Reynaldo Ekaputra Satria

202312752

M5RP1 (Thesis)

Dr Vee Stewart/Dr Mark Oliveiro

RP 1 Thesis

Due 4/6/2023
Young adult starters and success in classical piano:
Problems and limitations in their journey to be a
professional pianist and how to overcome them

INTRODUCTION

Professional classical concert pianists are commonly known to start piano very early in life.
Yet, there are those who discover a desire for becoming a professional concert pianist in their
late teens or early 20s. This research therefore seeks to ask whether it is too late and what
qualities must exist to find professional success as a young adult (specifically aged 17-25). In
doing so, it will also identify possible problems and limitations. To achieve this, it will study
the career pathway of two case studies with the view to extend the study in later stages of the
master program to include primary data such as interviews of available and suitable candidates.
Professional success in this research is limited to classical concert pianists who has performed
in many recitals and is internationally renowned. The findings of this research aim to give
realistic information to young adults interested in this career path. It aims to understand unique
problems and solutions specifically faced by young adult starters. Finally, alternative paths for
young adult starters will also be suggested.

LITERATURE REVIEW

Learning music in itself has many benefits. It could lead to better performance in daily life
activities as in order to develop well with a musical instrument, it requires a high level of
sustained dedication, discipline and patience. They are needed in order to continuously learn
new and more difficult material (Bugos et al., 2007). For kids, learning music has benefits such
as enhanced language capabilities; improved memory; strengthened hand-eye coordination;
powerful study habits; teamwork; and mental processing and problem solving skills, that are
essential tools to have for their future (Silverstone, 2018). For older adults, learning or being
involved in music has physical, psychological, social benefits, and an overall increase in quality
of life (Lehmberg & Fung, 2010).
There are clear benefits in starting to learn music at an early age. Early training has advantages
to shaping an individual’s behavior. There are extensive changes across brain areas such as the
cerebral cortex and cerebellum (Bailey et al., 2013; Watanabe et al., 2007 Baer et al.,
2015, Meyer et al., 2011; Skoe and Kraus, 2013, Vaquero et al., 2016). There is evidence that
the cerebellum is involved in motor learning and cognitive function in humans. The research
adds to demonstrates that structural and functional differences between the brains of musicians
and non-musicians positively correlate with early commencement of musical training
(Watanabe, Lemieux, Penhune, 2006). Previous researches suggests a sensitive period in piano
training in which it has a very high influence on the brain, and thus development in piano skills
(Penhune et al., 2005). A critical/sensitive period can be defined as a developmental window
during which specific experience has a greater effect than at other times (Trainor, 2005). There
is evidence for a possible sensitive period for musical training which states that the anterior
corpus callosum (CC) was larger in musicians than non-musicians, the difference was greater
for those who began training early before 7 years old (Schlaug et al., 1995). An article written
by White, Hutka, Williams & Moreno (2013), states that past studies demonstrate that as
compared to training that begins later in life, early music training is related to enhanced motor
processing and representational plasticity (e.g., Elbert et al., 1995; Amunts et al., 1997), greater
bimanual motor synchronization (e.g., Schlaug et al., 1995a), and sensorimotor integration
(e.g., Watanabe et al., 2007; Steele et al., 2013), suggesting that sensitive periods also may
exist in the domain of music acquisition. The research of Watanabe (2007), Bailey and Penhune
(2012) also shows that early trained musicians outperforms late-trained musicians on auditory
and visual sensorimotor synchronization tasks, even when the years of training and experience
are equally matched. F.T van Vugt et al (2021), found that there is a possibility that it is easier
to learn skills during sensitive periods because we recruit brain networks that are no longer
implicated later in life. This clearly show evidence of benefits of starting as children in learning
music.

The current research aims to look into the problems and limitations of the young adult late
starter in order to measure their capacity to be a concert pianist. The following section therefore
highlights literature related to the problems faced by adult learners in general. The main
challenges that adult learners face are those of motor-cognition separation, frustration at
uncooperative fingers, and mindset factors beyond those of motivation (Wristen 2006;
Orlofsky & Smith 1997; Uszler 2000; Taylor & Hallam 2008; Maris 2000). Uszler (2000) (p.
60) recognizes the relationship between psychological struggles and motor challenges, and says
that that self-consciousness and unrealistic expectations of perfection and time frames for
competence “impede progress in learning to attend to what the body reports.” (p. 60). In other
words, many young adults want to rush the process of learning music, which in turn hinders
their progress. Many young adults also have responsibilities, that are not present when they
were kids. This hinders their time available to practice. Whereas sustained long-term practice
is paramount to the mastery of an instrument (Herholz and Zatorre, 2012; Wan and
Schlaug, 2010; Münte et al., 2002).

