Many music instructors claim this as the reason why they do not let a student play left-handed, even if they realize the child would probably find it easier to do so. They do not want to spoil the student's potential future as a professional musician right from the start. 

​

In our opinion, this is a thinking error in several respects: 

• Firstly, playing left-handed in any ensemble is not a problem (see above) and also occurs in professional orchestras (see below).

• Secondly, the fact that left-handed orchestra members have only appeared in homeopathic doses so far is not due to the fact that applications by left-handed players are rejected by the orchestras straight away. Rather, the orchestras are hardly ever confronted with left-handed applications at the moment, precisely because so few children and young people learn to play their instrument left-handed – out of concern on the part of the teachers that they would not be allowed to play in an orchestra that way... We are going around in circles.

• Thirdly, an overwhelming proportion of children who start music lessons will not think about making a career out of it later on anyway. And of the very small number who do, only a tiny fraction will actually try out for an orchestra position at some point. There are so many other possibilities to make a living with music... And from the tiny part that comes to the audition (from the very small part that wants to make music professionally) only some get an orchestra position anyway – and some of them play left-handed.

 

It therefore makes absolutely no sense to make the playing direction of a beginner child dependent solely on presumed "prerequisites" for a hypothetical orchestra position. Rather, our goal should be to develop a solid technique, expressive tonal possibilities and a healthy posture in order to spark the joy of making music in the long term.

​

Some left-handed people do not experience problems on the conventional right-handed instrument. They feel comfortable with it and sometimes play professionally at a very high level. But for many others it is a handicap not to be able to produce and shape the sound with their strong hand. [2]

Many children cannot cope with playing against their left-handedness: They don't progress, feel uncomfortable at the instrument and give up in frustration after a more or less short time. This can always have other reasons too, of course, but a bow in their "right" hand can work wonders... ;)

To sacrifice the music-making joy of these left-handed children (who often take the bow in their left hand on their own initiative) to a false prejudice is absolutely unnecessary.

 

We should move towards letting children make music according to their lateral disposition – for more joy in playing, musical success, health and well-being for all involved.

As a result, there will be more left-handed applications for orchestra positions in the future. But who actually says that they do not have the same chances as right-handed applicants?

 

Ludwig Quandt, principal cellist of the Berlin Philharmonic, is already certain: "Our orchestra hires according to quality only. If a left-handed player comes in, plays left-handed and sweeps all the others off the court, then he or she will come into the orchestra and a solution will be found. We have no statutes that exclude left-handed players."