Hi folks!
Just curious. What do you all think of these 2 places? Guildhall's Junior and RAM's Primary Academy? We haven't bag anything so I may be counting our chickens before they are hatched! The auditions are quite a way yet but I just want to do a tiny bit of homework, that's all. Ultimately, of course, it boils down to the child's unique personality/temperament plus finances but what do people perceive as the pros and cons of either?

Thanks!

Tess

Well, as far as actual college goes, RAM has a better reputation. On the other hand, there seems to be a trend of Juniors not going to college where they were at a Jr Dept. Maybe worth looking at the RCM?

Yes, Bo, contrary to what someone who had previously asked about comment sheets seems to think, Juniors who have spent all their years in junior depts tend to go abroad/elsewhere instead, or so I heard, and seldom head to the same senior college in general when they turn 18. Don't know why.

My daughter's teacher teaches at RCM but he wasn't picked for this reason. He was already known to be particularly good with children, teaches also as a peri in the next borough and came very strongly rec by a local pianist. But we have been to RCM twice and no doubt, RCM is an excellent place. She will audition there, Bo, but I have some reservation that she'll fit in there. It's just my two-cents-worth opinion or maybe instinct that RAM and Guildhall are more child-sensitive in their approach? For example, when I asked several parents why they chose RCM, they gave me virtually identical answers - Oh, RCM is much better! They are the BEST for strings! (so what?! ) It's a lot more competitive than RAM. They let your kids learn from/play with and compete against older kids whereas in RAM, the little ones are specially cocooned off!

It's does not seem to be the "right" kind of place/idea for her? Don't get me wrong, VN is VERY competitive and a TERRIBLE perfectionist! When Gyorgy Pauk told a Chethams's 14-yr old at an RAM masterclass, not to vary his bow speed but to vary his vibrato, instead, to lend character to his piece, Pauk was asked, why not? His answer was - "Varying your vibrato is much, much easier than varying your bow speed. Why, they are only little kids at 14 or 17. We should not expect too much of little kids, you know!" He laughed aloud. VN's response? She said very, very softly but seriously, "I like Pauk, mum. He's funny. But I don't think he is right. In violin, everyone should try to be perfect. Even little kids." Then she shrieked - But THEY are not kids! I had to laugh.

Basically, if one puts a VERY young child who is innately both a perfectionist and naturally competitive in a highly competitive environment, peer pressure will eventually give the parents a tough job to prevent that child developing what tennis coaches call - the killer instinct. This instinct will kill her love of and passion for her violin when she discovers that there are a LOT of people out there in the big world who are just as good if not better than her. Welcome to the world of the Russians / Japanese!

Nonetheless I cannot dismiss ANY place if it happens to fit our budget AND if she can maintain her current belief that effective and helpful competition should be against a perfect STANDARD to aim for (regardless of one's age or musical experience) and NOT against individuals. She has a wonderful teacher who understands that plain truth.

The RAMPD's head comes across well with kids so it's a real shame we didn't get to meet either Alison Mears or Derek Rodgers of Guildhall. Was told by an assistant that AM is too busy and never around on Sats.

To be quite honest I think competitiveness and music have no place together. I know you have to be competitive to get anywhere in the classical music world, but I think the whole thing stinks, really. Music is ultimately about the expression of beauty - how can you do that in cut-throat mode? When you want someone else to play badly so you can shine?

Perhaps this is why classical music is currently dying on its feet - at least as far as younger audiences go (lets be honest). The young these days are far more communal and co-operative - most of them like helping each other and working together. Individual aspiration at the cost of personal relationships is de rigeur in music colleges but it doesn't exactly help you build interpersonal life-skills or encourage a truly meaningful life. How many graduates of music colleges become professional soloists? Very few. Most go on to become orchestral players/session musicians/teachers, and often feel a sense of disappointment because their dreams didn't come true.

Read about Fritz Kreisler, who in my view was the greatest violinist who ever lived. He wasn't competitive and he played for the people, with love and joy. Everybody adored him and hearing him made people want to dance - or play themselves. He inspired them, rather than making them despair and want to give up - which was the effect Heifetz often had on his listeners. Unfortunately Heifetz started a whole new trend in violin-playing, music to serve the technique, rathe technique to serve the music. There really is a crucial difference.

You're right about the killer instinct which 'will kill her love of and passion for her violin when she discovers that there are a LOT of people out there in the big world who are just as good if not better than her. Welcome to the world of the Russians / Japanese!'

Perhaps the best thing at this stage is to foster in her a genuine love of music for its own sake, and keep telling her that the best thing she can ever do with her violin is give people joy, not beat other people with 'killer' technique. And in the end it's not a killer technique that really gives people joy - it's the ability to communicate through music. For which you need a very good technique for sure, but the music must always come first.

Violinia

Perhaps the best thing at this stage is to foster in her a genuine love of music for its own sake, and keep telling her that the best thing she can ever do with her violin is give people joy, ... it's the ability to communicate through music. For which you need a very good technique for sure, but the music must always come first.




EDIT
We can't comment on Kreisler as we don't know much abt him but our favourite is Stefan Grapelli! Any comments, Violinia, on Primary Academy and/or JG?