However, there are also research that sheds light on the situation of the late starter. The findings
below may not necessarily be young adults, but adults in general, and older adults. Meyers
(2003) stated that while older adults may not be as cognitively flexible as young children, older
adults exhibit higher levels of maturity, self-motivation, abstract thinking skills, and critical
thinking processes than children. Myers (1986) did a study and found no evidence to support
stereotypical assumptions that achievement declines with increasing chronological age. Cohen
(1992) recognized that many capacities continue to develop regardless of age and that there are
some positive points that comes with age. Among these strengths include vocabulary,
specialized skills, and psychodynamic growth, which was related to “personal insight, a
component of wisdom” (Cohen, 1992, p. 901). Cohen and his colleagues also found many
benefits of arts activities in senior adults (Cohen, 2000, 2006a; Cohen, Perlstein, Chapline,
Kelly, Firth, & Simmens, 2006). A quote from a book titled ‘Fundamentals of piano practice’
written by Chang (2007), states that:
“Some individuals in the age group 20-35, still have a chance of becoming concert level
pianists. They can use the experience they learned in life to acquire piano skills more
efficiently than younger students. Those who decide to learn piano in this age group
generally have greater motivation and a clearer understanding of what they want. But
they will have to work very hard, because progress will come only after a sufficient
amount of work.” This shows that certain strengths, values, attitudes, abilities, or
benefits may emerge as age increases, through maturity.” (Chang, 2007, pg 189-190).

Below are two successful late starters who made it at concert pianist level. This research will
focus on the case studies for these two pianists.

- Lucas Debargue : Loosely begins piano at age 11, but begin formal piano study at age
20.
 - Albert Frantz : Begins piano at 17 years old, after a childhood teacher proclaimed he
won’t be able to play.

METHODOLOGY

In order to investigate the young adult starter, two case studies will be used as its methodology.
Saunders (2005) defined a case study as a detailed, in-depth exploration of one setting, subject,
set of documents, or events. She further states that the end result or research product of case
study inquiry is heuristic, meaning that it leads the reader to an understanding of the case being
explored and concluded saying that “the case study method enables vivid and vibrant
description of a phenomenon from multiple viewpoints.” (Saunders, 2005, p.40). For this
research, two case studies will be analyzed. These cases are of young adult starter pianists and
this research aims to see what contributed to their success from their challenges, realizations,
insights, talents, and life story. This research will aim to investigate what contributed to their
success and will include an analysis of video interviews, published interviews, literature,
biography, and any academic/peer-reviewed journals. The aim of this is to identify practices
that led to the case’s success as a young adult starter.

During the process of each case study, five categories emerged. These are challenges,
realizations, evidence of late start, self-insights and key factors, and positive comments for
the pianist. The discussion section offer data and insights around each of these categories. For
the second case of Albert Frantz, a video of his TEDxTalk (Frantz, 2010; TED, 2010) is used
as primary source material. Sections of the video were transcribed and direct quotes are used
in the discussion to support my points. Page markers are not used in this instance as the
words are taken directly from the video.

Discussions of Findings - Case study of Lucas Debargue:

Lucas Debargue was born in France, Paris in 1990 into a non-musical family. In 1999 he settled
in Compiègne, about 90 kilometers north of Paris and began his initial piano studies at the local
music school at the age of eleven. Debargue stopped having lessons at age of 15, having found
no musical mentor to help him share his passion with others and having become frustrated at
playing solely for himself. He began to work toward his Baccalaureate at a local college and
joined a rock band. At seventeen he moved to the capital to study a degree in Arts and Literature
at Paris-Diderot University. During this time he stopped playing the piano altogether for three
years. In 2010 he was asked to play at the Fête de la Musique festival in Compiègne, and this
marked his return to the keyboard. Shortly after this he was put in touch with his current mentor
and guide, the celebrated Russian professor Rena Shereshevskaya who is based at both the
Rueil-Malmaison Conservatory and the École Normale de Musique de Paris ‘Alfred Cortot’.
Seeing in Debargue a future great interpreter, Professor Shereshevskaya admitted him into her
class at the Alfred Cortot School to prepare him for grand international competitions. Lucas
remained an active concert pianist until now and has successfully released many albums and
worked with many professional orchestras.

