From prodigy to master
Midori made her professional debut at 11. Twenty years later, she says she has finally faced down the legacy of that little girl.
Midori's fingers race firmly up and down the neck of her violin; her slight frame whipsaws with every phrase. Her face shines with sweat, but she is calm and intently focused. The violinist dispatches the devilishly detailed Barber violin concerto with a fierce flourish and then takes a tiny bow.Skip to next paragraph
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There is no applause. The vast Dorothy Chandler Pavilion is empty. This is, after all, a rehearsal. That fact, however, doesn't alter the intensity with which Midori plays.
As she says later in her dressing room, there is always something new to hear or learn in a piece of music, paying patrons or not. Applause aside, her playing evoked quite a response, as the stunned looks on the faces of rows of Los Angeles Philharmonic veterans testify. "She ranks with the greatest of all time," says first violinist Tamara Chernyak, as she leaves the rehearsal stage.
"Very few can play like that," says the Russian musician. "She plays every note like a diamond and at twice the speed."
Observing Midori through the various phases of her two-week Los Angeles residency offers a nicely rounded picture of the artist the former wunderkind has become.
When she was 11 years old, violin great Isaac Stern dubbed her the greatest child prodigy he'd ever seen. Legendary violin teacher Dorothy DeLay trotted her out for journalists as a musical phenomenon. New York Philharmonic conductor Zubin Mehta introduced her to the world at the orchestra's 1982 New Year's Eve concert when she was a preteen wearing Mary Janes. A new international star was born.
But as she enters her 20th anniversary tour, Midori has finally, and with great mental effort, faced down the legacy of that little girl and become in her words, her own person.
"Now," she says with a look of conviction, "I do what I want to do, rather than what people tell me to do, which for many years was to play and remain silent."
She is, she adds, with a slight smile and firm nod of her head, "not quiet anymore."
The L.A. residency is a good example of the new Midori in action. Originally set up as a two-week stay with two performances and visits to local schools, it blossomed into a series of master classes; community partnerships; joint performances with local, young musicians; and inspirational talks with local educators. "She helped expand our vision of what was possible," says Los Angeles Philharmonic managing director, Deborah Borda.
Her foundation is another demonstration of her foresight. The 10-year-old organization, Midori & Friends, began by offering concerts for the schools but it has matured into a well-oiled educational organization that brings teachers and curriculum into New York City public schools, reaching some 100,000 children annually. "My passion lies in the direction of children and education," says Midori.
This vision was partially born out of her early experiences of going to schools as a guest artist. "You just get dropped in at 11 a.m. for a 45-minute performance," says Midori's manager, Byron Gustafson. "You walk onstage, maybe something magical happens, and you leave, with no follow-up," he says. "Midori became very worried that this was not a healthy approach," either for local institutions or for the use of her time.
Midori's own childhood has played perhaps the most profound role in shaping her conviction that music should help people have a more fully rounded life.
In many ways, she says, she has spent her adult life pushing to create the normalcy she missed as an international child star. Her image as a prodigy was carefully cultivated by those around her. "They would tell me things like, 'You have to say you like classical music, you never listen to anything else.' "
When Midori decided to pursue an undergraduate degree in psychology, she says her family and friends discouraged her. "They said, 'You're a big star, why do you need to do that?' "