosexuality. Within weeks the relationship failed and, according to a friend of the composer, he tried to contract pneumonia by wading into the cold Moscow River. He then fled to Europe to recover from apparent nervous collapse.
Tchaikovsky offered a notional narrative of the symphony in a letter to his patroness, Nadezhda von Meck. The widow of a wealthy railway industrialist, she bankrolled the composer for 13 years. They never met face-to-face but they wrote incessantly – over 750 letters from Tchaikovsky to von Meck have survived – often expressing their innermost thoughts. Tchaikovsky dedicated the symphony to von Meck and in his letters referred to it as “our symphony”.
Opening with an imposing fanfare – Fate incarnate in music – the first movement is by some way the longest of the four and reflects a struggle Tchaikovsky summed up as “an unbroken alternation of hard reality with swiftly passing dreams and visions of happiness”. The second main idea is an unsettled theme on first violins and cellos, accompanied with insistent interjections, all the while descending – increasingly more overtly in despair – and picking itself up. Later the mood changes with a more relaxed, skipping theme (first heard on solo clarinet), joined by an intertwining idea led by cellos. An apologetically heroic theme seems as if it will lead us to triumph but instead the Fate motif leaps back in. The movement concludes with a panting, almost manic coda.
After this tempest, the second movement describes the bittersweet act of looking back over one’s life, “the melancholy that comes in the evening,” Tchaikovsky explained, “when, weary from labour, you are sitting alone. You take a book – it falls from your hand. There comes a whole host of memories.” Not surprisingly the main theme, though songful, is also tinged with melancholy. The middle section opens with a jauntier theme on clarinets and bassoons that soon takes flight. When the first section returns it is with the addition of upward-sliding decorations.
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The third movement explores “the elusive images that rush past in the imagination when you have drunk a little wine”. The opening dance for pizzicato (plucked) strings is followed by a rustic tune on oboe with drone bassoon, and then by a distant military parade. It’s a series of characterful vignettes worthy of the composer of the ballet Swan Lake, whose premiere took place the year Tchaikovsky began this symphony, with The Sleeping Beauty and The Nutcracker to follow.
The finale bristles with energy and the spirit of celebration. There could hardly be anything more ebullient, irrepressible – and Russian – than the opening dance, which follows in the tradition of Glinka’s Ruslan and Lyudmila overture from over 40 years earlier. Throughout the movement the dance alternates with a tune based on the folk song ‘In the meadow stood a birch tree’, opening with a falling five-note scale. The movement reaches its climax with a shattering return of the Fate fanfare from the first movement, but this is slowly extinguished, like the demise of an operatic villain. From amid the ashes (rumbling timpani) the horns bounce in, leading a build-up back to the opening festive music. Now the celebrations are uncontested and the symphony – whose moods have ranged from despair and uncertainty to innocent charm – ends in unalloyed exuberance.
Programme notes © Edward Bhesania
Photo © Paul Marc Mitchell
Joshua Weilerstein
conductor
Joshua Weilerstein is Music Director of the Orchestre National de Lille and Chief Conductor of the Aalborg Symphony Orchestra. Acclaimed for performances that balance clarity, energy and emotional depth, he is a compelling advocate for the classical canon, the music of today and forgotten composers of the past.
In his second season in Lille, Weilerstein leads a wide-ranging series of concerts, with a particular focus on French music, performing works of Ravel, Franck, Lili Boulanger, Barraine, Dutilleux, Saint-Saëns, Tailleferre and Offenbach. He also welcomes Noah Bendix-Balgley, first concertmaster of the Berlin Philharmonic, in a programme that pairs Bendix-Balgley’s Klezmer-inspired concerto Fidl Fantazy with Shostakovich’s Tenth Symphony. In Aalborg, Weilerstein completes his two-year long exploration of the Brahms symphonies and focuses on other late Romantic giants such as Mahler and Zemlinsky. Elsewhere in 2025/26, he returns to the Chicago Symphony Orchestra in their subscription season, to the BBC Proms and Bridgewater Hall with the BBC Philharmonic, and returns to the Vancouver, Gothenburg and City of Birmingham Symphony orchestras. He also makes his debut with the Israel Philharmonic.