Challenges (Non-conventional beginnings and worries)

In an interview with Parlons Piano, Lucas stated that at age 11, he was rushing on the advanced
repertoire like the Hungarian Rhapsodies by Liszt, which he himself noted that he couldn’t
play, but he wanted something out of it. Yet he stated that it was the happiest time of his life
between ages 11 to 15 as he was “completely immersed in music and nothing else existed.”
(Debargue, as cited in Parlons Piano, 2015). This highlights Lucas’s passion in music that as a
young boy he had already explored a high level repertoire. An important factor to consider is
the fact that Lucas did start piano lessons as an 11 year old child. However, he started his
professional training only as a young adult at age 20.

In an interview with theartsdesk, the interviewer Ismene Brown asks about how comfortable
he is with his technique and wether he worries that it will let him down in his competition. He
stated the following in his own words, reflecting on the experience of others and agreeing that
“of course. It is strange for me to be so far in the competition when I am less solid and
experienced than the other contestants, but I am honest, I do my best always.” (Debargue, as
cited in theartsdesk, 2015, n.p). This highlights a challenge that Lucas faced as a young adult
starter. He acknowledged that his lack of technical abilities was a concern to him.
Realizations (need for training)

In an interview with Parlons Piano, the interviewer Bertrand Boissard commented on his strong
ability and technicality which he gained only in a span of a few years, and stated that Lucas
has amazing adaptability. Lucas then replied:
“Obviously I will have to strengthen myself and solidify myself. In recent years, there
have been times when I have been doing exclusively technical exercises every day for
hours. I think I have good timing ability. Very quickly, I was able to play different
things with the right hand and the left hand. Besides that, I was unable to do a regular
scale.” (Debargue, as cited in Parlons Piano, 2015).
This comment shows that Lucas admitted he still has to work hard on his technical work.
However, he also noted that he does catch on rather quickly. This might be a factor that
contributed to his success as a young adult starter.

In an interview with theartdesk.com, Ismene Brown, Lucas stated the following in his own
words as he was asked what methods he used to get his piano technique right.
“OK, that’s the point where it is difficult to answer, because I think sincerely and deeply
that it’s impossible to do anything without a serious technique, without practicing
octaves and scales. Me, I did this only for about six months, three or four hours each
day, scales and arpeggios, three years ago. I would be wrong to say that this is really a
way to do it. This was my way. I had to find some kind of other way. I cannot say to
other people that it’s good - I have to say to say that it’s necessary, you need to learn
technique as soon as possible. For me I came very late into professional piano
practicing, so it was difficult to do, I had to find some other way to do it.” (Debargue,
as cited in theartsdesk, 2015).
This is a very important point which shows that Lucas realizes that his technique is not as
developed because he started late. Therefore in order to develop his technique he had to spend
plenty of time each day on it. To relate to the topic at hand, the young adult starter should be
willing to invest as much time and energy into the development of their technique.
Evidence of starting late

Lucas Debargue, while not exactly having started the piano for the first time late, started his
formal piano training at age 20 (Oron, 2017, para. 2). In his own words, he recited his story as
the following:
“I landed with Rena Shereshevskaia at the Rueil-Malmaison Conservatory - I now work
with her at the Ecole Normale de Musique in Paris - when I was twenty.” Furthermore,
when the interviewer asks wether he did stop playing for three years during his
university studies, this was his response. “It's absolutely true. The only occasion I
touched a piano was during parties with friends or I improvised, it was very rare. I
completely stopped playing the piano at sixteen, my life has changed radically. I
practiced music in another form, I played bass (Debargue, as cited in Parlons Piano,
2015).

