Why is the art of music required to endure the ill-informed antics of such inarticstic imbeciles as Amy Chau? Her lust for fame as an old-fashioned stage mother of either a famous violinist (yet another mechanical Sarah Chang?) or a famouls pianist (yet another mechanical Lang Lang?) shines through what she perceives as devotion to the cultivation of the cultural sensivities of her two unfortunate daughters.
Daughter Lulu at age 7 is unable to play compound rhythms from Jacques Ibert with both coordinated hands? Leonard Bernstein couldn't conduct this at age 50! And he isn't the only musician of achievement with this-or-that shortcoming. We all have our closets with doors that are not always fully opened.
And why all this Chinese obsession unthinkingly dumped on violin and piano? What do the parents with such insistence know of violin and piano repertoire? Further, what do they know of the great body of literature for flute? For French horn? For organ? For trumpet? Usually, nothing!
For pressure-driven (NOT professionally-driven!) parents like Amy Chua their children, with few exceptions, will remain little more than mechanical sidebars to the core of classical music as it's practiced by musicians with a humanistic foundation.
Professor Chau better be socking away a hefty psychoreserve fund in preparation for the care and feeding of her two little lambs once it becomes clear to them both just how empty and ill-defined with thorough grounding their emphasis has been on so-called achievement.
Read more about this in Forbidden Childhood (N.Y., 1957) by Ruth Slenczynska