1 00:00:02,880 --> 00:00:06,520 Speaker 1: This is Alec Baldwin and you're listening to Here's the thing. 2 00:00:09,280 --> 00:00:14,240 Speaker 1: Rock Star is the wrong word by definition, but classical 3 00:00:14,400 --> 00:00:18,560 Speaker 1: star doesn't quite get at Long Long's place in the pantheon. 4 00:00:21,400 --> 00:00:26,040 Speaker 1: He's a serious pianist playing serious repertoire with a flare. 5 00:00:26,640 --> 00:00:30,000 Speaker 1: Here it's a Schubert fantasy in front of a sold out, 6 00:00:30,080 --> 00:00:38,000 Speaker 1: crowded Carnegie Hall. Once tempted to say he's one part 7 00:00:38,080 --> 00:00:43,519 Speaker 1: Glenn Gould, one part Van Clyburne, but the truth is 8 00:00:43,960 --> 00:00:49,479 Speaker 1: he's Long Long. He and his signature Beaufon, were the 9 00:00:49,560 --> 00:00:53,160 Speaker 1: obvious choice to open the Beijing Olympics, watched by four 10 00:00:53,320 --> 00:01:00,400 Speaker 1: billion people, and for President Obama to invite to play 11 00:01:00,040 --> 00:01:07,080 Speaker 1: at the intimate White House dinner for the President of China. 12 00:01:08,240 --> 00:01:11,520 Speaker 1: Long Long takes an obvious joy in his art and 13 00:01:11,760 --> 00:01:17,680 Speaker 1: his fame, but both are hard won. A musical prodigy, 14 00:01:17,760 --> 00:01:20,840 Speaker 1: he was the son of two talented artists forced to 15 00:01:20,880 --> 00:01:26,080 Speaker 1: abandon their dreams by the Cultural Revolution. Just a few 16 00:01:26,160 --> 00:01:29,120 Speaker 1: years after he won a national competition at the age 17 00:01:29,120 --> 00:01:33,119 Speaker 1: of five, his father abandoned everything else in his life 18 00:01:33,400 --> 00:01:44,360 Speaker 1: to focus on his son's talent. They moved together to Beijing. 19 00:01:44,959 --> 00:01:48,680 Speaker 1: Long Long won so many contests that he was offered 20 00:01:48,680 --> 00:01:51,840 Speaker 1: a spot by the Curtis Institute of Music in Philadelphia. 21 00:01:52,520 --> 00:01:56,240 Speaker 1: His father moved with him to America too. All that 22 00:01:56,400 --> 00:02:00,400 Speaker 1: vicarious ambition took its toll on their bond, but over 23 00:02:00,440 --> 00:02:05,560 Speaker 1: the years it returned. We're very close. Our conversation was 24 00:02:05,640 --> 00:02:08,840 Speaker 1: taped in front of a live audience at w n 25 00:02:08,960 --> 00:02:12,920 Speaker 1: YCS Green Space. We're really much better than when I 26 00:02:12,960 --> 00:02:15,080 Speaker 1: was a nine year much better. It was not in 27 00:02:15,120 --> 00:02:18,240 Speaker 1: the same level. Yeah, we were really and it's getting 28 00:02:18,280 --> 00:02:21,480 Speaker 1: closer somehow because we are not living together. So in 29 00:02:21,520 --> 00:02:25,160 Speaker 1: a way, you know, these tents makes beauty, right, So 30 00:02:25,160 --> 00:02:29,320 Speaker 1: so that's that's how exactly happened. In his mind, he 31 00:02:29,400 --> 00:02:32,560 Speaker 1: must have a kind of a mixed feeling, the euphoria 32 00:02:32,720 --> 00:02:35,640 Speaker 1: of you having made it to the degree you've made it, 33 00:02:35,840 --> 00:02:38,280 Speaker 1: and at the same time he's not around you. I 34 00:02:38,280 --> 00:02:40,080 Speaker 1: know that if I was your dad, I'm obsessed with 35 00:02:40,120 --> 00:02:42,640 Speaker 1: my kids. And if I was like your dad and 36 00:02:42,680 --> 00:02:46,000 Speaker 1: I was instrumental and influential in helping you become what 37 00:02:46,080 --> 00:02:48,919 Speaker 1: you became, then all of a sudden you were like, Okay, Dad, 38 00:02:48,960 --> 00:02:50,480 Speaker 1: I got this, and you're gonna move out on your own. 39 00:02:50,520 --> 00:02:53,760 Speaker 1: I'd be like, wait, no. You know, if you were 40 00:02:53,760 --> 00:02:58,080 Speaker 1: my son, I want to live with you forever. So 41 00:02:58,200 --> 00:03:00,680 Speaker 1: I mean, he, um, where is to do with himself? 42 00:03:00,639 --> 00:03:03,399 Speaker 1: And I think you're not living together? He's actually uh, 43 00:03:03,440 --> 00:03:06,040 Speaker 1: he's helping me a lot in China back home, and 44 00:03:06,080 --> 00:03:11,000 Speaker 1: then he's also teaching a lot. He liked to helping 45 00:03:11,040 --> 00:03:14,440 Speaker 1: the next generation of musicians and uh, and he himself 46 00:03:14,480 --> 00:03:16,239 Speaker 1: was a musician. Yeah, he played the are Who the 47 00:03:16,320 --> 00:03:21,119 Speaker 1: Chinese valnin um so um that was his um using 48 00:03:21,160 --> 00:03:24,240 Speaker 1: some like circus bans. He was in an Air Force ban. 49 00:03:24,320 --> 00:03:27,760 Speaker 1: But yeah, before I was in a circus ban. Yeah. Yeah. 50 00:03:27,800 --> 00:03:30,880 Speaker 1: But the instrument itself is very beautiful. It's like one 51 00:03:30,919 --> 00:03:35,000 Speaker 1: of the most charming instruments from Asia, and it's very tasteful. 52 00:03:35,080 --> 00:03:38,400 Speaker 1: It has a really beautiful taste and and it's also 53 00:03:38,400 --> 00:03:45,240 Speaker 1: an instrument always makes you cry somehow Yeah yeah, so 54 00:03:45,240 --> 00:03:47,960 Speaker 1: so sometimes, I mean, my father made me cry this 55 00:03:48,080 --> 00:03:53,160 Speaker 1: different reason. You weren't crying because he broke out what 56 00:03:53,240 --> 00:03:56,880 Speaker 1: is it called again? Are Who? Are Who? Yeah? Are Who? Yeah? 57 00:03:57,360 --> 00:04:01,160 Speaker 1: More like that. Yeah, I'll get my Chinese produced eventually, 58 00:04:01,240 --> 00:04:03,560 Speaker 1: but maybe by the time we're done. But but but 59 00:04:03,640 --> 00:04:07,800 Speaker 1: then you your country, your native country is very driven 60 00:04:08,160 --> 00:04:12,040 Speaker 1: by competitions and international competitions. They put a tremendous emphasis 61 00:04:12,080 --> 00:04:15,400 Speaker 1: on that. Correct, absolutely the best way to make career. 62 00:04:16,760 --> 00:04:21,960 Speaker 1: We're meaning the competitions and which is the truth, especially 63 00:04:22,040 --> 00:04:26,120 Speaker 1: during that time, because otherwise nobody will discover you, you know, 64 00:04:26,200 --> 00:04:28,720 Speaker 1: in a way. So we we have to go out 65 00:04:28,960 --> 00:04:33,480 Speaker 1: for international competitions and to win prizes. So being number one, 66 00:04:33,520 --> 00:04:37,560 Speaker 1: it's kind of became a motto in my early career. 