In an interview with theartdesk.com, Lucas said the following when asked wether it is true that
he stopped playing for a while.
“Yes, I was autodidact from 10 years old to 15, then I stopped completely the piano
from 15 to 20. To study literature, but first to get some friends, because I had no
friends.” He further stated the following:
“For me it was impossible, because I was 20, and not seriously involved in life. I had
started studies, but not seriously - and I felt like a poet, a bit, because I read so many
books and believed in all that. I was at a distance from life - I wait, anything can happen,
I can die, I have no money, nothing to do. But I tried to meet a teacher, and I met a
monsieur who was very nice, gentle with me, very human - he helped me feel good,
and he told me about Rena Shereshevskaya, my teacher now, and he said to me, “You
have two ways now. If you want to be safe and earn money as a teacher you can go to
that school, and if you are crazy and want to make some kind of sacrifice, you can meet
Rena Shereshevskaya, because she prepares people for competitions.” (Debargue, as
cited in theartsdesk, 2015).

It can be seen from the statements above that Lucas is indeed a young adult starter who started
formal training at 20 years old, even though he had some auto-didact practice during his
childhood days. Lucas also took significant risks contributing to his current success and also
had a teacher guiding him. It can be concluded from this that being able to take big risks and
have a mentor are factors that contribute to his success as young adult starter.

Self-Insight and Key factors

It is known that Lucas has a remarkable ability to learn songs by ear, even a piece at the level
of Prokofiev’s 3rd sonata. He himself made a remark that it might be his special gift. The
interviewer confirmed whether or not Lucas learned Prokofiev’s 3rd sonata by ear in which he
confirmed the fact.
“Yes. There's nothing great about it, it's just the ability to focus and be patient. A work
like Rachmaninoff's 3rd concerto, if you take it note by note, it's impossible, there are
fifteen thousand notes.” (Debargue, 2015) is a comment made, yet it is a contrastingly
special skill to be able to learn huge classical repertoires by ear. “How can you learn
fifteen thousand different pieces of information? You have to have a capacity for
synthesis, the music has to be about an image, about an affect.” (Debargue, 2015).
This suggested a very important key factor in Lucas’s mindset for learning repertoires. The
keyword is ‘capacity for synthesis’. This suggested that memorizing huge repertoires is easier
if you have a direction, structure, or an image in mind, instead of taking it note by note. This
could be a beneficial guide to other young adult starters in classical piano. He continued with
the following:
“I learn everything by ear. I learn by ear while listening, I learn by ear with the score,
without the piano, internally. My priority is to create some kind of momentum, an
opening, a state that allows you to play from start to finish. A continuity of soul. As if
the music became a kind of genetic program, that it became natural, almost
physiological, as an extension of the body. It's something I've been looking for since I
had my first contact with the piano. It's completely natural to me. Maybe that's what's
special about me.” (Debargue, as cited in Parlons Piano, 2015).
This comment of his pointed very strongly toward his special talent, which is a very unique
capability to learn songs by ear and his capability and mindset in performing the song. It is
supported by his comment saying that it all seemed to come ‘naturally’ to him, both
memorizing, and performance of his music. Therefore, for Lucas’s case, it is a big factor to
consider his innate talent to learn songs by ear and his state he is able to enter when performing
as one of the major keys to his success as a concert pianist who started as a young adult.
In an interview with theartsdesk, Brown asked about what he will do about his technique, which
is less solid as compared to other contestants. Lucas stated that he consulted with one of his
best friend in France, whom he regard as a ‘technical monster’. His friend said the following:
“You know, it’s true, you have not the best technique in the world, you are weak at
some points, but you will have the time to manage that, to find a way to make you
stronger, the experience of the stage will be good for that, so it will be quick for you.”
Also Lucas added in his own words, “He told me whatever people think about my
technique, he told me that I have something like grace, I know how to catch the grace.
And he said to me that was the most important thing.” (Debargue, 2015).
This comment suggested another key factor that contributed to Lucas’s success. Despite his
lack of technique, Lucas is able to capture key moments in the music which he described here
as being able to ‘catch the grace’, which in other words it also means having a good sense of
musicality. This might be a factor that can help emerging young adult starters that despite a
lack in technique, a strong musicality can make up for it.

