Pianis as vertoonkunstenaar : die Chinese virtuoos-pianis Lang Lang se populere sukses

Abstract

Dit is duidelik dat Lang Lang se populariteit, wat selfs tot buite die sfeer van klassieke musiek strek, hom ’n uitsonderlike figuur as klassieke pianis in ’n populêremusiek-gedrewe bedryf maak. Benewens talle gepubliseerde onderhoude, artikels en resensies is daar tot op hede nog geen poging aangewend om Lang Lang se omstrede uitvoeringstyl omvattend te ondersoek nie. Die doel van hierdie studie is dus om die unieke samestelling van Lang Lang as uitvoerende kunstenaar na te speur. Die data wat gebruik is, sluit onder andere resensies, koerantberigte, tydskrifartikels, transkripsies van radio-onderhoude, gepubliseerde onderhoude, gepubliseerde CV’s en outobiografieë in. Aspekte van Lang Lang se spel wat behandel word, is sy verhoogpersoonlikheid, vingervaardigheid en algemene virtuositeit, krag en uithouvermoë, gebruik van dinamiek, die invloed van sy fisieke benadering tot klavierspel op sy interpretasies, sy tempokeuse en uiteindelik sy interpretatiewe “resep”. Daarna volg ’n bespreking van Lang Lang se eie sienings aangaande interpretasie. Daar is bevind dat Lang Lang as gevolg van sy opvallende virtuose tegniek alom as ’n virtuoos en uiteindelik as ’n totale vertoonkunstenaar beskou word. ’n Algemene siening is dat Lang Lang se uitgangspunt om sy besondere beheer oor tempo en klankkleur ten beste te vertoon, die samehangende struktuur van die werke wat hy uitvoer, asook tradisionele beskouings oor stylkenmerke, ondermyn. Verder is Lang Lang se uitsprake aangaande sy benadering tot interpretasie dikwels aanvegbaar en teenstrydig. Dit is egter duidelik dat hy geensins die etiket “vertoonkunstenaar” (“showman”) berou nie. Hy steur hom ook geensins aan kritiek nie en is getrou aan homself in sy interpretasies.

It is clear that Lang Lang’s popularity, which extends itself even beyond the sphere of classical music, has made him an extraordinary figure as a classical pianist in a popularmusic- driven industry. Apart from many published interviews, articles and music reviews, there has not appeared until now an attempt at investigating extensively Lang Lang’s contentious performance style. What are the characteristics which contribute to the fact that Lang Lang’s pianism is regarded as unique? What makes him such an exceptional phenomenon? What are the specific qualities of a pianist who reaches fame so quickly? What is the essence of Lang Lang as a performing artist? And how do reviewers feel about his performances? The aim of this article is, therefore, to trace Lang Lang’s inimitable personality as a performing artist. The research design for this article can be described as a qualitative and ethnographic approach to an individual case study. More specifically, Babbie and Mouton’s “life history” technique is applied (2001:283–7). According to Babbie and Mouton (2001:283) this type of research is characterised by intensive observation of the life of the topic of study, the use of sound recordings and interviews with friends, and the scrutiny of letters and photos. The data concerning Lang Lang employed in this study include music reviews in papers and magazines, reports in daily papers, articles in magazines, transcripts of radio interviews, published interviews, published CVs and autobiographies. The “life history” technique is further characterised by an interest in the subjective reality of the individual, a focus on process and change, a perspective on the totality, and the use of this kind of research method as a historical and social tool (Babbie and Mouton 2001:283, 284). A disadvantage encountered when using the “life history” technique is that the results of an individual case study cannot easily be generalised. The strength of this type of research is, however, that the researcher can move between the biography of the individual study object and the historical or social history within which this research object finds him/herself (Babbie and Mouton 2001:283, 284). Plummer (2001:31-32) describes an “ethnographic biography” in the following manner: Many ethnographies may be seen as partly composed of the stories people tell of their lives. [...] The study gets close to their experiences – and though they are the centre of the stories, they are linked to an array of significant others reacting to them: professionals, parents, other children. Here the focus is the ethnographic study of lives, whilst broad theoretical links are made to communication and ethnomethodology. The reaction of such “significant others” – in this case the reaction of Lang Lang’s audiences and the media – can be regarded as the “social history” of his presentations with broad theoretical references to reception theory, interpretation, adherence to the text and virtuosity. Aspects of Lang Lang’s playing that are discussed are his stage personality, finger dexterity and general virtuosity, power and stamina, use of dynamics, the influence of his physical approach to piano playing on his interpretations, his choice of tempo, and eventually his interpretative “recipe” and adherence to the text. A discussion of Lang Lang’s own views on interpretation is also included. A variety of aspects which form an integral part of Lang Lang’s pianistic make-up was identified during the course of the study. It is obvious that any concert pianist would possess a virtuoso technique, but Lang Lang’s dexterity, power, endurance and ability to manipulate sound colours to their finest nuances receive extraordinary attention in the media coverage of his performances. Because of Lang Lang’s exceptional virtuoso technique he is often referred to in reviews as a sportsman. Ultimately, Lang Lang is generally not only regarded as a virtuoso but as the complete showman. A visual approach to piano playing has been a common phenomenon since the times of Franz Liszt and Anton Rubinstein. What distinguishes Lang Lang from his fellow virtuosos over the course of the centuries, however, is not simply the presence of a visual approach in his playing, but rather the ebullient joy of his music-making which he projects to his audience. In addition, Lang Lang’s concert attire is different from the traditional black swallow-tailed coat and bow-tie used by many musicians on stage. He prefers to wear a brightly coloured Tang dynasty suit which alludes to his Oriental origins. It seems as though Lang Lang’s visual impact, and especially his joyful and youthful appearance, as well as his Oriental attire, contribute as much to his success as a showman as his technical prowess. Reviewers do not necessarily agree with the expediency of the influence of Lang Lang’s showmanship on his interpretation of the compositions he performs. It is evident from many reviews that Lang Lang’s pianism consists of a combination of four extremes: bombastically loud, sentimentally soft, a breakneck pace, and dreamlike, lingering tempos. Reference is made by reviewers to Lang Lang’s “interpretative recipe” and patented approach to interpretation. Many agree that it is Lang Lang’s aim to display his extraordinary control over tempo and colour at its best, but that these endeavours undermine the structure of the composition he performs as well as traditional views about the characteristics of style. Many are shocked by Lang Lang’s contempt of the music text. Lang Lang’s controversial interpretations are, however, “forgiven” by his listeners, as he obviously derives so much pleasure from his performances. Lang Lang’s views on his approach to interpretation are often contradictory. He often asserts that attention to responsible interpretation is more important to him than the urge to see how fast or how loudly he can play, and that a balance between the emotions and the intellect in performance is of utmost importance. On the other hand he declares on many occasion that the pianist is no copying machine and that the pianist must possess his own fantasies. Lang Lang has no regrets about the epithet “showman”. He is not affected by the criticism of his playing and remains true to himself in his interpretations. Ultimately Lang Lang comes to the conclusion: “Controversy sells.”