67 00:04:38,000 --> 00:04:41,919 Speaker 1: And then how farst um after I landed here, I 68 00:04:41,960 --> 00:04:47,440 Speaker 1: had this teacher, great pianist, Gary Graffman, who who's also 69 00:04:47,560 --> 00:04:51,520 Speaker 1: quite different compared to the other academic professors because he 70 00:04:51,600 --> 00:04:55,560 Speaker 1: is so into, you know, a real career rather than 71 00:04:55,600 --> 00:04:58,760 Speaker 1: a short term being you know, a price winner. So 72 00:04:59,120 --> 00:05:03,440 Speaker 1: he discoursed me to do competitions and I was like, wow, 73 00:05:03,680 --> 00:05:06,239 Speaker 1: really did he say? Why? Yeah? He said, then you're 74 00:05:06,279 --> 00:05:09,520 Speaker 1: too crazy about being number one and you're not really 75 00:05:09,560 --> 00:05:12,000 Speaker 1: focused on what you should be, you know, learning the 76 00:05:12,040 --> 00:05:14,599 Speaker 1: repertoire and too he said, do you want to become 77 00:05:14,600 --> 00:05:19,520 Speaker 1: a great musician or you want to just win? And 78 00:05:19,560 --> 00:05:21,880 Speaker 1: I said, oh, I said, is that not the same? 79 00:05:21,960 --> 00:05:24,000 Speaker 1: I said, what was the difference? I said, if I 80 00:05:24,000 --> 00:05:25,880 Speaker 1: don't win a prize, how I'm going to become a 81 00:05:25,920 --> 00:05:30,120 Speaker 1: great musician. He said, Oh, okay, that's the wrong understanding 82 00:05:30,120 --> 00:05:35,000 Speaker 1: you have, and especially his wife, you know, Naomi. Every 83 00:05:35,000 --> 00:05:38,320 Speaker 1: time I go to library in uh In Curtis and 84 00:05:38,360 --> 00:05:42,200 Speaker 1: then uh I started looking over the competition forms like 85 00:05:42,560 --> 00:05:46,960 Speaker 1: Monk Clyburn, Chopin, Shakhovsky, and I take it out and 86 00:05:46,960 --> 00:05:49,960 Speaker 1: then I'm thinking to feel the form, right, And I 87 00:05:50,000 --> 00:05:51,920 Speaker 1: saw Naomi next to me, Hey, what are you doing? 88 00:05:52,040 --> 00:05:56,240 Speaker 1: Bad boy? H shouldn't you just working on your broms 89 00:05:56,240 --> 00:05:59,640 Speaker 1: second piano concerto rather than, you know, feeling the form? 90 00:05:59,760 --> 00:06:03,440 Speaker 1: Try to be crazy number one. Somehow, I was like, okay, 91 00:06:03,600 --> 00:06:06,320 Speaker 1: let me go back to when you're when you when 92 00:06:06,320 --> 00:06:08,560 Speaker 1: you when you're young, you won your first competition when 93 00:06:08,560 --> 00:06:10,719 Speaker 1: you were five? Correct, Yeah, I mean that's that's what 94 00:06:10,720 --> 00:06:13,160 Speaker 1: what I was kind of election. Yeah, I was like, 95 00:06:13,240 --> 00:06:17,880 Speaker 1: kind of a professional competition person. You know, I'm very competitive. 96 00:06:17,960 --> 00:06:19,960 Speaker 1: If I see you, let's let's do a commodation now 97 00:06:20,440 --> 00:06:22,080 Speaker 1: anyway I see you, Yeah, let's do it. I'm not 98 00:06:22,120 --> 00:06:25,400 Speaker 1: gonna bother you with our compo. You're the winner. Let's 99 00:06:25,480 --> 00:06:30,480 Speaker 1: skip to that. But but but what fascinates me is 100 00:06:30,680 --> 00:06:35,119 Speaker 1: the emotion and the feeling behind that kind of work. 101 00:06:35,440 --> 00:06:39,479 Speaker 1: When you're five years old, if you can recall, are 102 00:06:39,480 --> 00:06:43,640 Speaker 1: you sitting at a piano and it's pressure, and it's tense, 103 00:06:44,160 --> 00:06:45,919 Speaker 1: and it's like you have to pass a test because 104 00:06:45,920 --> 00:06:48,440 Speaker 1: it's a competition and you're and and there's there's a 105 00:06:48,520 --> 00:06:50,240 Speaker 1: kind of a tight feeling you have where you want 106 00:06:50,680 --> 00:06:54,320 Speaker 1: or are you enjoying yourself when you're five years old? Um. 107 00:06:55,000 --> 00:06:58,000 Speaker 1: One thing good about competition is that it's kind of 108 00:06:58,040 --> 00:07:02,560 Speaker 1: pushes you to play better than you're normally does because 109 00:07:02,640 --> 00:07:06,719 Speaker 1: you you try to play without round notes, you try 110 00:07:06,760 --> 00:07:11,280 Speaker 1: to be concentrate on what you do. But also, in 111 00:07:11,360 --> 00:07:14,560 Speaker 1: the same time, if you are too serious about competition, 112 00:07:14,720 --> 00:07:17,480 Speaker 1: you lose your soul in a way that you are 113 00:07:17,560 --> 00:07:21,600 Speaker 1: afraid to do something wrong. And as you know in art, 114 00:07:22,160 --> 00:07:25,800 Speaker 1: sometimes when you really do something unique, you are actually 115 00:07:25,840 --> 00:07:29,000 Speaker 1: not really on the page, you're actually doing something but 116 00:07:29,120 --> 00:07:32,520 Speaker 1: that that is a really great moment. So so in 117 00:07:32,560 --> 00:07:36,000 Speaker 1: a way, it's it's hard to say, you know, it's 118 00:07:36,000 --> 00:07:39,360 Speaker 1: hard to say, but I kind of enjoyed it because 119 00:07:40,320 --> 00:07:43,800 Speaker 1: sometimes I lose. Sometimes I win is encouraging me to 120 00:07:43,840 --> 00:07:48,200 Speaker 1: do better. UM, And actually I learn more than UM 121 00:07:48,360 --> 00:07:52,119 Speaker 1: than just playing because I see others playing and I'm like, wow, 122 00:07:52,160 --> 00:07:55,120 Speaker 1: they're good. I need to catch up, you know. So 123 00:07:55,120 --> 00:07:57,960 Speaker 1: so this is a good, good vibe. It's funny to 124 00:07:58,000 --> 00:08:00,400 Speaker 1: see you, of all people, and you watching other five 125 00:08:00,480 --> 00:08:03,040 Speaker 1: year old kid playing and you're like, damn, he's good. 126 00:08:05,400 --> 00:08:07,920 Speaker 1: I couldn't do that when I was let's have a competition, 127 00:08:07,960 --> 00:08:11,120 Speaker 1: you would be right. Now you're challenging everyone to a 128 00:08:11,200 --> 00:08:14,720 Speaker 1: duel at the piano. Now what was missing in your childhood? 129 00:08:15,120 --> 00:08:17,360 Speaker 1: What did you wish you had? More of the video games? 130 00:08:17,840 --> 00:08:24,920 Speaker 1: Uh more, more sports? Uh more? Free free time, free time? 131 00:08:25,000 --> 00:08:28,920 Speaker 1: Yeah yeah, yeah, but now I mean at eight thirty six, 132 00:08:29,320 --> 00:08:31,240 Speaker 1: I can have more free times you might want. So 133 00:08:31,360 --> 00:08:34,160 Speaker 1: it's in the end, it's kind of okay. Postponed it. 134 00:08:34,240 --> 00:08:37,720 Speaker 1: Yeah yeah, yeah, yeah, postponed it. Yeah, but but in 135 00:08:37,760 --> 00:08:40,960 Speaker 1: a way that I wish that I may have a 136 00:08:40,960 --> 00:08:44,079 Speaker 1: little bit more more fun time, you know, to maybe 137 00:08:44,200 --> 00:08:47,880 Speaker 1: less pressure. I would say, yeah, yeah, did your dad 138 00:08:47,960 --> 00:08:50,439 Speaker 1: say I'm sorry that it was so tough and I'm 139 00:08:50,440 --> 00:08:53,840 Speaker 1: so off. He never apolished, so I think the best 140 00:08:54,400 --> 00:08:57,720 Speaker 1: action he was like, oh yeah, let yourself handle your stuff, 141 00:08:57,720 --> 00:08:59,640 Speaker 1: and I'm not going to handle it anymore. I think 142 00:08:59,679 --> 00:09:02,680 Speaker 1: that's that's the the way that he has the management 143 00:09:03,040 --> 00:09:05,560 Speaker 1: onto you right right right, and now he's cheerless off. 144 00:09:05,640 --> 00:09:08,320 Speaker 1: My mom said, older, important concert you are going, and 145 00:09:08,360 --> 00:09:11,240 Speaker 1: then you have a nice photo. He likes to have 146 