12 year old piano prodigy alma1/18/2024 ![]() ![]() She explained to The New York Times in 2019: "I lived in England, but I grew up on the music of Mozart, Schubert, Beethoven and Haydn. In 2018, Deutscher moved with her family to Vienna, which she has described as her "musical homeland". passport and was born in an English hospital, but is that enough? She doesn't seem remotely interested in British culture or landscape or people or even composers, it's never referenced in her music (and that's absolutely fine, of course, it's her art and her life). How British or English can she really be, then? Ok, she's got a U.K. Her accent when speaking English is not naturalised. at age 12 with her parents and never went back to live or study. Alma was never formally educated in British schools, but at home with her father and with remote help from European (not English) tutors. Alma's father is Israeli, and speaks to her largely in Hebrew. all his life is still an incorrigible Yank down to the bone and should emigrate back to the States, actually.Īlma is a culturally German-Austrian Jewish. Would be like me insisting that one of my old classmates who's got an American grandparent and was born in Texas but moved to Essex at age 4 and went to school/worked in the U.K. She's not Austrian, she's a Briton studying in Vienna.ĭL is so odd when it comes to anyone with a drop of British blood or one British parent/relative or a British birthplace-as if that's enough to make them legitimately a Brit. We don’t need to hear them filtered through her limited compositional mind by Anonymous There is a lot of great 19th century music we can listen to. It is not a sign that we need her mediocre regurgitation of past styles. If so, that is a sign that classical music has possibly exhausted itself and that the age of original classical composition is over. It is true that contemporary composers struggle to find a musical language that appeals to the public and that it is unlikely any composer living today is on the level of the great composers of the past. There is a huge middle ground between her “beautiful” 19th century pastiche and dodecaphonic “noise” that she is either unaware of or is unwilling to acknowledge. There are dozens of “modern” composers who had no fear of dissonance who vastly exceed her as a melodist-Prokifiev, Stravinsky, Britten, etc.-and who have public appeal. ![]() The difficulty for her is that she is an advocate for melody who happens to be a poor melodist. It is definitely permissibly to write tonal music in today’s world, but for her there is only beautiful music and yucky modern music. Serialism has not had a stranglehold on classical music for decades. She remains a complete simpleton in artistic matters. The overwhelming draw of her music is that it is written by a child. As, I have mentioned above, if you passed offer her works off as newly discovered works of a middle-aged 19th century kapellmeister, do you honestly think anyone would we be listening to them? No. So far, it doesnt appear she has developed much to offer. As an adult, she can come before the public with what she can offer. ![]() They should be nurturing and developing what talent she does have in private. Perhaps she will develop those qualities, but it is not right for her parents to put her before the public at such an early age and to use her as a spokesperson for their own uneducated beliefs. She has extraordinary, although not unique, gifts, but she has limited creativity and almost no sophistication, knowledge of musical history, or maturity. I provided specific things she says that demonstrated her ignorance and bias that you didn’t even attempt to refute (e.g., Cole Porter being a “Hollywood” composer and references to the Darmstadt school, which hasn’t been a force for five decades). ![]()
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