The NS Interview: Lang Lang

“China is much better, more open, but also rediscovering its roots”

Your name is now trademarked. Does it feel odd to turn your identity into a brand?
Not really, because you wouldn't be happy if someone was using your name for funny things. As a performing artist, your name is on posters, on television, in print. For me, it's important that I protect my name in certain ways.

You started playing the piano when you were two. Were you always ambitious?
Yes. I wanted to be a world-class musician. Music is not my hobby; it was part of my life from the very beginning. Once you have decided to do that, you have to work harder than people who play for fun. The amount of time you have to put in is tremendous.

You've been criticised for how demonstrative you are. Are you aware of how you play?
I kind of know, but I don't know exactly. I know how I shape the phrase, but once you are putting yourself into the music, you don't know what's going on. You just care about the sound.

You spend a lot of your time encouraging young people to play classical music. Why?
They are the future. Just like reading the great novels and Shakespeare, classical music, for me, has real emotion, and it's great when little kids get involved early in their life. It's almost like learning a language.

People talk about "the Lang Lang effect" - so many children in China are now learning the piano. What impact will that have?
It's a great thing, because the piano is a very international instrument and one that shows openness to the international world. Piano is an instrument where you don't need to speak a language - you just hear the music and start to respect the culture through the music.

How does it feel to have become an ambassador for China?
As musicians, we are not only representing our country; we are representing music as a culture. I would like to play more Chinese music to share with other cultures that have never heard classical Chinese music before. At the same time, most players in China are playing western classics so, in a way, as pianists, we are bridging cultures.

How has China changed in your lifetime?
It's a tremendous change. For me, it's getting much better. I feel that China now is much more open. China is trying to find not only the western way to have life experience, but also its own roots.

Do you think the country has neglected its own history?
Ten years ago, China was tearing down buildings to erect a lot of modern stuff. That wor­ries me, because what happens to the old culture and the traditions that China had for so many years? In the past five years, I see they restore the old buildings. In a way, we are rediscovering our own history. Which is a very important thing for every country; you need to have your own identity as well as being open
to the world.

How do you imagine China's future?
For me, as a musician, I'm focusing on helping the younger generation and also bringing better programmes to concert halls. There are already great concert halls in China, but they are not at an international level yet. I'm not talking about Beijing or Shanghai - the real challenge
is in the secondary cities. A secondary city in China is eight or nine million people.

Is your charitable work as important to you as performing?
It's important for us to help the society. If you are somebody whom people recognise, who is a public figure, that's something that will bring awareness. But charity is not only about whether you're a star; it's for everybody.

Is there a plan?
I will turn 30 next year. I will keep performing, but at the same time I would like to do more things on the education side. Maybe I'll reduce some concerts and have time to give some more masterclasses to students and to work for other charity organisations in countries where children are really suffering: to see them and to give time to them, to talk about life and to play music, and to bring some inspirational spirit to the children.

Did your talent ever feel like a burden?
I found there's a great deal of responsibility. You are very lucky to be liked by many people as a musician. I believe it is a real gift - but it's important for musicians to stay modest.

Is there anything you'd like to forget?
Not really. There's some things you don't want to experience again, but you wouldn't forget about them.

Do you vote?
No, I don't.

Are we all doomed?
I really hope this will never happen to us. Let's work together to try to prevent it.

Defining Moments

1982 Born in Shenyang, China
1985 Begins piano lessons after hearing Liszt in a Tom and Jerry cartoon
2001 Sells out debuts at Carnegie Hall in New York and Royal Albert Hall in London
2007 Guest soloist at Nobel Prize ceremony
2008 Launches Lang Lang International Music Foundation with Unicef. Opens the Beijing Olympics to five billion viewers
2011 Performs at the Southbank Centre in London with 100 young British pianists

Sophie Elmhirst is features editor of the New Statesman

This article first appeared in the 23 May 2011 issue of the New Statesman, Obama 2.0

PAUL POPPER/POPPERFOTO
Show Hide image

No peace after progress

How the death of the industrial way of life gave us choice – and stoked resentment and fear.