00:09:11,400 --> 00:09:13,000 Speaker 1: some nice photos. You know, your mother is doing a 147 00:09:13,000 --> 00:09:15,320 Speaker 1: lot of traveling with your father. So what's your mother's 148 00:09:15,320 --> 00:09:17,200 Speaker 1: answering with all the travel? Just one martini is what 149 00:09:17,240 --> 00:09:20,320 Speaker 1: her program is. She does come in handy for somethingle 150 00:09:20,600 --> 00:09:24,600 Speaker 1: if she has this natural some kind of a you know, 151 00:09:25,000 --> 00:09:28,520 Speaker 1: she's just never get tired. She's incredible. I think I 152 00:09:28,600 --> 00:09:30,880 Speaker 1: got some of my energy from her. Her eyes are 153 00:09:30,920 --> 00:09:34,760 Speaker 1: always like this. Yeah. But before she started traveling with me, 154 00:09:35,160 --> 00:09:38,280 Speaker 1: she always sleep really early, like already you know, I'm 155 00:09:38,480 --> 00:09:42,440 Speaker 1: very healthy, right. But then she now traveled with me 156 00:09:42,559 --> 00:09:44,600 Speaker 1: far fall a few years already, and now she's like, 157 00:09:44,920 --> 00:09:49,000 Speaker 1: never sleep before three, three or two at least. But 158 00:09:49,120 --> 00:09:53,079 Speaker 1: she looks better than before. So I think it's the 159 00:09:53,160 --> 00:09:56,920 Speaker 1: music therapy, you know. I think, you know, she's just everywhere, 160 00:09:56,960 --> 00:10:00,240 Speaker 1: like every time I play something, you better crumpting. What's 161 00:10:00,320 --> 00:10:04,400 Speaker 1: on your own? Mother? Uh? Is there a piece you 162 00:10:04,480 --> 00:10:08,680 Speaker 1: play that is exceptionally challenging to you? Is there one 163 00:10:08,720 --> 00:10:12,560 Speaker 1: that even you every time you play a new piece, 164 00:10:13,040 --> 00:10:18,440 Speaker 1: whether it's a technically easy or difficult, there's always a 165 00:10:18,440 --> 00:10:23,160 Speaker 1: new story to tell. And somehow it's not all about 166 00:10:23,760 --> 00:10:26,559 Speaker 1: you know, play the note anymore, you know, as growing 167 00:10:26,640 --> 00:10:31,720 Speaker 1: up pianist, So more about how to bring those music 168 00:10:32,120 --> 00:10:36,800 Speaker 1: to life again, um and into you know, a different interpretation. 169 00:10:37,320 --> 00:10:41,840 Speaker 1: So therefore every piece is you have to focus and 170 00:10:42,120 --> 00:10:46,320 Speaker 1: in a very different style of course. Yeah, but I 171 00:10:46,320 --> 00:10:49,240 Speaker 1: wouldn't say this piece I just you know, kind of 172 00:10:50,000 --> 00:10:52,280 Speaker 1: I don't need to care much and it will come 173 00:10:52,280 --> 00:10:54,480 Speaker 1: out in a great way. No way. You have to 174 00:10:54,640 --> 00:10:58,400 Speaker 1: really focus and to concentrate. So that's why, like in 175 00:10:58,400 --> 00:11:00,960 Speaker 1: in this new album, the in a book, it's the 176 00:11:01,000 --> 00:11:03,880 Speaker 1: same thing. There are many pieces considered be pretty simple, 177 00:11:04,360 --> 00:11:08,079 Speaker 1: but once you start to read look into those pieces 178 00:11:08,200 --> 00:11:11,480 Speaker 1: and you're like, those are master pieces. It's not simple. 179 00:11:12,440 --> 00:11:15,920 Speaker 1: Maybe technically simple, but if you want to make real, 180 00:11:16,640 --> 00:11:19,040 Speaker 1: you know, music out of it, you have to be 181 00:11:19,120 --> 00:11:22,520 Speaker 1: focused and to play everything in your mind to you know, 182 00:11:22,600 --> 00:11:26,800 Speaker 1: to make it work. Yeah. Well, there, of course is 183 00:11:26,880 --> 00:11:30,000 Speaker 1: my first uh slip up here, which is that you 184 00:11:30,120 --> 00:11:33,040 Speaker 1: brought up your book before I did, which is no, no, 185 00:11:33,280 --> 00:11:36,480 Speaker 1: which is a bad hosting on my part. I should 186 00:11:36,480 --> 00:11:38,160 Speaker 1: have mentioned that you have your new book out, the 187 00:11:38,160 --> 00:11:42,240 Speaker 1: piano book and the CD which I have. And one 188 00:11:42,280 --> 00:11:46,640 Speaker 1: thing I do, which is a silly, uh preoccupation, is 189 00:11:46,679 --> 00:11:48,840 Speaker 1: I go to an iTunes or any kind of a 190 00:11:48,880 --> 00:11:52,400 Speaker 1: download service and I look and see the length. So 191 00:11:52,480 --> 00:11:55,760 Speaker 1: it plays the mal or ninth fourth movement, the longest 192 00:11:55,840 --> 00:12:00,480 Speaker 1: and the slowest, the most tortured fourth move to the mouth. 193 00:12:00,640 --> 00:12:05,520 Speaker 1: And you do, Claire Dulon, you squeeze the hell out 194 00:12:05,520 --> 00:12:13,760 Speaker 1: of that. You really play the very long yes, luxuri um. 195 00:12:14,120 --> 00:12:17,120 Speaker 1: And I think, you know, after getting a little older, 196 00:12:17,440 --> 00:12:19,280 Speaker 1: I think it's going to be even longer. And I've 197 00:12:19,400 --> 00:12:22,760 Speaker 1: joked I don't know worry. I mean, the other day 198 00:12:22,800 --> 00:12:26,320 Speaker 1: there's the one critic said, you know, from the curb duloons, Uh, 199 00:12:27,440 --> 00:12:30,440 Speaker 1: the way I played, I think long Lone places Goldberg 200 00:12:30,559 --> 00:12:33,640 Speaker 1: with a two hour and thirty minutes, and I think 201 00:12:33,679 --> 00:12:36,360 Speaker 1: it's a that's kind of a right thing to say. 202 00:12:36,520 --> 00:12:38,520 Speaker 1: I'm not trying to figure out how long I'm gonna 203 00:12:38,559 --> 00:12:41,760 Speaker 1: play that piece. Uh, but you know what, I just 204 00:12:41,800 --> 00:12:46,040 Speaker 1: want to enjoy the moment and I wanted to make 205 00:12:46,080 --> 00:12:50,240 Speaker 1: sure that I heard everything from that piece. I have 206 00:12:50,280 --> 00:12:52,120 Speaker 1: another question for you that, of course we have a 207 00:12:52,160 --> 00:12:55,520 Speaker 1: piano here which is just a suggestion only don't feel 208 00:12:55,520 --> 00:13:00,040 Speaker 1: any pressure. It's there in case you feel incline. That's you. 209 00:13:00,280 --> 00:13:03,160 Speaker 1: You know. I like this way of you know, inviting 210 00:13:03,200 --> 00:13:07,800 Speaker 1: someone to play. Yeah, there's one friend of my um 211 00:13:07,880 --> 00:13:11,040 Speaker 1: it was, you know, the birthday of mine, and so 212 00:13:11,320 --> 00:13:14,240 Speaker 1: he inmited me to his house and he said, you know, 213 00:13:14,679 --> 00:13:18,960 Speaker 1: I know today's your birthday. Probably you will not play today, 214 00:13:19,040 --> 00:13:23,240 Speaker 1: but I just want to know. It's also my mother's birthday. 