Positive comments for the pianist

Lucas had been invited to play solo with leading orchestras in highly prestigious venues such
as Berlin Philharmonie, Concertgebouw Amsterdam, Konzerthaus Vienna, Théâtre des
Champs Elysées and Philharmonie Paris, London’s Wigmore Hall and Royal Festival Hall, and
many more. Sony Classical has released five of his albums with music of Scarlatti, Bach,
Beethoven, Schubert, Chopin, Liszt, Ravel, Medtner and Szymanowski (Debargue, 2017).

In one of his album released by Sony Classical, titled Lucas Debargue (Bach, Beethoven,
Medtner) includes high praise for the young adult starter pianist.
“Debargue proved little short of sensational at the 2015 Tchaikovsky Competition –
one of the world’s most prestigious and demanding. Although completely unknown, he
quickly became the audience’s favourite. At the end of the second round, when he
produced dazzling performances of Medtner’s op. 5 Sonata and Ravel’s Gaspard de la
nuit, the applause lasted some fifteen minutes and ended only when, according to
legend, the lights in the hall were switched off. After the prizewinners had been
announced – Debargue came fourth – the disagreements among the jury members
became clear, Boris Berezovsky describing Debargue as a “genius”, while the normally
 harsh Dmitri Bashkirov felt that within two years Debargue would be one of the greatest
pianists in the world.” (Bertrand Boissard, n.d).

“Since Glenn Gould’s visit to Moscow and Van Cliburn’s victory at the Tchaikovsky
Competition in the heat of the Cold War, never has a foreign pianist provoked such frenzy.”
The incredible gift, artistic vision and creative freedom of Lucas Debargue was revealed by his
performances at the Tchaikovsky International Competition in Moscow in 2015 and
distinguished with the coveted Prize of the Moscow Music Critics’ Association (Bellamy, THE
HUFFINGTON POST).

The above statements showed how successful and highly praised Lucas Debargue is as a
classical concert pianist despite being a young adult starter.

Discussions of Findings - Case study of Albert Frantz:

Albert Frantz is a world-class pianist from Pennsylvania who started at the extraordinarily late
age of 17. He had a childhood teacher who told his mother to throw her money in the garbage
rather than spend it for Albert’s piano lessons (Gruber, 2016, para.1). He graduated from Penn
State University, won multiple competitions from local, state, to nationals and became the first
pianist to be awarded a Fullbright Fellowship to Vienna in nearly a decade. He records for the
Gramola label and is a Bösendorfer Artist. Albert is also a passionate amateur Ironman
triathlete and is among the most frequent contributors to the TEDx platform. He also served as
Head of Mission, Austria for the global think tank Diplomatic Council and continues to
advocate for issues of children's rights around the world. As a keynote speaker and activist,
Albert has spoken at venues ranging from Vienna's City Hall to the United Nations in Geneva.
Key-notes (Frantz, n.d) is an online piano course designed by Albert Frantz himself in which
he provides lessons and methods for adult beginners.

Challenges (Resilience and Persistence)

During his childhood, as Albert moved to a new town where there is no major city in sight, his
mother signed him up for a piano lesson against his will. And after some time, that teacher told
his mother to throw her money every week and throw in the garbage rather than spend it on
piano lessons for Albert. Afterwards, he never touched the piano again until he was 17 years
old. At 17 years old, Albert fell in love deeply with classical music. He signed up for lessons
with a local piano teacher who turned out to be a highly trained opera singer, and not a pianist.
However, she immediately recognized Albert’s talent (Frantz, 2010; TED, 2010).

At 17, after he signed up for lessons with a new piano teacher, he wanted to play ‘Rhapsody in
Blue’ and bought the music sheet for it. The teacher then gave him a speech telling him it was
a repertoire that was too hard, and that it was a serious concert piece for professional pianists.
In his own words, “Undeterred, courtesy of my musical ignorance, I proceeded to learn the
entire Rhapsody in Blue, mostly by ear, and some months later I gave my first onstage
performance of the Rhapsody in Blue to a standing ovation.” (Frantz, 2010). This highlights
Albert’s passion in classical piano, that he wants to learn something so difficult at a very early
age.