Weilerstein has conducted many of the world’s top orchestras, including in more recent seasons the Staatskapelle Dresden, Bavarian Radio Symphony, London Philharmonic, Royal Stockholm Philharmonic, San Francisco Symphony, National Symphony and New York Philharmonic orchestras. He regularly collaborates with leading soloists such as Emanuel Ax, Yo-Yo Ma, Vilde Frang and Matthias Goerne. From 2015–2021, he was Artistic Director of the Orchestre de Chambre de Lausanne with whom he recorded the complete Beethoven symphonies and a disc of 20th and 21st-century works by Ives, Ethel Smyth, William Grant Still and Caroline Shaw.
Born into a musical family, Weilerstein’s commitment to classical music was inspired by his experience on a youth orchestra tour to Central America, during which he performed for audiences that had never heard a live orchestra. He studied violin and conducting at the New England Conservatory, and in 2009 won both the First and Audience Prizes at the Malko Competition in Copenhagen. He later served as Assistant Conductor of the New York Philharmonic from 2012–2015.
In 2017, inspired by Leonard Bernstein’s passion for making classical music accessible, Weilerstein launched the podcast Sticky Notes, which now reaches listeners in 190 countries and has been downloaded over seven million times.
Xu Peng
piano
Xu Peng began playing piano aged four. In 2008, Xu entered the Central Conservatory of Music in Beijing, where he studied with Zhang Zhiwei. He received his Master and Bachelor of Music degrees from the class of Jon Kimura Parker at Rice University in Houston, Texas, where he also graduated with a Minor in French Studies and a Special Distinction in Creative Research. Xu completed his Artist Diploma at Guildhall School studying with Noriko Ogawa and Ronan O’Hora, and is currently pursuing a Research Degree with a thesis on Debussy and Jankélévitch.
Xu has won the Tunbridge Wells International Music Competition and the Macau-Asia International Piano Competition. Recently, he was also awarded the Golden Hand Prize with Special Jury Mention at the Carles & Sofia International Piano Competition, and Second Prize at the William Knabe Piano Concerto Competition.
Xu has performed recitals at notable venues, including the Forbidden City Concert Hall in Beijing, the Stude Concert Hall in Houston and the Stoller Hall in Manchester. His interest in contemporary music has led to collaborations with composers and visual artists, presenting new compositions in thematic recitals and interdisciplinary productions at the Moody Center for the Visual Art in Houston. Xu made his concerto debut in 2019 with Aram Khachaturian’s Piano Concerto in D-flat minor.
Guildhall Symphony Orchestra
Montgomery & Ravel
Violin I
Elena Toledo*
Giulia Pianini Mazzucchetti
Lewis Lee
Ludwika Borowska
Daisy Elliott
Helen Rutledge
Caroline Durham
Colby Chu
Grace Powell
Argyro Meleniou
Joana Vila Chã Ribeiro
Gabriella Pedditzi
Gwyneth Nelmes^
Camille Said^​​
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Violin II
Helena Thomas*
Julie Piggott
Ola Lenkiewicz
Lichen Cai
George Lawson
Tanya Perez Jovetic
Michelle Kolesnikov
Kayla Nicol
Isabelle Allan
Laura Hussey
Dominic Drutac
Julieanne Forrest​​
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Viola
Emily Clark*
Mat Lee
Sirma Baramova
Jake Montgomery-Smith
Waverly Long
Connor Quigley
Isobel Neary-Adams
Andrei Gheorghe
Shane Quinn
Josh Law
Cello
William Lui*
Rowena Taylor
Caleb Curtis
Josh Lucas
Mat Roberts
Chiara Dozza López
Weilai Gu
Jack Moyer
Double Bass
Strahinja Mitrović*
Caetano Oliveira
Izzy Nisbett
Aaron Aguayo Juarez
Cynthia Giarduno^
Becca Whitehouse​​
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Flute
Lara Ali*
Jessie-May Wilson (piccolo)
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Oboe
Lidia Moscoso*
Laura Ritchie (cor anglais)
Clarinet
Kosuke Shirai*
Margot Maurel (E-flat clarinet)
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Bass Clarinet
Kathryn Titcomb
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Bassoon
Miriam Alperovich*
Maria O’Dea
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Horn
Sarah Pennington*
Katie Parker
Trumpet
Alice Newbould*
Alex Smith
Trombone
Anna Bailey*
Tom Hornby
Bass Trombone
Jamie Cadden
Tuba
Isaac Giaever-Enger
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Timpani
Ava Kinninmonth
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Percussion
Reuben Hesser*
Kia Lares
Ali Ayaz
Cláudia Gonçalves
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Harp
Grace Ng
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* Section principal
^ Guest Alumni player
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Names correct at time of publication.