215 00:13:24,920 --> 00:13:30,400 Speaker 1: No pressure, So I played Heppy birthday for her. Also, 216 00:13:30,440 --> 00:13:33,080 Speaker 1: I heard it was public South and there's a like 217 00:13:33,520 --> 00:13:38,679 Speaker 1: rich lady in London always inviting him for tea um 218 00:13:38,720 --> 00:13:41,760 Speaker 1: and but he always has something to do. He did 219 00:13:41,800 --> 00:13:44,760 Speaker 1: not have time, and there's a family he came and 220 00:13:44,800 --> 00:13:49,319 Speaker 1: then the ladies like where is your chilu? Because I 221 00:13:49,400 --> 00:13:54,280 Speaker 1: was you did not you might my cello today Billy 222 00:13:54,280 --> 00:13:57,120 Speaker 1: Billy Joe did our show and Billy said that that 223 00:13:57,240 --> 00:14:01,040 Speaker 1: everywhere he goes. You know, obviously a considerable number of 224 00:14:01,040 --> 00:14:03,480 Speaker 1: people have a piano in their home, and he said 225 00:14:03,520 --> 00:14:08,040 Speaker 1: everywhere he goes, they're like, Billy, do you mind just 226 00:14:08,360 --> 00:14:12,400 Speaker 1: one quick tune? And and and everywhere he goes it's 227 00:14:12,400 --> 00:14:15,240 Speaker 1: like we play Christmas carols at the Christmas party? Where 228 00:14:15,520 --> 00:14:17,079 Speaker 1: do you find the same thing as true? Our people 229 00:14:17,240 --> 00:14:20,920 Speaker 1: constantly saying, but they do in a different way now 230 00:14:21,160 --> 00:14:24,240 Speaker 1: they say, uh, what am traveling? Oh so to you 231 00:14:24,360 --> 00:14:35,040 Speaker 1: need a place to practice anytime twenty four hours. I 232 00:14:35,040 --> 00:14:38,440 Speaker 1: don't have neighbors. It's okay, it's myself. I'm like, okay, 233 00:14:38,520 --> 00:14:41,440 Speaker 1: I got it. I got it. Now before we get 234 00:14:41,480 --> 00:14:44,120 Speaker 1: to some other subjects that I've got a lot of questions. Here, 235 00:14:44,760 --> 00:14:47,600 Speaker 1: would you be gay less with some little yeah? I 236 00:14:47,760 --> 00:14:50,800 Speaker 1: will play yeah, I will play a one off of 237 00:14:50,840 --> 00:14:53,840 Speaker 1: the piece from the RICORDI. I don't know whish why, 238 00:14:53,920 --> 00:17:00,240 Speaker 1: but I snyeah, they will come to you. M m yea, 239 00:17:31,840 --> 00:17:36,920 Speaker 1: thank you, thank you. This is the Vaults of Emily 240 00:17:37,800 --> 00:17:42,640 Speaker 1: from the movie Emily. It's really nice, nice movie. Yeah, yeah, 241 00:17:43,280 --> 00:17:46,840 Speaker 1: the describe for us how did the piano book come about? 242 00:17:46,840 --> 00:17:50,080 Speaker 1: Whose idea was this? I always wanted to do an 243 00:17:50,080 --> 00:17:53,240 Speaker 1: album like this because when I was a kid, I 244 00:17:53,560 --> 00:18:00,119 Speaker 1: barely find um the professional musician recording pieces like or 245 00:18:00,200 --> 00:18:04,840 Speaker 1: Unies or Cherney atudes, or Clementi so natina or most 246 00:18:04,920 --> 00:18:09,919 Speaker 1: Art so natina, or some of the piece which you 247 00:18:10,040 --> 00:18:13,720 Speaker 1: consider be the beginner's piece. Um. But those are the 248 00:18:13,720 --> 00:18:15,880 Speaker 1: pieces I love the most when I was a kid. 249 00:18:15,960 --> 00:18:19,639 Speaker 1: And then those those are my best friend. And sometimes 250 00:18:19,640 --> 00:18:22,880 Speaker 1: it's not best friends. Sometimes after a lot of practice, 251 00:18:23,040 --> 00:18:26,639 Speaker 1: become my worst friend. Uh. Sometimes sometimes I want to 252 00:18:26,680 --> 00:18:29,199 Speaker 1: kill them. Yeah, but in the end of the day, 253 00:18:29,280 --> 00:18:32,800 Speaker 1: you know, those are the brand and butter made UH 254 00:18:33,320 --> 00:18:37,000 Speaker 1: pianist to grow. Um So, so therefore I wanted to, 255 00:18:37,119 --> 00:18:41,200 Speaker 1: you know, to record something which can be appreciated by 256 00:18:41,280 --> 00:18:45,720 Speaker 1: every person who loves piano. Um. So that's why we 257 00:18:45,840 --> 00:18:49,280 Speaker 1: called the album the Piano Album. Yeah, and this is 258 00:18:49,280 --> 00:18:53,120 Speaker 1: for Deutsche and then it's it's already in release because 259 00:18:53,119 --> 00:18:55,600 Speaker 1: I have it on my phone. I don't thank you, 260 00:18:55,400 --> 00:18:58,800 Speaker 1: thank you? What was worth it? Believe thanks? I I 261 00:18:58,840 --> 00:19:01,640 Speaker 1: hope it's brings some something nice feelings. And I don't 262 00:19:01,640 --> 00:19:12,560 Speaker 1: don't always count the minute, please yeah that five second? Now, Now, 263 00:19:12,600 --> 00:19:17,320 Speaker 1: when you when you when you when you're leaving uh 264 00:19:18,240 --> 00:19:21,040 Speaker 1: very shortly in the next few days to go on 265 00:19:21,080 --> 00:19:25,320 Speaker 1: a tour, and you're you're gonna have a um You're 266 00:19:25,359 --> 00:19:31,760 Speaker 1: going to Rome and then you're going on to Korea Pacific. 267 00:19:31,840 --> 00:19:34,359 Speaker 1: So for now, when you go on these trips, the 268 00:19:34,400 --> 00:19:35,960 Speaker 1: first thing that comes to mind is that you know 269 00:19:36,000 --> 00:19:42,560 Speaker 1: you grew up in uh, communist China, and of course 270 00:19:42,600 --> 00:19:47,560 Speaker 1: Americans have their own you know, um unreliable images of 271 00:19:47,760 --> 00:19:50,360 Speaker 1: China and what what goes on in China. I don't 272 00:19:50,359 --> 00:19:53,639 Speaker 1: think they're quite sure. But for me, what I'm curious 273 00:19:53,640 --> 00:19:56,159 Speaker 1: about is how did the cultural revolution in China impact 274 00:19:56,240 --> 00:19:59,439 Speaker 1: your parents. When there's an impact on your mom, I 275 00:19:59,480 --> 00:20:02,160 Speaker 1: think that the revolution, of course this is from their 276 00:20:02,200 --> 00:20:06,840 Speaker 1: their generation. I wasn't there, but it certainly gave them 277 00:20:07,880 --> 00:20:14,719 Speaker 1: incredible um kind of I mean openness to to the 278 00:20:14,720 --> 00:20:17,480 Speaker 1: next generation. They want their kid, you know, to to 279 00:20:17,720 --> 00:20:21,760 Speaker 1: uh to be a citizen of the world. And they 280 00:20:21,920 --> 00:20:24,320 Speaker 1: you know, in a way that because they kind of 281 00:20:24,480 --> 00:20:28,639 Speaker 1: missed ten years of time to not connected to to 282 00:20:28,680 --> 00:20:31,360 Speaker 1: the world. Um and so so in a way that 283 00:20:31,359 --> 00:20:36,320 Speaker 1: that's why my generation of Chinese kids, um and not 284 00:20:36,440 --> 00:20:40,359 Speaker 1: kids anymore. Um. UM, we are very you know trying 285 00:20:40,400 --> 00:20:44,560 Speaker 1: to you know, learn piano and to to get connected 286 00:20:44,600 --> 00:20:48,919 Speaker 1: to the world of course being Chinese, but also a 287 00:20:49,000 --> 00:20:52,119 Speaker 1: world citizen. UM. So of like the our mission is 288 00:20:52,200 --> 00:20:57,639 Speaker 1: bridging the culture together. UM. This is your home now 289 00:20:57,680 --> 00:21:00,600 Speaker 1: in New York, New York home. Move to New York 290 00:21:00,640 --> 00:21:06,360 Speaker 1: in two thousand seven, after UM ten years in Philadelphia, 291 00:21:06,840 --> 00:21:10,840 Speaker 1: um since ninety seven and Curtis, Yeah, I was studying there, 292 00:21:11,359 --> 00:21:14,159 Speaker 1: um and then I was waiting to earn more money 293 00:21:14,240 --> 00:21:19,000 Speaker 1: to for the department here. So how's that going. Yeah, 294 00:21:19,320 --> 00:21:21,439 Speaker 1: it worked since two thousand seven, So that's that's why 295 00:21:21,480 --> 00:21:26,120 Speaker 1: I moved here. And uh, when I came to America 296 00:21:26,200 --> 00:21:31,760 Speaker 1: in ninety six, I was just fourteen and and I 297 00:21:31,840 --> 00:21:35,359 Speaker 1: thought New York is such a a CD with the 298 00:21:35,400 --> 00:21:38,680 Speaker 1: whole world behind. So I always wanted to to come 299 00:21:38,720 --> 00:21:43,960 Speaker 1: here to uh, you know, to be part of this. Um. 300 00:21:44,080 --> 00:21:46,800 Speaker 1: I mean because the cultural scene here is obviously very real. 301 00:21:46,920 --> 00:21:49,800 Speaker 1: New York as a cultural capital like other great cities, 302 00:21:49,800 --> 00:21:53,000 Speaker 1: but but maybe not as much as other cities. There 303 00:21:53,040 --> 00:21:57,399 Speaker 1: was no in Paris. I mean I actually do have 304 00:21:57,480 --> 00:22:02,520 Speaker 1: a new home in Paris fully six, so I mean 305 00:22:02,640 --> 00:22:05,800 Speaker 1: sold a few records, so it would be like Beijing, 306 00:22:06,160 --> 00:22:09,400 Speaker 1: New York on Paris. Like my yeah, but new sounds 307 00:22:09,440 --> 00:22:13,480 Speaker 1: like the perfect triangle New York, Beijing, Paris. But but 308 00:22:13,480 --> 00:22:16,080 Speaker 1: but but so when you when you travel the world, 309 00:22:16,560 --> 00:22:19,960 Speaker 1: are there halls that you play in or their people 310 00:22:20,080 --> 00:22:22,840 Speaker 1: that you play, ensembles that you play with that you 311 00:22:22,920 --> 00:22:25,400 Speaker 1: really get excited about? Like, what are among your favorite 312 00:22:25,440 --> 00:22:28,320 Speaker 1: spaces to perform it. I know that the acoustics are 313 00:22:28,440 --> 00:22:30,960 Speaker 1: very much of an issue because being on the board 314 00:22:30,960 --> 00:22:34,320 Speaker 1: of the Philharmonic and they're gonna be dynamiting David Geffen 315 00:22:34,359 --> 00:22:36,200 Speaker 1: Hall very shortly in the next year or two to 316 00:22:36,320 --> 00:22:38,200 Speaker 1: be dull of Geffen Hall. What's the space that when 317 00:22:38,200 --> 00:22:41,080 Speaker 1: you perform you just love the sound of that space? Um. 318 00:22:41,200 --> 00:22:44,800 Speaker 1: I mean there are many beautiful holes in the world. Um. 319 00:22:44,840 --> 00:22:48,000 Speaker 1: And of course you have Carnegie Hall. Here have Boston 320 00:22:48,119 --> 00:22:52,480 Speaker 1: Symphony Hall, it's really amazing sound. Um. And you have 321 00:22:52,680 --> 00:22:56,800 Speaker 1: the Music Faraye Concert House in Vienna, um and U. 322 00:22:57,800 --> 00:23:01,520 Speaker 1: And one of the very beautiful look um, like this 323 00:23:01,600 --> 00:23:05,280 Speaker 1: beautiful look is the Royal Arbort Hall in London. Maybe 324 00:23:05,320 --> 00:23:07,639 Speaker 1: the sound is not great, but it looks great, you 325 00:23:07,640 --> 00:23:11,960 Speaker 1: know e sometimes that come to you know, for TVD recording, 326 00:23:12,119 --> 00:23:17,719 Speaker 1: you know, live streaming. Nice place. Yeah, and uh, but 327 00:23:17,760 --> 00:23:21,120 Speaker 1: it's a really interesting because for pianists were normally play 328 00:23:21,280 --> 00:23:25,000 Speaker 1: on the side, right, so so we never really look 329 00:23:25,040 --> 00:23:27,679 Speaker 1: into audience somehow. I mean, if you want you do 330 00:23:27,800 --> 00:23:30,600 Speaker 1: like this right and then but in the Royal Arbort 331 00:23:30,640 --> 00:23:35,160 Speaker 1: Hall it's a round right, so everywhere's audien. So first 332 00:23:35,200 --> 00:23:39,720 Speaker 1: time I felt really nervous when I start playing Mozart, 333 00:23:40,119 --> 00:23:43,080 Speaker 1: you know, so delicate, and then I see someone sweeping 334 00:23:43,160 --> 00:23:47,160 Speaker 1: at me. I was like, oh, this is only downside. 335 00:23:47,200 --> 00:23:50,360 Speaker 1: I was playing the round House, you know, and I'm 336 00:23:50,400 --> 00:23:54,680 Speaker 1: thinking about cellist every day, you know, playing like wow, 337 00:23:54,760 --> 00:23:58,080 Speaker 1: that's that's tough. I move with you with Manhattan School 338 00:23:58,080 --> 00:24:00,399 Speaker 1: of Music. I told you about this story. We're in 339 00:24:00,440 --> 00:24:04,440 Speaker 1: Central Park and you're playing Rhapsody in Blue and you're 340 00:24:04,480 --> 00:24:07,040 Speaker 1: there with the Philharmonic with Alan. It's the concert in 341 00:24:07,080 --> 00:24:09,760 Speaker 1: the Park and where that's obviously where the reverse you'd 342 00:24:09,800 --> 00:24:12,040 Speaker 1: be facing the other way, and you're playing the piano 343 00:24:12,200 --> 00:24:14,760 Speaker 1: and you get to this the most tender and the 344 00:24:14,760 --> 00:24:18,960 Speaker 1: most beautiful, the most gorgeous moment in that soft piano 345 00:24:19,080 --> 00:24:20,840 Speaker 1: part of Rhapso and Blue. And you get to the 346 00:24:20,920 --> 00:24:23,679 Speaker 1: end of the keyboard and you took this nano second 347 00:24:23,880 --> 00:24:25,880 Speaker 1: to look at the audience. Of course I'm projecting here. 348 00:24:26,040 --> 00:24:27,159 Speaker 1: And you get to the end of the piano and 349 00:24:27,160 --> 00:24:29,879 Speaker 1: you look at the You're like, you really love me, 350 00:24:31,520 --> 00:24:34,520 Speaker 1: You're really crazy about me. When I do this, When 351 00:24:34,560 --> 00:24:37,359 Speaker 1: I do this to this piano, you go crazy, don't you. 352 00:24:37,520 --> 00:24:44,560 Speaker 1: I know you do like, yeah, it's me. Yeah, with 353 00:24:44,640 --> 00:24:46,360 Speaker 1: you and I said that your mother, and your mother 354 00:24:46,359 --> 00:25:01,560 Speaker 1: goes exactly. That's him. That's what he does. The great 355 00:25:01,680 --> 00:25:08,840 Speaker 1: pianist Long Long. He took his first lesson when he 356 00:25:08,920 --> 00:25:11,880 Speaker 1: was just three years old. You know who else got 357 00:25:11,880 --> 00:25:15,879 Speaker 1: his start at three? It Sack Proman playing on a 358 00:25:15,960 --> 00:25:19,480 Speaker 1: toy violin in his bedroom. I love the sound of 359 00:25:19,520 --> 00:25:22,359 Speaker 1: the violin. I heard it on the radio and I said, 360 00:25:22,520 --> 00:25:25,240 Speaker 1: that's what I want to do. Simple, that's what I 361 00:25:25,280 --> 00:25:28,119 Speaker 1: want to do. And there's no explanation. You know, everybody 362 00:25:28,119 --> 00:25:32,520 Speaker 1: has a different thing that grabs their imagination. And the 363 00:25:32,600 --> 00:25:35,000 Speaker 1: violent sound was that, and I think it was fitz 364 00:25:35,080 --> 00:25:39,159 Speaker 1: So he was pretty good for grabbing the imagination. You know, 365 00:25:41,200 --> 00:25:44,720 Speaker 1: my full interview with its perman can be found. And 366 00:25:44,880 --> 00:25:48,560 Speaker 1: here's the thing, dot Org long Long on music that 367 00:25:48,720 --> 00:26:41,360 Speaker 1: moves him coming up. Yeah, I'm Alec Baldwin and you're 368 00:26:41,440 --> 00:26:44,680 Speaker 1: listening to here's the thing. Long Long had barely hit 369 00:26:44,760 --> 00:26:49,439 Speaker 1: puberty when he and his father landed in Philadelphia from Shenyang. 