![]() To give him a little bit of support and come at this from a slightly different angle. But I doubt his music at this point has much depth.Ĭlick to expand.I can actually understand where the OP is coming from when he says this. Does he deserve this recognition while many brillaint musicians toil in obscurity? Probably not yet, someday he may. By being a prodigy, Greenberg incites an immediate curiousity factor. It is extremely difficult for a modern composer to either be programmed or recorded. From Saariaho and Lindberg to the very difficult Ferneyhough and James Dillon, Rautavaara, and the list goes on. I am one of those very few who listen to modern composers. And it may be a good thing when people find out there are real living working compsers in the world. The mere label "child prodigy" has been enough to get him recorded by Sony. While it may be amazing that the young Greenberg hears complete symphonies in his head and can transcribe them in a few hours, that does not make them interesting, original or communicative. 5 symphonies at age 14- and tellingly, the kid himself was bored during the recording of his 5th symphony. But I have deep misgivings about the quality of music that is being put out at such a fast rate. ![]() Now, I take the Julliard professors at their word that this kid has an incredible gift. I am fascinated by this story for a number of reasons. The most difficult thing to do musically is to write a great pop song. Show me a child prodigy that writes his own symphonies? Yawn. Listen to a song like Love Can Make You Happy by Mercy, a work so beautiful that they did it only once. This is the highest point of musical achievement. ![]() The most difficult thing to do in music is to write a simple, heartbreakingly beautiful song. I guarantee that he and those within his small circle will feel that a three minute pop song is beneath him. Ask the prodigy to take some time out from writing symphonies and write a three minute gorgeous pop song like these. Play this 13 year old prodigy some breathtakingly beautiful pop songs like Walk Away Renee by The Left Banke, Traces Of Love by the Classics IV, or Love Grows Where My Rosemary Goes by Edison Lighthouse. ![]() I always find reports like these a little frustrating and false writing a boring symphony that no one outside of a very small audience will hear is not the true test of real musical talent. He could play the piano at 3, attended Julliard at 11, and at 13, has already written 5 symphonies. "I'm having a good time wherever I go.On 60 Minutes last night a 13 year old musical child prodigy was profiled. But I'm making up for it now," she says with a wide smile. But she took time to chronicle his horrific abuse in her autobiography Forbidden Childhood. "And that was what I did eventually, but I was 19 when I did it."Īfter Slenczynska's father died in 1951, her career flourished without him, as she made well-received recordings for the Decca label beginning in 1956. "I dreamed of running away from home," she recalls. "My only thought was to please my father and escape the magic stick." That "magic stick" was an 18-inch wooden shovel handle that Slenczynska's father used to beat her. "I wasn't allowed to think of myself," Slenczynska says. Slenczynska absorbed much from the great European pianists but her most consequential teacher was her father, a failed musician hell-bent on making a star out of his daughter even at the cost of her childhood. At 97, she can still make Chopin's chords shake with thunder. "The most important thing I learned was how to make the music carry a long, musical line," she says, moving over to the piano to demonstrate how to measure out those lines in terms of the climax points in Chopin's dramatic Ballade No. But that's not the only advice Slenczynska picked up from the famed Russian.
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