Now that the making of useful and necessary things in Britain is only a shadow of what it once was, we can see more clearly the effects of the Manufacturing Age. The cost was high to the producers of prodigious wealth; a ten-year difference in life expectancy remains between people living in the richest areas and those in Glasgow. The (fleeting, it now seems) visitation of industrialism has made life more comfortable and its dismantling has liberated millions from choiceless occupations. The legacy is one of spectacular improvement, unequally shared.

Perhaps the most dramatic experience of the 20th century was the suddenness with which profligate plenty replaced a skinflint subsistence. Was it the speed of this that distracted us from wondering why, instead of the secure sustenance that generations of needy people had asked of an unyielding economic system, we were offered a promiscuous spillage of goods, promoted with quasi-religious zeal by the converts of a capitalism that had previously delivered to most of its captive workers a life of penury? Such a rapid reversal might have alerted us to changes beneath the surface that elided losses incurred.

The greatest of these was certainly not the extinction of the industrial way of life itself, release from which has been an unqualified blessing. But the transition from relentlessly work-driven lives (in the 1950s, two-thirds of Britain’s workers were still manual labourers) was marked by perfunctory obituaries for the disintegration of industrial communities, with no acknowledgement that, for a century and a half, they had represented the inescapable destiny of the people they sheltered.

Even less recognition was given to the fortitude with which they had borne a long, coercive labour. A way of life, buried without ceremony in the unmarked grave of progress, could not be mourned; and this has generated some social pathologies of our time: resentment over an arbitrary obliteration of industry, disengagement from a party of labour by those it called, like feudal lords, its “own people”, loss of memory of the economic migrants we also were, passing from the goad of industry into the pastures of consumption, and thence into the liberating servitude of technology.

Grief makes no judgement on the intrinsic value of what is lost. Absence of the known and familiar is the object of melancholy in its own right, even if replaced by something immeasurably better. Objectively, there was little to mourn in the vanished industrial way of life: insufficiency and humiliation, malice of overseer and manager, officiousness of poor-law administrator and means-test man. Male industrial workers exhausted in body and spirit, instead of protecting those for whom the power of their hands was the only shelter against destitution, visited similar punishment on their wives and children. There is nothing to be lamented in an end to the penitential life of women, scrubbing not only the red tiles of the kitchen floor, but even an arc of pavement outside the front door; their interception of men on payday before wages were wasted on beer and oblivion; the clenching against joyless invasion of their bodies in the boozy aftermath. But it was the only life they knew, and they adhered to it with grim stoicism and even pride.

There is much to be said for their resistance. The fragile lattice formed by women’s arms was often the only safety net against destitution. Trade unions and friendly and burial societies that shielded folk from economic violence foreshadowed the welfare state and the National Health Service.

The life of labouring people in Britain was strikingly homogeneous, despite diversity of occupation, dialect and local sensibility. There was the same collective experience: terraced house with parlour reserved for celebration or mourning; the three-piece suite, plaster figure on a stand behind the window, chenille curtain against the draught, engraving of The Stag at Bay on the wall; the deal table and Windsor chairs in the living room, the mantelpiece a domestic shrine with clock, candlesticks and pictures of soldiers smiling before they died; the music of cinders falling through the bars in the grate; cheerless bedrooms where husband and wife slept in high connubial state, more bier than bed, where sexual enjoyment was ritually sacrificed as flowers of frost formed on the inside of the window.

And everywhere photographs: wraithlike children with ringlets or in sailor suits, fated never to grow up; weddings in the back garden, a bouquet of lilies and a grandmother in boots and astrakhan hat; the smudged features of a kinsman no one can now identify. Identical memories, too: the shotgun wedding in the dingy finery of a Co-op hall; the funeral tableau around the grave, amid ominous inscriptions of “Sleeping where no shadows fall”; queues outside the ocean-going Savoy or Tivoli to watch Gone With the Wind; the pub where “Vilia” or “The Last Rose of Summer” was hammered out on a discordant piano.