370 00:26:50,000 --> 00:26:54,040 Speaker 1: The Curtis Institute of Music awarded Long Long of full scholarship. 371 00:26:54,560 --> 00:26:58,600 Speaker 1: But teenagers still need a high school education. I still 372 00:26:58,640 --> 00:27:02,080 Speaker 1: remember my first day in Phildelphia in high school and 373 00:27:02,280 --> 00:27:04,720 Speaker 1: I went into the class and they say, and so 374 00:27:04,840 --> 00:27:08,920 Speaker 1: introduce yourself, and I said, yeah, I'm I'm playing piano. 375 00:27:09,000 --> 00:27:13,560 Speaker 1: I come here to to study classical music. And everybody 376 00:27:13,600 --> 00:27:16,080 Speaker 1: looks at me. It's like they're seeing an alien. What 377 00:27:16,640 --> 00:27:19,760 Speaker 1: a s a Mozart? You know Mozart? I say, I 378 00:27:19,840 --> 00:27:23,840 Speaker 1: heard about that guy. Yeah, he's dead for many years. Right, 379 00:27:24,160 --> 00:27:26,040 Speaker 1: I'm like, wow, this is something you know, I've been 380 00:27:26,080 --> 00:27:29,800 Speaker 1: in a bubble. Oh. By the way, I also record Chopstick, 381 00:27:30,440 --> 00:27:32,359 Speaker 1: you know, but I did not know that piece in China. 382 00:27:32,440 --> 00:27:35,119 Speaker 1: I did not know Chopstick. I know Chopstick, you know. 383 00:27:35,520 --> 00:27:39,160 Speaker 1: But so so they so, you know, so they find 384 00:27:39,160 --> 00:27:44,240 Speaker 1: me that jug my career would be over. Right. So 385 00:27:44,240 --> 00:27:47,639 Speaker 1: so one day where you might them backstage offended off 386 00:27:47,680 --> 00:27:50,800 Speaker 1: our course for there's a piano. They were in the 387 00:27:50,880 --> 00:27:53,680 Speaker 1: rehearsal for two minutes and they cannot stand anymore. That 388 00:27:54,000 --> 00:27:57,040 Speaker 1: they all came out because they just couldn't listen to symphony. 389 00:27:57,359 --> 00:28:00,000 Speaker 1: And and they said, look, if there's a piano there, 390 00:28:00,160 --> 00:28:03,480 Speaker 1: can you play chap stick? And and I also, yeah, 391 00:28:03,520 --> 00:28:05,399 Speaker 1: so I don't. I don't really know. And then but 392 00:28:05,480 --> 00:28:09,040 Speaker 1: they showed me and I started. But from that moment on, 393 00:28:09,200 --> 00:28:11,280 Speaker 1: we became really good friends. It's also you know, this 394 00:28:11,440 --> 00:28:14,240 Speaker 1: culture class is kind of you know, we went through 395 00:28:14,359 --> 00:28:17,000 Speaker 1: that that point, um, and then I realized, you know, 396 00:28:17,080 --> 00:28:20,040 Speaker 1: one day I should help my friend and classmate to 397 00:28:20,160 --> 00:28:24,399 Speaker 1: have a bit of uh, you know, music inspirations in 398 00:28:24,520 --> 00:28:28,040 Speaker 1: the school. So therefore, ten years ago we found it 399 00:28:28,560 --> 00:28:31,320 Speaker 1: that the non non international Music Foundation in New York 400 00:28:31,960 --> 00:28:35,720 Speaker 1: and now we have almost sixty schools. And I also 401 00:28:35,800 --> 00:28:41,560 Speaker 1: want to thank thank you. But I also I want 402 00:28:41,560 --> 00:28:44,640 Speaker 1: to have this opportunity to thank alk because from the 403 00:28:44,880 --> 00:28:48,680 Speaker 1: first time when we played concert, Alec was the host 404 00:28:48,760 --> 00:28:53,320 Speaker 1: already and then in every every fund reasing time he's 405 00:28:53,360 --> 00:28:57,160 Speaker 1: always there and he's also U you know, don't hard 406 00:28:57,200 --> 00:29:01,800 Speaker 1: to you thank you know, we really appreciate your help. 407 00:29:01,840 --> 00:29:03,600 Speaker 1: And so the foundation has been in existence for how 408 00:29:03,680 --> 00:29:08,120 Speaker 1: long now ten years? Ten years? Yeah, and sixty schools 409 00:29:08,160 --> 00:29:12,600 Speaker 1: in the US around the world. Yeah, how would you say, 410 00:29:12,760 --> 00:29:14,680 Speaker 1: I mean to the extent that this is possible because 411 00:29:14,680 --> 00:29:20,400 Speaker 1: I'm always quick to to undervalue or under emphasize the 412 00:29:20,480 --> 00:29:24,360 Speaker 1: American experience, if you will. But you are a prodigy, obviously, 413 00:29:24,400 --> 00:29:26,240 Speaker 1: and it's not Gonnam dead at the piano since you're 414 00:29:26,280 --> 00:29:30,280 Speaker 1: five years old, how much would you say, the United States, 415 00:29:30,400 --> 00:29:33,080 Speaker 1: and your experience of living United States helped to crystallize 416 00:29:33,120 --> 00:29:37,120 Speaker 1: some of your talents. Um. I was very lucky. I 417 00:29:37,240 --> 00:29:42,840 Speaker 1: had this best teacher in the world, Barack Graffman Curtis. Yeah, Curtis. 418 00:29:43,440 --> 00:29:48,680 Speaker 1: He basically became a lifetime mentor to me. Um. And 419 00:29:49,000 --> 00:29:52,480 Speaker 1: so because this is quite important, there are many schools, 420 00:29:53,360 --> 00:29:59,000 Speaker 1: many different teachers. You need to find someone who's having 421 00:29:59,080 --> 00:30:02,600 Speaker 1: a you know, green college, but also fits your style. 422 00:30:03,200 --> 00:30:05,600 Speaker 1: And in the way Gary is that absolutely the right 423 00:30:05,640 --> 00:30:09,240 Speaker 1: one because he taught me so much about different culture 424 00:30:09,680 --> 00:30:12,280 Speaker 1: because you know, learning piano, this is not just playing 425 00:30:12,320 --> 00:30:15,080 Speaker 1: the note. You have to learn the culture, and you 426 00:30:15,280 --> 00:30:19,840 Speaker 1: have to learn the history. You need to learn their culture, roots, 427 00:30:20,160 --> 00:30:24,120 Speaker 1: folk music, and somehow you're learning the culture of the 428 00:30:24,200 --> 00:30:27,840 Speaker 1: world and you really need to dig into it. Um. 429 00:30:28,000 --> 00:30:30,600 Speaker 1: And then I think in the US it's a it's 430 00:30:30,640 --> 00:30:34,040 Speaker 1: a really um. You have so many different neighborhood you know, 431 00:30:34,160 --> 00:30:36,920 Speaker 1: if you want to find more European neighborhood like German Town, 432 00:30:37,000 --> 00:30:40,480 Speaker 1: you're under the French quarter um or you know, so 433 00:30:40,600 --> 00:30:43,239 Speaker 1: you always find people from different culture and they can 434 00:30:43,440 --> 00:30:46,280 Speaker 1: share you know, their their culture with you. Uh. And 435 00:30:47,160 --> 00:30:49,840 Speaker 1: and I still remember the first few years it was 436 00:30:50,000 --> 00:30:52,320 