In his TEDxPannonia (2010) talk Albert elaborated on his injuries which deterred him from
years of practice. In his own words, he recalled the incident as the following:
“A few years ago while running … I got hit smack in the face by a speeding tram in
Vienna … thankfully [I] walked away with only a broken left wrist.”
After elaborating more on the incident, he continued:
“I scoured the piano literature for music for the right hand alone. I found that there is
only one piece by Chopin’s neighbor Alkan who’s music is an obsession of mine. In
need of more music I turned to one of Paul Wittgenstein’s commissioned works,
Maurice Ravel’s Concerto for the left hand, which I learned with my right hand. It turns
out that it is entirely playable with the wrong hand. I discovered that the concerto is a
sort of musical palindrome. Ravel could almost just as easily have labeled it Concerto
for the right hand without changing hardly a note.”
The above quote highlights an inspirational level of resilience as a student of the piano. He
then stated the following as the insight he had gained from the experience.
“Looking both ways made me in finding a new approach to an old problem. Turning it
inside out, seeing it in a new light, as a new kind of challenge.” (Frantz, 2010).
In other words, the accident he faced, brought him to look at things from a different perspective.
This ability gives him deeper insight and encourages him to explore more possibilities to solve
problems. This is a very important factor that a young adult starter can utilize to overcome
shortcomings.
There was another injury in Albert Frantz’s life that is so severe that he thought that he might
not be able to play the piano again, and it was when he was diagnosed with adolescent
idiopathic scoliosis. In his own words:
“I would end up with a long thirty degree curve extending from my hips to my shoulders
that would cause unbearable pain around the clock. Performing was out of the question,
since every note of practice was a dagger in my spine. I went from one doctor to the
next and willingly spent my last penny on any therapy that promise to relieve the
torture. When we’re desperate, we’re at our most vulnerable and we’ll do anything.”
(Frantz, 2010).

However, he continued on a positive note:

“For me, this meant finding the determination and the commitment to do whatever it
takes. Sometimes that’s all we need. If it is our last resource, we will find a way. I
discovered, that you can have total uncertainty in the external world, but if in your
internal world, you have total certainty, you will find a way.” (Frantz, 2010).
Albert had always managed to have a positive outlook on life and his situation despite it being
very difficult. This is a crucial takeaway that the young adult starter could use.

Following up on Albert’s wrist injury, DREAMA TV, Gruber, said the following:
“For Albert, it turned out positively in the end, as the injury led him to play pieces by
Charles-Valentin Alkan, a 19th-century French virtuoso and one of the only composers
to write music for the right hand alone. His music was considered unplayable for over
a century and is regarded as the most athletically challenging music ever written for the
piano. Albert took it as a challenge, which led to his critically acclaimed debut CD
dedicated to Alkan’s music...[Additionally] his back pain led him to pursue an
IRONMAN triathlon. After a change of perspective, Albert found himself training for
one of the most challenging sports competitions in the world” (Gruber, 2016).
This reinforces that Albert does not let his setbacks and challenges bring him down, but rather
he still challenged himself to find a solution no matter his situation. However, what is
spectacular is his ability to change his perspective in order to adapt to his situations and his
strong will to overcome his many and mostly threatening problems to his life and career. This
can be a motivator for the young adult starter, to constantly adapt, look through a different
perspective, and most of all, to keep persisting and not to give up.
Realizations (Resistance from Family)

In an interview with Gruber, when asked what effort was needed for his current achievement
thus far, Albert replied the following:
“An enormous effort. I wish it hadn’t been quite so much. Actually my parents were
not exactly happy. At that time, their idea for me was to go to university and study
something that would get me the best job. You’re supposed to do normal things, like
starting a family, getting your house in the suburbs with a white picket fence, the family
dog, etc. I didn’t go for that life.” (Frantz, as cited in DREAMA TV, 2016).
Here Albert confirmed that it was a huge effort for him to chase his dreams and ambitions as
he does not have support from his family as they expected other things of him.

