The story of the Australian pianist Geoffrey Tozer, as told in the documentary The Elogy by Janine Hosking, follows a well -known, tragic arch.
In the 60s and 70s, Tozer seemed to be one of the largest international success stories in Australia.
At the age of 16, Tozer had performed some of the world’s most famous stages and met the WHOs who of classical music.
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But away from the piano, Tozer seemed to miss no other skills. In the later life he treated alcohol addiction and died in the Penury in 2009.
The history of classical music is peppered with stories of exceptionally talented children’s musicians, including well -known names such as Mozart and Mendelssohn.
Even today, young artists such as violinists Christian Li and Chloe Chua have attracted enormous attention to their early success.
Tozer described his experience of a prodigy as’ an old man without a future. I wouldn’t wish anyone. “
But unlike Tozer, many wonder kidnaps have had a happier life and successful music career as they grew up.
Australian pianists Andrea Lam and Grace Kim were both labeled as wonder children when they were younger. LAM debuted with the Sydney Symphony Orchestra at the age of 13. Kim won international music competitions before completing high school.
They talk about their experiences through the label of “Child Prodigy” and how they can support the next generation in their musical journeys.
For thousands
Lam remembers how surrealistic her orchestral debut felt and described it as “an incredible sensory experience”.
“[I was] Making music on stage with professional musicians who treated me with respect and were on the same playing field as they were. “
Lam remembers her teenage years as “The Good Days”. She had opportunities to sharpen her craft, but together with her recognition as a young musician: “I had enough time to be a child,” Lam Reflect.
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“I definitely feel that I had a full life outside of the piano, and I think that was really crucial.“
Gifted versus hard work
In her childhood, Kim preferred watching TV and reading books over the practice of time.
She likes to play the piano, learning new music and the performance, but “the practice part was the boring around the world,” Kim admits.
Despite this tendency, Kim did well in Elite matches thanks to her ability to ‘flatten it’.
“Gifted children [like myself] The tendency to find ways to do what they like to do and try to avoid what they don’t like to do, “says Kim.
But as an adult, Kim does not see “giftedness” as a celebration of the exceptional. She says it must be considered part of our neurodiversity.
“If someone with children now, I realize the importance of structure,” she says. “As an adult, I started to practice more often.”
As a piano teacher and researcher, Kim also supports the next generation of talented pianists, some of whom have come to win from major international music competitions.
She says that maintaining boundaries between parents, teachers and students is important in supporting young musicians during their travels.
“The task of the parent is to offer love and support,” she says. “My role as a teacher is to give students challenges that are proportional to their ability.”
It is up to the students to develop their skills as musicians.
The myths of young artists disprove
The audience is always fascinated by displays of young musical talents, and we have an abundance of it.
Violinist Christian Li was only 10 years old when he won the Yehudi Menuhin International Competition in 2018.
Taking a joint first prize with LI was the 11-year-old violinist Chloe Chua in Singapore.
Now in their teenage years, both violinists regularly perform with Major Symphony Orchestras, an achievement that lasts most musicians years to reach.
Chua, 18, recently made her Australian debut next to the Singapore Symphony Orchestra in a performance in the Sydney Opera House in February.
“I really like the process of learning music from different genres and very much by different composers,” says Chua. “And I feel very emotionally satisfied after I have mastered a violin piece.”
Chua, who is still in high school, is famous for her sensitive musical interpretations.
“I love buoys and moving my audience with expressive versions and bring them joy,” says Chua.
Lam and Kim emphasize that we must leave the idea that young artists must fully concentrate on the only development of their musical talents.
“You have all your life to be an adult, but you have a very specific time window to enjoy a child,” says Lam.
Some of the harmful ideas about wonder children relate to how much they should practice and external pressure for excellence.
The expectation for constant excellence can be difficult for young musicians, says Lam.
Although LAM emphasizes that playing an instrument on an elite level dedication and hours of practice, Kim says that the myth that musicians have to practice between eight and 10 hours a day is not healthy.
“Parents must create opportunities to de -stress, be healthy, exercise and concentrate on other things in life.”
The chance to only be children is one of the secrets of the lifetime of their success, say Lam and Kim.
Chua’s family and friends ensure that she has time to just be a teenager.
“Normally I take breaks between lessons or my practice sessions to go out for meals with friends,” says Chua. “Sometimes I also go to parties organized by the school or concerts to socialize with friends.”
Lam remembers how much she likes to read and went out with her friends, some of whom are still close to her. Chua also shares similar hobbies during her free time.
Kim points out that for young musicians and their parents, “music is a long game”.
“We can’t stop people to label, but we can help the child ground by not buying in the wave,” says Kim.
“Children must develop the skills to achieve goals in their own way,” says Kim. “They also need time to find out.”
Get an experience in the front row with the Singapore Symphony Orchestra concert with violinist Chloe Chua. Stream front row with Megan Burslem on ABC IView.
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