Speaker 1: very difficult for me to understand the culture. And then 437 00:30:52,840 --> 00:30:57,479 Speaker 1: uh Gary found a wonderful teacher who taught me Shakespeare. Um. 438 00:30:57,680 --> 00:31:01,280 Speaker 1: Then you know, after reading a few of the books, 439 00:31:01,440 --> 00:31:05,880 Speaker 1: that I starting to understand the Western classic music. You know, 440 00:31:06,600 --> 00:31:10,400 Speaker 1: the readationship between you know, the music to the art 441 00:31:10,520 --> 00:31:13,200 Speaker 1: theme you know, to the novels. You know too, you 442 00:31:13,320 --> 00:31:17,440 Speaker 1: have to have the surroundings. And then of course not 443 00:31:17,640 --> 00:31:20,520 Speaker 1: only US is important. You also need to go to 444 00:31:20,640 --> 00:31:24,920 Speaker 1: Europe because this is some of some of the greatest composers, 445 00:31:25,000 --> 00:31:28,480 Speaker 1: like going to Moscow and our Saint Petersburg, going to Vienna, 446 00:31:29,520 --> 00:31:34,440 Speaker 1: going to Berlin, Hamburg, Paris and our Madrid. You know, 447 00:31:34,520 --> 00:31:39,720 Speaker 1: to get into the European culture. What does a conductor 448 00:31:39,840 --> 00:31:42,640 Speaker 1: have to offer you these days at your level? Um, 449 00:31:42,880 --> 00:31:48,680 Speaker 1: when I was a teenager, I had many great life 450 00:31:48,720 --> 00:31:54,320 Speaker 1: experience with you know, conductors like salalish Uh, Laura Mazell 451 00:31:54,840 --> 00:31:57,360 Speaker 1: Uh and they're like my grandfather, you know, they're like 452 00:31:57,960 --> 00:32:02,280 Speaker 1: a totally different generation and from a totally different time. 453 00:32:02,960 --> 00:32:05,720 Speaker 1: And so they told me how to understand payto and 454 00:32:05,960 --> 00:32:09,040 Speaker 1: how to understand Brahms, how to understand you know in 455 00:32:09,120 --> 00:32:12,640 Speaker 1: a way that it's hard to explain in the schools, 456 00:32:12,880 --> 00:32:15,960 Speaker 1: but this is like face to face. They show you 457 00:32:16,080 --> 00:32:21,160 Speaker 1: the feeling, you know, like they basically even though sometimes 458 00:32:21,960 --> 00:32:24,640 Speaker 1: they don't sing really well, they can really show what 459 00:32:24,760 --> 00:32:28,400 Speaker 1: they want. And those are kind of life experiences. And 460 00:32:28,520 --> 00:32:31,760 Speaker 1: this is something that I'm so treading because some of 461 00:32:31,880 --> 00:32:35,040 Speaker 1: those masters already passed away and I still have a 462 00:32:35,080 --> 00:32:40,400 Speaker 1: beautiful memories of my first time meetings about it or Mozelle. Um. 463 00:32:40,840 --> 00:32:43,760 Speaker 1: And this is just tremendous experience for me. Name if 464 00:32:43,800 --> 00:32:46,240 Speaker 1: you can't a couple of kind of conductors who you 465 00:32:46,320 --> 00:32:50,200 Speaker 1: really love working, Yeah, absolutely, uh, Costavo do them. He's 466 00:32:50,280 --> 00:32:53,400 Speaker 1: my great buddy. I love him. We just played yes, 467 00:32:53,480 --> 00:32:56,520 Speaker 1: I mean before yesterday in l a um and then 468 00:32:57,600 --> 00:33:01,160 Speaker 1: pay to the number two. Yeah. And also I love 469 00:33:01,320 --> 00:33:06,840 Speaker 1: the new conductor of Burning Pharmonic uh, Careo Patriinko, which 470 00:33:07,440 --> 00:33:10,520 Speaker 1: is going to be starting with Burning Field this season. 471 00:33:10,880 --> 00:33:14,440 Speaker 1: Um and uh and of course I love to be meta. 472 00:33:15,400 --> 00:33:18,200 Speaker 1: He showed me all the tricks what Harvest did with 473 00:33:18,400 --> 00:33:22,280 Speaker 1: him the Rachmano third Concerto. And also when I played 474 00:33:22,360 --> 00:33:25,440 Speaker 1: chopin number one, he said, this, honest not good enough. 475 00:33:25,640 --> 00:33:27,800 Speaker 1: I said, I said, so, so what do you think? 476 00:33:27,840 --> 00:33:29,840 Speaker 1: He said? Yeah, I play with his other room in style. 477 00:33:30,080 --> 00:33:33,760 Speaker 1: He did not play like this. Show me my star 478 00:33:33,880 --> 00:33:35,600 Speaker 1: showed me and he said, I don't know how to 479 00:33:35,680 --> 00:33:41,520 Speaker 1: do that, but he did like this are you still learning? 480 00:33:43,760 --> 00:33:46,760 Speaker 1: So here's the thing. You know, sometimes you you go 481 00:33:46,920 --> 00:33:50,640 Speaker 1: to a master class and um, you learn a lot 482 00:33:50,720 --> 00:33:55,560 Speaker 1: of things in that class, and then afterwards it helps 483 00:33:55,640 --> 00:33:59,120 Speaker 1: you a little bit, you know, for a few more weeks. 484 00:34:00,320 --> 00:34:05,240 Speaker 1: If someone's really good, real master, you will hear a 485 00:34:05,320 --> 00:34:09,320 Speaker 1: master class and that class will carry at least another 486 00:34:09,440 --> 00:34:11,960 Speaker 1: ten years. And every time you think about, you know 487 00:34:12,360 --> 00:34:16,320 Speaker 1: what he or she told you, And then that class 488 00:34:16,560 --> 00:34:20,319 Speaker 1: is not just about how to make music, but it's 489 00:34:20,560 --> 00:34:22,759 Speaker 1: it's a really the way how are you going to 490 00:34:22,920 --> 00:34:27,440 Speaker 1: think about music and how you connect with your personality 491 00:34:27,880 --> 00:34:31,360 Speaker 1: you know, to the composers, and how are you breading 492 00:34:31,640 --> 00:34:34,880 Speaker 1: your imagination into the music, and how are you going 493 00:34:34,960 --> 00:34:41,000 Speaker 1: to develop your next ten years? So they basically make 494 00:34:41,120 --> 00:34:46,000 Speaker 1: you think much more than who you are. Few musicians 495 00:34:46,120 --> 00:34:49,160 Speaker 1: can really do that, and it really brings you to 496 00:34:49,400 --> 00:34:53,680 Speaker 1: think much deeper and to think about in a very 497 00:34:53,840 --> 00:34:58,720 Speaker 1: different concept. Um and I still remember working with the Maesro, 498 00:34:59,120 --> 00:35:05,960 Speaker 1: Nicholas Hannon, core um Mozart and of course I played 499 00:35:06,600 --> 00:35:12,319 Speaker 1: many times motar concertos, but that lesson I played, Um, 500 00:35:12,719 --> 00:35:16,520 Speaker 1: he showed me something that I had never seen. Mozart 501 00:35:16,640 --> 00:35:21,360 Speaker 1: can be described or interpreted in that way, and that 502 00:35:21,600 --> 00:35:24,120 Speaker 1: changed the whole time. You You you basically think, oh 503 00:35:24,160 --> 00:35:26,440 Speaker 1: my god, what I did was wrong, you know, and 504 00:35:26,680 --> 00:35:30,880 Speaker 1: I'm gonna relearn everything. So so you know, some musicians 505 00:35:30,920 --> 00:35:36,120 Speaker 1: have that power to really restart your thinking of everything. Yeah, 506 00:35:36,760 --> 00:35:39,040 Speaker 1: are you gonna tell us what he said about Mozart? 