ABSTRACT
The Royal College of Music lies at the heart of South Kensington. Situated in Prince Consort Road, its ornate red brick and terracotta facade – a cross between a cathedral and a Victorian folly – gazes at the curve of the Royal Albert Hall. Every aspect of this illustrious building is designed to be impressive. Originally conceived in 1853 by Prince Albert and Sir Henry Cole, two of the major forces behind the Great Exhibition of 1851, the foundation stone of the College was laid by Edward, Prince of Wales in 1890, and work was completed four years later. Designed by Arthur Blomfield and funded by the memorably named industrialist Samson Fox, the building owes its existence to the confidence, ambition and vision of the Imperial age. When you walk through the College’s entrance you are immediately welcomed by alabaster statues of Edward, Prince of Wales (later Edward VII) and his bride Alexandra – a reminder, if one was needed, of the College’s regal patrons and its distinguished history. But it is the vibrant ‘hum’ of the building that gives it a special distinction. Walk out of the main reception area into the labyrinth of dimly lit corridors, stairs and rooms, and you will be greeted by a cacophony of scales, arpeggios, arias and fragments of pieces from every period in music history. This ethereal fanfare, which appears to emanate from every nook of the building, accompanies you as you negotiate your way through swarms of students possessively clutching their double basses, French horns and mobile phones. And as you pass students busily practising in rooms, or rushing to their lessons, you realize that this concerted activity is merely part of one ordinary day for the College.
