Prodigies
It seems that, thanks to various competitions and their related videos, over the past few months several violinists and other instrumentalists (but mostly violinists) aged about 11 or 12 have been given a lot of prominence. Some of them are really quite wonderful, both musically and technically; but nevertheless, I think it’s concerning, both for the youngsters themselves and for somewhat older musicians who feel side-lined and even threatened by these amazingly precocious talents.
First, the dangers to the youngsters: these have been pretty well-documented, although those profiting from the youngsters always try to put an optimistic sheen on their exploitation. (I noticed that in a recent documentary about the BBC Young Musician of the Year award, for instance, only those with positive things to say about the competition were featured; those who have in the past said how damaging the competition had been to them were strangely absent.) To be fair, though, it’s not easy or perhaps even desirable to keep a prodigious talent hidden. Most children want to show off their special gifts; it is only natural for them to do so. But this has to be carefully controlled. Gifted children can all too easily start to equate happiness and even parental love with public attention and success; that can be toxic. I know several ex-prodigies who as adults did not receive the same acclaim as they had enjoyed as children. Now, decades later, they admit that a feeling of inadequacy and frustration has gnawed away at them throughout their lives.
So how should these precocious youngsters be protected? Well, a grounded, supportive-but-not-too-pushy family is the first essential. No child should be shut away from others their own age, and forced to practise all day long. Why should they spend their whole childhoods slaving? Music isn’t THAT hard! Furthermore, when one reads about the lives of truly great performers, one learns that most of them were well-educated, cultured beings who had time for activities outside music; few of them practised more than four or five hours a day. They took time off when they needed it, and formed close personal attachments. (There are exceptions, of course – brilliant but utterly lonely geniuses; but who would wish such a life on one’s child, no matter how successful they might become?) General culture and personal warmth come through in one’s musical personality; and that’s partly what makes the playing of – for instance – a Casals, a Kreisler, a Schnabel, so moving.
As I say, the dangers to prodigies have been fairly widely discussed; but what of the feelings of late developers, as they see these youngsters conquering difficulties with which they’re still struggling? I’m sure it must be hard. (In fact, if I’m honest, I know that it is, from personal experience. Although I was an early developer, I was certainly no prodigy; it was hard to see my near-contemporaries being successful and acclaimed while I had virtually no engagements, and had not yet found my musical voice. Had I not been so supported by family and friends, I might have given up.) One has to remember that children who learn to speak early are not necessarily more – or less – gifted than those who develop speech later. In the end, the vast majority end up speaking fluently; it’s what they have to say that’s important. Similarly, a fine musician may reach his or her technical peak at 11 or 12, or 18, 25, or even later (especially for singers, of course). One can’t hurry these things. We have to work incessantly, of course, to reach and then to maintain the highest level we can attain; but forcing the pace won’t do any good. And feeling inadequate because someone else has got there sooner will also not help – far better to be inspired by it if possible.
So to all young musicians – whether children, teenagers, or those in their early 20s – I’d say: withstand the pressure as much as you can. What’s important is for you to develop with the music, to build up your relationship with the composers and their scores, to experience the ultimate reward for any artist: entering a higher world, communicating with great spirits. THAT’s what matters – not instant success, which is a fickle mistress (attractive though she is). I know that it’s far easier to say/write that than to feel it; but do try to believe it – it’s the truth…
