In the best child prodigy tradition, Alma Deutscher appears on “Google Zeitgeist”.

She plays violin and piano and sings.

Everything in dresses and shoes with bows and pigtails.

In the Mendelssohn salon, two hundred years ago, she would hardly have been noticed as out of date.

She tells the presenter about her opera "Cinderella", how she rewrote Cinderella as a composer and the prince as a poet and how instead of the glass slippers it is now a melody that brings the two together.

Her eyes sparkle with enthusiasm and curiosity.

She speaks as if she wants to say more than her speaking speed allows.

So she is in the spotlight, exposed to looks and expectations.

Expectations of the family, the viewers and yourself. The comment columns under your YouTube videos also assume great things:

A few years ago, now seventeen years old, she moved from England to Austria with her family.

Since then she has worked in Vienna and Salzburg.

She has the same fixed points as Mozart, the prototype of every child prodigy.

She doesn't want to be compared to him.

Mozart already existed, Alma not yet.

She has been composing since she was four years old.

She doesn't know what it's like not to play music and shape it into pieces.

As if shaped from another dimension, these magic creatures play with ease where others fail despite their best efforts.

They understand the music intuitively, they are precocious and learn faster.

In addition, giftedness often goes hand in hand with increased sensitivity.

They seem like "old souls" who seem to have lived longer than their date of birth suggests: from Mozart to Mendelssohn to Menuhin to Alma Deutscher and the Georgian composer Tsotne Zedginidze, the list is long, and the next generation is already there ready.

Then as now: "One is born a genius, made into a child prodigy."

Because miracles are worth reporting, TV stations and journalists are also flocking to Laetitia Hahn.

She started school at the age of four.

Like many gifted students, the school material did not challenge them.

Ballet, taekwondo, languages, piano and violin should help - the daily calorie requirement of spiritual nourishment.

She absorbed the new content like a sponge.

In science, the term "mad curiosity" has been found for this.

In addition to precocity, it is another indicator of giftedness.

School is dull for child prodigies

She took sick leave to escape the tedium of school and, above all, to practice her instruments.

Also: TV appearances, interviews, reading, studying, homework, family - "Being a child prodigy is a 24-hour job," she says, and you have to work to maintain this status and nurture the talent until it matures into a skill : Ten percent talent and ninety percent work, she says.

A diligent normal talent can get ahead than a gifted one who does not use his talent.

For every aspiring musician, there is a triad of talent, diligence and perseverance.

This is no different for the gifted.

Musically gifted people are urged to meet their need for music.

Their skills empower them to help shape the music they love, and the immediate impact on the outcome spurs them on to excel at a certain level.

The music is designed as a world that “belongs only to oneself, but which one can pass on to others”, as Laetitia Hahn puts it.

The limelight is not enough.

They want to be taken seriously as artists.

But what does your artistic contribution look like?

Not only Alma Deutscher's appearance but also her compositions have something imitative about them.

Her "Sirenenwalzer", for example, creates a sonic image of congested streets and honking rush-hour traffic, so close are her sound recreations to everyday experiences.

But because her play begins so obliquely, Deutscher addressed introductory words to her audience at the premiere in Carnegie Hall so that they would not get a "shock".

She also scoffed at the idea that 21st-century music should reflect the ugliness of modernity.

However, she does not want her music to be artificially exposed to a norm.

In her acceptance speech for the European Culture Prize, she quickly turns this into a metaphor for a Europe in which not only dissonances are possible.

So she turns the ugly sounds into beautiful waltzes as if they were frogs,

who become princes through kisses.

She hopes that one day she will be allowed to write beautiful music that sounds so much like the musical care of a safe childhood.