Evidence of starting late

In an interview with Gruber, when stated that pianists at his level usually starts at 8 years and
younger, Albert replied the following:
“Even younger! Often they start at two or three these days, though four or five is very
normal. My teacher and mentor Paul Badura-Skoda started at six and he even called
that rather late.” (Frantz, 2016).
However, he continued in a more encouraging note:
“If there is one thing that I want to communicate – and I hope to do it through my own
work in my own field – I think we place limitations on ourselves. We don’t really know
our true capabilities, or we let the world place limitations on us. We let other people
and society tell us what we can’t do. What if we ask ourselves what we really care
about? What would I do ideally and how far can I go? We simply don’t know our own
potential.” (Frantz, 2016)

Frantz acknowledged that he started at a significantly older age as compared to most kids in
the competitive piano scene. However, he reinforced his statements with motivation and
positivity.
Self-Insight and Key factors

In relation to his natural talent and having a good mentor, Frantz states:
“I am happy that on the one hand I did have a natural talent, but, on the other hand, I
really attribute so much to having found great teachers. I’m absolutely not self-taught.
I was just fortunate enough to find wonderful teachers who recognized that I had talent
and took me under their wing and really helped me to maximize that.” (Frantz, 2016).
The comment highlights a similarity to Lucas Debargue’s case, as Albert Frantz natural talent
and guidance from his mentors are contributors leading to his success as a young adult starter.

In an interview with Diatonic, Max Wittrock, when asked wether he has any self-doubts as a
young adult starter, he replied in his own words. “Oh, I have self-doubt every day of my life
(laughs). I didn't know it was impossible. I got so obsessed with classical music and the piano.
And I just read, I devoured everything.” (Frantz, as cited in Diatonic, n.d). He carried on to
explain how he bought many piano CD’s and familiarizes with ‘pretty much the entire standard
piano literature’. The interviewer proceeds to asks wether or not he has accomplished his goal
as a professional. He replied the following:
“I would never think that I've ever mastered something. Because it's always an ongoing
challenge. You could always go deeper in a piece, you could always try to do more,
you could always try to do it better. There's just a perpetual challenge, and the music
literature is inexhaustible. There's so much more great music that's been written for the
instrument than any one person could possibly learn in a lifetime. There's always more
to learn and that’s one of the things that I love about it.” (Frantz, as cited in Diatonic,
n.d).
This shows that Albert himself recognizes that mastery in music is an ongoing process. It is an
important mindset that a young adult starter can adopt and utilize.

Positive comments for the pianist

Frantz says the highest compliments come from critics who say he isn’t showing off his
technique. “I admire works and performances in which the technique disappears in the
message,” he says. “That’s what it’s all about.” (Frantz as cited in Toastmaster, 2016).
"A super virtuoso... an excellent musician who can paint the music of Godowsky's "Lab
Experiments" on the etudes of Chopin. This pianist will go far.” (Music and Vision).

Conclusion

The research highlights several strategies and takeaways that both Albert and Lucas has.

Lucas is one case of an unconventional, young adult starter in classical piano who made a name
for himself and found massive success as a concert pianist despite his late professional start
and complicated beginnings. Lucas’s time investment into the development of his piano
technique, his positive mental attitude and courage to take big risks are major factors that
contributed to his success. These are key takeaways that a young adult starter should have as
they embark on their journey.

However, his innate special talent in memorizing and sense of musicality in performing are
definitely also huge contributing factors. Also, an objective highlight from Lucas’s case is the
importance to have a ‘capacity for synthesis’ during preparations for repertoires which is to
memorize a song through having a clear mental structure, image, and not specifically
memorizing note by note. Lastly, having a good sense of musicality can make up for a lack of
technique and deliver a solid performance, even though technique itself it still very important
and should be honed as much.

Albert Frantz is a case of a successful young adult starter who started piano training at a late
age of 17. Frantz strong motivation, positive mindset, and his willingness to overcome
challenges in life are major contributions to his success in classical piano as a young adult
starter. The key factor that shines in Albert Frantz’s case is his positivity and willpower. The
setbacks that he faced are potentially career and life threatening, yet he has managed to use his
setbacks to catalyze new methods and perspectives that helped him towards achieving his
goals. Albert Frantz maintain a very positive outlook towards life as reflected in his TED talks
and interviews.

However, Frantz is also gifted with natural talent, as he himself noted, and has a strong capacity
to learn by ear, which was the case with one of his early repertoire ‘Rhapsody in Blue’.
Both Albert Frantz and Lucas Debargue primarily share a positive outlook on their situations
as young adult starters and are willing to face the challenges such as the need to invest more
time in their technical work. However, they both also share similar natural intrinsic musical
talent and the capacity to learn songs by ear. These factors all contributed to their success as a
classical concert pianist, as a young adult starter.
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