Guildhall Symphony Orchestra
Tchaikovsky
Violin I
Elena Toledo*
Giulia Pianini Mazzucchetti
Ola Lenkiewicz
Lichen Cai
George Lawson
Tanya Perez Jovetic
Michelle Kolesnikov
Kayla Nicol
Isabelle Allan
Laura Hussey
Dominic Drutac
Julieanne Forrest
Yuno Akiyama
Camille Said^
Violin II
Helena Thomas*
Julie Piggott
Lewis Lee
Ludwika Borowska
Daisy Elliott
Helen Rutledge
Caroline Durham
Colby Chu
Grace Powell
Argyro Meleniou
Joana Vila Chã Ribeiro
Gabriella Pedditzi
Gwyneth Nelmes^​
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Viola
Emily Clark*
Mat Lee
Sirma Baramova
Jake Montgomery-Smith
Waverly Long
Connor Quigley
Isobel Neary-Adams
Andrei Gheorghe
Shane Quinn
Josh Law
Leeloo Creed
Cello
William Lui*
Rowena Taylor
Caleb Curtis
Josh Lucas
Mat Roberts
Chiara Dozza López
Weilai Gu
Jack Moyer
Double Bass
Strahinja Mitrović*
Caetano Oliveira
Izzy Nisbett
Aaron Aguayo Juarez
Cynthia Giarduno^
Becca Whitehouse
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Flute
Cyrus Lam*
Laura Jastrzebska
Piccolo
Rachel Howie
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Oboe
Lidia Moscoso*
Elizabeth Loboda
Clarinet
Sofia Mekhonoshina*
Pip Tall
Bassoon
Aidan Campbell*
Maria O’Dea
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Horn
Henry Ward*
Sam Warburton
Daniel Hibbert
Amelia Lawson
Owen McClay
Trumpet
Sam Balchin*
Jess Malone
Charlie Clark
Trombone
Sam Cox*
Helena Kieser
Bass Trombone
Jamie Cadden
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Tuba
George Good
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Timpani
Julie Scheuren
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Percussion
Callum Speirs*
Cláudia Gonçalves
Kevin Ng
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* Section Principal
^ Guest Alumni player
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Names correct at time of publication.
Ensembles, Programming & Instrument Manager
Phil Sizer
Orchestra Librarian
Anthony Wilson
Music Stage, Logistics & Instrument Manager
Kevin Elwick
Music Stage Supervisor
Louis Baily
Thanks
Special thanks to conductor Antoine Veillerette for helping to prepare the orchestra and to each of the following sectional tutors provided by the London Symphony Orchestra:
Harriet Rayfield violin I
Julián Gil Rodríguez violin II
Steve Doman viola
David Cohen cello
Joe Melvin double bass
Joost Bosdijk woodwind
Adam Wright brass, timpani & percussion
Simon Carrington brass, timpani & percussion
Rachel Gledhill timpani & percussion
Bryn Lewis harp
Guildhall School Music Administration
Head of Music Administration
James Alexander
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Deputy Head of Music Administration (Planning)
Sophie Hills
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Deputy Head of Music Administration
(Admissions & Assessment)
Jen Pitkin
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Concert Piano Technicians
JP Williams
Patrick Symes​
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Music Stage Supervisor
Louis Baily
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External Engagements Manager
Jo Cooper
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Student Compliance & ASIMUT Performance and Events Systems Manager
João Costa
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UG Academic Studies, Composition & Keyboard Departments Manager
Liam Donegan
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Music Concert Programmes & Performance Data Manager
Lindsey Eastham
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Music Stage, Logistics & Instrument Manager
Kevin Elwick
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Opera Department Manager
Steven Gietzen
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​Strings & Music Therapy Manager
Jack Gillett​
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ASIMUT & Music Timetable Manager
Brendan Macdonald
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Electronic & Produced Music and Collaborative Electives Manager
Barnaby Medland
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WBP & Historical Performance Manager
Michal Rogalski
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PG Music Studies & Chamber Music Manager
Nora Salmon
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Jazz Department Manager
Corinna Sanett
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Ensembles, Programming & Instrument Manager
Phil Sizer
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Senior Music Office Administrator & EA to the Director of Music & Head of Music Administration
Peter Smith
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Music Admissions Manager
Owen Stagg
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Vocal Department Manager
Michael Wardell
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Jazz Programming & Ensembles Manager
Adam Williams​
Dedication
This performance is dedicated to Mr Ron Peet CBE, who graciously included the Guildhall School Trust in his Will. Thanks to his remarkable foresight and generosity, our students will benefit from scholarship support for the next ten years.
