BY MIRANDA ILCHEF
One evening earlier this month whilst scrolling through my Facebook newsfeed (when I should have been practising), I came across an insightful post from world-renowned cellist Steven Isserlis about why we don’t need to be so terrified of child prodigies.
This came at rather a choice time, as I had spent a large portion of the night before watching clips of the incredibly talented young violinist, Christian Li – whose playing I find beautiful and, as a student violinist myself, petrifying.
Because admitting you have a problem is the first step to recovery, I will come out and say it: I am a child prodigy addict. I consistently have to pick up my jaw off the floor when I see videos of these tiny humans with incredible musical and technical ability, who have worked so hard to develop their skills.
But the more I think about it, the more common I think this obsession is. ABC’s recent series Making Child Prodigies joins the United States/United Kingdom TV series Child Genius in the avalanche of media that focuses on extremely talented children. And, like Isserlis, I have a sneaking suspicion these glamorised representations aren’t good for the children – or for the masses who merely marvel from the sidelines (that is, us).
Many brilliant child musicians compete in prestigious contests around the world. I’m willing to bet most of them love performing. And, of course, it is wonderful that these kids can access such opportunities at such a young and impressionable age. However, one can’t help but feel that they may start to equate quantitative achievements like medals and trophies with success, happiness, and – perhaps even, as Isserlis points out – parental love.
And why wouldn’t they? Because this is the message we are constantly fed: the faster and younger you achieve musical skills, the better you are as a musician and perhaps even as a person.
When I watch these viral videos of child musicians, I am inevitably somewhat depleted of confidence in my own abilities. I stop trusting that my music is worth creating, and even wonder (depending on my mood) if studying music is not a dreadful idea and I should switch to a Law/Commerce degree, effective immediately.
But unlike some other fields, a ‘rat race’ mentality is not conducive to success in the music industry. Musical understanding and technical expertise can’t be rushed. Anton Bruckner did not begin writing his now-famous symphonies until he was about 40. Sometimes, you have to wait for the inspiration to strike. When Liszt was in his youth and saw Paganini play, the pianist wished with a passionate intensity to become comparably virtuosic.
Other musicians have multiple interests and may not be ready to focus solely on music. After all, Aram Khachaturian considered studying medicine or engineering but eventually ended up enrolling in music school at the age of 18.
And what ‘late-bloomers’ bring to the table can equally be as important as the prodigiously fast hemidemisemiquavers that a technically advanced musician can offer.
If our art is a reflection and commentary on life, then surely life experiences or knowledge help inform our practice. Performances of Messiaen’s Quartet for the End of Time and Britten’s War Requiem are surely enhanced with a historical understand of the atrocities of the world wars. Without having travelled and been moved by the natural landscape, Beethoven’s Pastoral Symphony may not have been as meaningful. Experiencing a mental illness or knowing someone who does can connect us to works like Sergei Rachmaninov’s stunning Piano Concerto No. 2 – a celebration of his recovery from prolonged depression and accordingly dedicated to the physician who treated him.
Of course, this is not to suggest that children cannot feel these same emotions, but I believe a continually growing store of life experience can give even greater significance to these hefty works.
Instead of praising child musicians for having accomplished their achievements by a certain age, we should try to look past their age and treat them as fellow musicians. Musical achievements should not be relative to age, lest these children grow older and feel inadequate because their achievements as a 45-year-old are no longer impressive simply due to the fact they are no longer half the height.
I will continue to watch and enjoy videos of brilliant child musicians. We cannot deny them their extraordinary talents. But I will try to see past their youth and instead marvel at the fact that music is a language that transcends all barriers, including age.
As Isserlis states in his post: “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[…] Do try to believe it – it’s the truth.” 
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Disclaimer: This story considers the topic of child prodigies with reference to cellist Steven Isserlis. It was not produced in collaboration with Isserlis and does not aim to represent, agree, or conflict with his views or opinions.
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