![]() I don't agree they are just mimicing adult ideas. When they are extremely young, say under 10 years old, then their technical prowess might overshadow their musical understanding, but somewhat later(in their early or mid teens)I think their musical understanding can be extremely high also. In addition, these young artists and their teachers are usually wise enough to avoid performing pieces like Beethoven Op.111 or the Brahms PC No.2. As I previously mentioned the reviews of Tao or Kissin at a very young age didn't say "they played great for a 13 year old. I think it's obvious that they aren't adults although the most gifted can play with the technique and, I strongly believe, the emotion and musicality of much older people. I think that makes these highly sensitive and gifted musicians sound like animals on display. I wouldn't call it "trotted out as if they are fully developed adults" at all. A kid doing a really great version of any of Liszt's Mephisto Waltzes is one very corrupted child, IMO. To me, he "content" of classical music often is shot through with eroticism, violence, and despair (just for starters) on an adult level, and it creeps me out when kids mimic adult attitudes regarding those things which they aren't supposed to have experienced. ![]() If they aren't, then the music (with some possible exceptions) is not being served very well. If they are, they must be having some life experiences that their social services people need to look into. I loathe child prodigies being trotted out as if they are fully developed adults. Sadly for us, there are hundreds of others like him who are not anointed and whom we will never hear. Now he is lauded for his sensitive performances, as one of the best pianists in the world. In other words, being just like Leif Andsnes, who never won any major contest and was destined to be a nobody until the Gilmore foundation branded him. They'll go on to teaching or university jobs, playing locally from time to time. But we'll never hear from most of these other pianists. Julliard at this very moment has a few dozen young pianists working away who are every bit as talented as Conrad Tao (in fact he has been allowed to enroll there already in some sort of pre-school division). Nigel Kennedy followed the same path and enhanced his brand with his punk looks, though abandoning his first name was probably a pretentious step too far (we can only have one Midori at a time). Conrad Tao has a shot because he already has PR as a prodigy and is developing a brand name. Who gets a concert career and who doesn't is partly a matter of circumstance. The rules of the composer and the conventions of dozens of performers over time mold our expectation regarding the masterpieces, and the rest is therefore technical skill, tonal control, hard work, and. A teenager can listen to CDs to hear how any major concerto should be shaped. This myth may have been true in Mozart's day, but not anymore with the presence of so many CDs and with the repertoire highly restrictive. 1) Fourteen year olds do not need intensive life experiences to invest their music with emotional maturity.
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