His legacy supports the School’s work across music, drama and production arts – helping gifted students train at the highest level. At a time when public funding is under pressure, such support ensures that talent and ambition can flourish, regardless of background.
This incredible act of kindness demonstrates the profound difference one person can make, leaving a positive and enduring legacy that will shape the future for years to come.
We celebrate the generosity of all who inform us of their intention to support Guildhall School in their Will by inviting them to join the 1880 Society. Please visit gsmd.ac.uk/legacies or contact Meg Ryan at meg.ryan@gsmd.ac.uk / 020 3834 1561 to discuss leaving a gift in your Will or to arrange a visit to see how you could make a difference to our students.
50 Years of Bohemian Rhapsody
Friday 28 November
5.30pm, 7.30pm, 9.30pm
Milton Court Concert Hall
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Marking 50 years to the day since the release of the album A Night at the Opera, and the eve of this iconic song reaching UK No. 1 in 1975, this very special performance presents brand-new orchestral arrangements of Bohemian Rhapsody and other much-loved Queen tracks reimagined for a thrilling euphonic experience, performed by the professional musicians of Guildhall Session Orchestra.
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Tickets: £30 (£15 concessions)
Forthcoming Events
Cantata Project with Academy of Ancient Music
13 November 2025
Milton Court Concert Hall
Harpsichordist James Johnstone leads Guildhall Historical Performance students in an intimate programme of music for voice and continuo from around the turn of the eighteenth century, joined by vocalists from the Academy of Ancient Music.
Free, no tickets required
Adrian Dunbar with Guildhall Session Orchestra: T.S. Eliot’s The Waste Land
19 November 2025
Southbank Centre's Queen Elizabeth Hall, Belvedere Road SE1 8XX
T.S. Eliot’s The Waste Land is widely regarded as one of the most important poems of the 20th century. Directed by Guildhall alumnus and fellow Adrian Dunbar, with a score by Nick Roth, the Unreal Cities setting of the poem is composed for four actors, film and jazz quintet, and is expanded for this performance with a full orchestral treatment in collaboration with the Guildhall Session Orchestra.
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Tickets: from £27
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Junior Guildhall Symphony Orchestra
6 December 2025
Milton Court Concert Hall
Julian Clayton conducts a richly varied programme spanning impressionistic colour, sparkling virtuosity and symphonic power, including Shostakovich’s monumental Symphony No 11 and Ibert’s Flute Concerto featuring prize-winning Junior Guildhall flautist Kendra Barron.
Tickets: £12 (£8 concessions)
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Photo © David Monteith-Hodge
Our supporters
Guildhall School is grateful for the generous support of the following individuals, trusts and foundations, City livery companies and businesses, as well as those who wish to remain anonymous.
Exceptional Giving​
City of London Corporation
Estate of John Donnelly
The Guildhall School Trust
The Leverhulme Trust
Estate of Evelyn Morrison
John Murray Young Artists’ Fund
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Leadership Giving​
Foyle Foundation
The Garek Trust
Estate of Brian Hartley
Estate of Eric Pattison
National Philanthropic Trust UK
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Principal Benefactors​
Amar-Franses & Foster-Jenkins Trust
Foundation for Young Musicians
Estate of Beris Hudson
Christina and Ray McGrath Scholarship
Purposeful Ventures
Nicky Spence Scholarship
Estate of Harold Tillek
Jessie Wakefield Bursary
Garfield Weston Foundation
Estate of Anne Wyburd
Estate of Jane Manning
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Major Benefactors​
City of London Corporation Education Board
Daniel Craig Scholarships
Dominus and the Ahluwalia Family
Fishmongers’ Company
Leathersellers’ Company
