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.”