Stories of Lang Lang’s past are well known : how the family was separated when he was nine, with father and son relocating to Beijing, living in slums, while he pursued piano studies at the Conservatory, with mother at home making a living to support the family how one teacher, nick-named Professor Angry, “fired” Lang Lang for lack of talent, and his obsessed and distraught father urged him to kill himself how in retaliation, he almost broke his hands in a temper tantrum. Their coaching and influence have definitely “gentrified” his playing.
He is lucky to receive generous mentorship from such venerable musicians. It appeared that the conductor was able to contain Lang Lang’s habitual indulgence, resulting in interpretations that are stylistically commendable. Indeed, there are signs that he is maturing, as evident in his recent collaboration with Christoph Eschenbach at the Kennedy Centre in a recital consisting of Mozart’s Sonata in D for Two Pianos ( K448 ), Schubert’s Fantasie in F minor ( D940 ), and Debussy’s Petite Suite.
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Blessed with abundant facilities, willful confidence and free imagination, he has developed a unique personal style, though such style often supersedes substance. He instantly captured the essence of the music, and instinctively spoke his partner’s musical language. Equally impressive was his duet rendition of Ravel’s Mother Goose Suite with Martha Argerich. Both teacher and student were exemplary in each of their roles. I highly recommend the videos of his master classes with Daniel Barenboim on the Beethoven Sonatas. Above all, he is a keen learner, humble in attitude, bright to comprehend, and quick to replicate – every teacher’s dream student.Īt interviews, Lang Lang often speaks of master musicians he is eager to learn from, through mentoring or collaboration, such as Martha Argerich and Cecilia Bartoli.
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I have great admiration for his charisma, as he emphatically commands my full attention, even when I am totally tortured by his playing.
At age 13, he came to the US to study under the tutelage of Gary Graffman at the Curtis Institute, where he was equipped with a flawless technique, remarkable fluency, unharnessed expressiveness in the Western genre, and unsurpassed virtuosity in the Russian tradition of Horowitz. Zhu, assigned him a Bach piece to study and memorize every week, and taught him solid fundamentals on which to build his technique and musicianship. Is Lang Lang a genuine musical genius, a charming manipulator of the masses, or simply a lucky fellow who exploded onto the classical music scene as a Chinese boy wonder at the right place at the right time? He is unquestionably an enormous talent, well trained from a young age by superb teachers in China. Lang Lang, to me, is the greatest disaster that bombarded the sphere of classical music to date! Just to be fair, I decided to verify all the above intuitive opinions with more in-depth research, in hope of finding evidence that may convince me to think otherwise. If that is true I would be curious why that was the case.ĭespite all his accolades, I still cannot tolerate the way Lang Lang performs ( even with my eyes closed ), nor can I appreciate the idea that he is hero to an estimated 50 million piano students in China, who put him on a pedestal to revere, not to mention the 100 million accompanying parents who pressure their children – those budding pianists – to emulate his playing and duplicate his success. Though it was indeed his privilege to perform with these prestigious orchestras, I would have been uneasy with the fact that they had not hired any Chinese pianists historically. No doubt, most of the world disagrees with me, as he is the most recognized pre-eminent concert pianist out there, the quintessential rock star of the classical world, and the ultimate box-office wonder! His fame eclipsed most classical musicians he performed to sold out concert halls in every major city around the world and according to his official website, he was “the first Chinese pianist to be engaged by the Vienna Philharmonic, Berlin Philharmonic and the New York Philharmonic orchestras”.
As a matter of fact, I strongly dislike his public image, his musical taste, what he has to say with his music, and the portrayal of his persona through music. First of all, I have to declare that I am definitively not a fan of Lang Lang.
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