London Symphony Orchestra
Sidney Perry Foundation
Barbara Reynold Award
Rosemary Thayer Scholarship
Wolfson Foundation
Professor Christopher Wood MD FRCSEd
FLSW HonLMRCO
Henry Wood Accommodation Trust
C and P Young MBE HonFGS
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Benefactors​
Jane Ades Ingenuity Scholarship
Carrie Andrews
Brendan Barns
David Bartley Award
Behrens Foundation
Binks Trust
Timothy Brennan KC
Derek Butler Scholarship
Dow Clewer Foundation
Liz Codd
Sally Cohen Opera Scholarship
Brian George Coker Scholarship
The Cole Bequest
Ian Crewe
Stella Currie Award
D’Oyly Carte Charitable Trust
Professor Sir Barry Ife CBE FKC
and Dr Trudi Darby
Elmira Darvarova
David Family Foundation
Drapers’ Company
Margaret Easton Scholarships
Amy and John Ford HonFGS
Lillian and Victor Ford Scholarships for Drama
Bishop Fox’s Educational Foundation
Albert and Eugenie Frost Music Trust CIO
Gita de la Fuente Scholarship
Mortimer Furber Scholarship
Girdlers’ Company Charitable Trust
Dr Jacqueline Glomski
Ralph Goode Award
Haberdashers’ Company
Faye Hamilton
The Hearn Foundation
Sarah Holford
Huddersfield 1980 Scholarship
Elaine Hugh-Jones Scholarship
Cosman Keller Art and Music Trust
Damian Lewis CBE FGS
Andrew Lloyd Webber Foundation
Alfred Molina FGS
Anne Page
Jane Manning and Anthony Payne Award
Ron Peet Scholarship
David and Margaret Phillips Bursary
Reed Foundation
Ripple Awards
Lady Victoria Robey CBE
Scouloudi Foundation
Skinners’ Company
South Square Trust
Steel Charitable Trust
Hugh Vanstone HonFGS and George Stiles
Barbara Stringer Scholarship
Tobacco Pipe Makers and Tobacco Trade
Benevolent Fund
Frederic William Trevena Award
Edith Vogel Bursary
Wallis Award
Roderick Williams / Christopher
Wood Scholarship
Worshipful Company of Carpenters
Worshipful Company of Chartered Surveyors
Worshipful Company of Grocers
Worshipful Company of Innholders
Worshipful Company of Skinners
Worshipful Company of Tallow Chandlers
Worshipful Company of Weavers
Supporters
Margaret B Adams Award
Adelaide E Alexander Memorial Scholarship
Alexander Technique Fund
Anglo-Swedish Society
Athena Scholarship
George and Charlotte Balfour Award
Alison Balsom Scholarship
Peter Barkworth Scholarship
Maria BjÓ§rnson Memorial Fund
Board of Governors’ Scholarship
Ann Bradley
William Brake Foundation
Sir Nicolas Bratza
John S Cohen Foundation
Noël Coward Foundation
Diana Devlin Award
Robert Easton Scholarship
Gwyn Ellis Award
Adam Fabulous Scholarship
Carey Foley Acting Scholarship
Iris Galley Award
James Gibb Award
Jess Gillam Scholarship
Hargreaves and Ball Trust
Hazell Scholarship Fund
Michael and Rosamund Herington
Ironmongers’ Company
Brian Edwards and Mandy King
Gillian Laidlaw HonFGS
Peter Lehmann Bedford Award
Eduard and Marianna Loeser Award
Alison Love - In Memory of Barry MacDonald
Marchus Trust
Narrow Road
Noswad Charity
NR1 Creatives
Ann Orton
John Peach
Peter Prynn
Denis Shorrock Award
Silver Bow Scholarship
Graham Spooner
AM Spurgin Charitable Trust
and John Younger Trust
Steinway & Sons
Caroline Stockmann LGSM HonFCT
Hannah Stone Scholarship
Elizabeth Sweeting Award
Sir Bryn Terfel Scholarship
Thompson Educational Trust
Louise Thompson Licht Scholarship
Kristina Tonteri-Young Scholarship
HWE & WL Tovery Scholarship
Harry Weinrebe Award
Dominic West FGS
Worshipful Company of Carmen Benevolent Trust
Worshipful Company of Dyers
Worshipful Company of Gold
and Silver Wyre Drawers
Worshipful Company of Horners
Worshipful Company of Musicians
Worshipful Company of Needlemakers
Worshipful Company of Wax Chandlers
Guildhall School of Music & Drama
Founded in 1880 by the City of London Corporation
Chair of the Board of Governors
The Hon. Emily Benn
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Principal
Professor Jonathan Vaughan FGS
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Vice-Principal & Director of Music
Armin Zanner​ FGS
Contact Us​
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Barbican,
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EC2Y 8DT
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