The opening up of such sombre lives might have been expected to call forth cries of gratitude. Instead, a synthetic joy has emanated largely from the same sources that, until recently, offered people grudging survival only, the change of tune outsourced to producers of manufactured delight, purveyors of contrived euphoria to the people – a different order of industrial artefact from the shoes, utensils and textiles of another era.

***

A more authentic popular res­ponse exists beneath the official psalmody, a persistent murmur of discontent and powerlessness. Anger and aggression swirl around like dust and waste paper in the streets of our affluent, unequal society. As long-term recipients of the contempt of our betters, we know how to despise the vulnerable – people incapable of work, the poor, the timid and the fearful, those addicted to drugs and alcohol. Sullen resentment tarnishes the wealth of the world, a conviction that somebody else is getting the advantages that ought to be “ours” by right and by merit.

Rancour appears among those “left behind” in neighbourhoods besieged by unknown tongues and foreign accents: people who never voted for unchosen change, as all political options are locked up in a consensus of elites. “Give us back our country!”
they cry; even though that country is not in the custody of those from whom they would reclaim it. There was no space for the working class to grieve over its own dissolution. If, as E P Thompson said, that class was present at its own making, it was certainly not complicit in its own undoing.

Grief denied in individuals leads to damaging psychological disorders. There is no reason to believe that this differs for those bereaved of a known way of living. The working class has been colonised, as was the peasantry in the early industrial era. When the values, beliefs and myths of indigenous peoples are laid waste, these lose meaning, and people go to grieve in city slums and die from alcohol, drugs and other forms of self-inflicted violence. Though the dominant culture’s erasure of the manufacturing way of life in Britain was less intense than the colonial ruin of ancient societies, this subculture was equally unceremoniously broken. It is a question of degree. The ravages of drugs and alcohol and self-harm in silent former pit villages and derelict factory towns show convergence with other ruined cultures elsewhere in the world.

Depression is a symptom of repressed grief: here is the connection between unfinished mourning and popular resentment at having been cheated out of our fair share, our due, our place in the world. If we are unable to discern our own possible fate in suffering people now, this is perhaps a result of estrangement from unresolved wrongs in our own past. Nothing was ever explained. Globalisation occurred under a kind of social laissez-faire: no political education made the world more comprehensible to the disaffected and disregarded, people of small account to those who take decisions on their behalf and in their name.

Anyone who protested against our passage into this changed world was criminalised, called “wrecker” and “extremist”. The miners’ strike of 1984 was the symbol of this: their doomed fight to preserve a dignity achieved in pain and violence was presented by the merchants of deliverance not only as retrograde, but also as an act of outlawry. Resistance to compulsory change was derided as a response of nostalgics protecting the indefensible, when the whole world was on the brink of a new life. Early in her tenure of Downing Street, Margaret Thatcher, that sybil and prophet who knew about these things, warned that Britain would become “a less cosy, more abrasive” place: a vision confirmed by the Battle of Orgreave – redolent of civil war – and the anguish of Hillsborough.

It is too late to grieve now. Scar tissue has healed over the untreated wound. Though no one expects the ruling classes to understand the distress of perpetual “modernisation”, the leaders of labour might have been able to recognise capitalism’s realm of freedom and a gaudy consumerism that concealed hardening competitiveness and the growth of a crueller, more bitter society.

The ills of this best of all worlds, its excessive wealth and extreme inequality, are on show in hushed thoroughfares of London, shuttered sites of “inward investment”, where the only sound is the faint melody of assets appreciating; while elsewhere, people wait for charitable tins of denutrified substances to feed their family, or sit under a grubby duvet, a Styrofoam cup beseeching the pence of passers-by.

Unresolved feelings about industrialism, enforced with great harshness and abolished with equal contempt for those who served it, are certainly related to the stylish savagery of contemporary life. The alibi that present-day evils are an expression of “human nature” is a poor apology for what is clearly the nature – restless and opportunistic – of a social and economic system that has, so far at least, outwitted its opponents at every turn.

Jeremy Seabrook’s book “The Song of the Shirt” (C Hurst & Co) won the Bread and Roses Award for Radical Publishing 2016

This article first appeared in the 23 June 2016 issue of the New Statesman, Divided Britain