507 00:35:40,400 --> 00:35:42,239 Speaker 1: These people love class or is that a secret? That 508 00:35:42,280 --> 00:35:44,960 Speaker 1: an industry secret? Nothing? I mean, I think I play 509 00:35:44,960 --> 00:35:47,439 Speaker 1: a little bit of now would be the perfect time 510 00:35:47,480 --> 00:35:49,920 Speaker 1: for that. It's yeah, it's a little bit hard to 511 00:35:50,480 --> 00:35:53,200 Speaker 1: to describe because it's you don't need to describe it. 512 00:35:53,239 --> 00:35:57,160 Speaker 1: You can just do it. I play two variations from 513 00:35:57,920 --> 00:38:10,840 Speaker 1: the Twink of Twinkle variation, right, and let's take a 514 00:38:10,840 --> 00:38:14,320 Speaker 1: couple more. Um the uh, was there a moment in 515 00:38:14,400 --> 00:38:17,560 Speaker 1: your life? I mean, I know I asked these sappy questions, 516 00:38:17,600 --> 00:38:19,120 Speaker 1: but it was there a moment in your life when 517 00:38:19,160 --> 00:38:21,840 Speaker 1: you said, I really am pretty good at this? Like 518 00:38:21,920 --> 00:38:25,120 Speaker 1: when did you realize you were becoming the person that 519 00:38:25,200 --> 00:38:29,600 Speaker 1: you became? It happened few times, Yeah, because because like 520 00:38:29,920 --> 00:38:32,640 Speaker 1: you know, it happens, and then you think you're now 521 00:38:32,719 --> 00:38:34,880 Speaker 1: god enough. You know. It's kind of like that. So 522 00:38:35,320 --> 00:38:37,920 Speaker 1: when I was nige, I thought, I really don't have 523 00:38:38,040 --> 00:38:41,640 Speaker 1: tenant and I thought I'm going to give up. Um. 524 00:38:43,480 --> 00:38:48,080 Speaker 1: And then somehow why why, I mean, what was going 525 00:38:48,160 --> 00:38:50,040 Speaker 1: on in your life? That happened? When I had I 526 00:38:50,120 --> 00:38:52,680 Speaker 1: had a professor who did not like me, and then 527 00:38:53,280 --> 00:38:57,680 Speaker 1: she fired me. Uh, and I thought, I'm so bad. 528 00:38:57,960 --> 00:39:01,120 Speaker 1: I got fired human, you know, can't you imagine this? Really? 529 00:39:01,680 --> 00:39:03,959 Speaker 1: And she told me that you you will never become 530 00:39:04,000 --> 00:39:08,319 Speaker 1: a pianist. So yeah, yeah, so you call her before 531 00:39:08,360 --> 00:39:13,560 Speaker 1: every concert? No, I I got ring out. No. I 532 00:39:13,640 --> 00:39:16,680 Speaker 1: get so scared because every time when I'm making audition 533 00:39:16,960 --> 00:39:20,440 Speaker 1: in the conservatory, she's sitting first roll because she's the professor, 534 00:39:20,560 --> 00:39:23,840 Speaker 1: you know. So I had so many nightmares because of 535 00:39:24,880 --> 00:39:29,800 Speaker 1: you know, her her encouragement. Um. Anyway, so but but 536 00:39:29,920 --> 00:39:33,360 Speaker 1: then I am and then, uh, the first time I 537 00:39:33,440 --> 00:39:35,359 Speaker 1: thought I'm pretty good. It's that I when I won 538 00:39:35,480 --> 00:39:38,400 Speaker 1: the international competition at the age of twelve in Germany, 539 00:39:38,840 --> 00:39:43,319 Speaker 1: and I thought, wow, I actually can play some good sound. Yeah. Um. 540 00:39:43,520 --> 00:39:47,359 Speaker 1: And then and then I had a horrible time at 541 00:39:47,480 --> 00:39:50,320 Speaker 1: school again, like I did not do well, and I'm like, okay, 542 00:39:50,320 --> 00:39:53,800 Speaker 1: I'm not good enough. And then when I came to 543 00:39:53,880 --> 00:39:57,440 Speaker 1: America in the beginning, I was so confident. In the 544 00:39:57,560 --> 00:40:00,919 Speaker 1: first months, I'm like, wow, I'm pretty good. And then 545 00:40:01,040 --> 00:40:03,560 Speaker 1: you know, there are many great students at Curtis. They 546 00:40:03,640 --> 00:40:07,200 Speaker 1: play so well, uh, and I'm like, I'm not good enough. 547 00:40:07,920 --> 00:40:11,360 Speaker 1: And then I have no concerts, you know, for for 548 00:40:11,600 --> 00:40:16,680 Speaker 1: like three years almost because nobody have the confidence to 549 00:40:16,880 --> 00:40:20,239 Speaker 1: take a fifteen year old boy, you know, to play 550 00:40:20,440 --> 00:40:24,560 Speaker 1: Beethoven concertos or or Tchaikovsky. It's kind of like too young, 551 00:40:24,719 --> 00:40:27,440 Speaker 1: you know. So I still remember my early days audition, 552 00:40:27,520 --> 00:40:32,440 Speaker 1: you know, from Philadelphia taking the the Greyhound boss um 553 00:40:33,440 --> 00:40:36,160 Speaker 1: like twelve dollar or something like yeah yeah, and then 554 00:40:36,840 --> 00:40:40,840 Speaker 1: came to uh him to Times Square and then running 555 00:40:40,960 --> 00:40:46,080 Speaker 1: into auditions, and then afterwards the conductors like yeah so um. 556 00:40:46,360 --> 00:40:51,120 Speaker 1: So there was a audition for Milwauki Symphony. It's good, good, 557 00:40:51,160 --> 00:40:55,080 Speaker 1: good orchestra. And the conductor look at me from some 558 00:40:55,280 --> 00:40:59,799 Speaker 1: European country and you played really good, But how old 559 00:40:59,800 --> 00:41:02,759 Speaker 1: are you? And I'm a fifteen Oh, maybe let's meat 560 00:41:02,800 --> 00:41:06,279 Speaker 1: another ten years. So it did not go so well 561 00:41:06,880 --> 00:41:11,680 Speaker 1: in the beginning. Now, there's a story that I read 562 00:41:12,040 --> 00:41:15,400 Speaker 1: about you going to eat Lincoln and you go the 563 00:41:15,480 --> 00:41:18,080 Speaker 1: German one like in twelve one. I was twelve right, 564 00:41:18,200 --> 00:41:21,800 Speaker 1: and you go to a competition first international company for 565 00:41:21,920 --> 00:41:24,000 Speaker 1: me yea. And when you go there, you went to 566 00:41:24,080 --> 00:41:27,719 Speaker 1: a church, and I remember you prayed to Jesus when 567 00:41:27,760 --> 00:41:30,880 Speaker 1: you were in this church. And I'm just wondering, and 568 00:41:31,239 --> 00:41:33,839 Speaker 1: I want to phrase this question the right way, which 569 00:41:33,920 --> 00:41:37,319 Speaker 1: is do you have without enumerating them, were discussing them 570 00:41:37,360 --> 00:41:40,840 Speaker 1: if you don't want to specific religious beliefs or like 571 00:41:41,040 --> 00:41:43,840 Speaker 1: many people that I've met in the classics, music itself 572 00:41:43,920 --> 00:41:47,719 Speaker 1: your religion. I think certainly music is our religion. But 573 00:41:47,880 --> 00:41:53,239 Speaker 1: I do believe, uh, there's some incredible power beyond us. 574 00:41:53,800 --> 00:41:56,960 Speaker 1: You're getting inspired from somewhere, and this is not just 575 00:41:57,320 --> 00:42:01,120 Speaker 1: about our wonderful friendship, but there's some someone is helping you, 576 00:42:01,280 --> 00:42:03,719 Speaker 1: that's for sure. And also from the different part of 577 00:42:03,880 --> 00:42:06,920 Speaker 1: my life. You know, there's a lot of time I 578 00:42:07,040 --> 00:42:09,560 Speaker 1: thought I'm not gonna make it, but somehow I made it. 579 00:42:09,680 --> 00:42:14,520 Speaker 1: Strength do you listen to any classical music? For me? 580 00:42:15,360 --> 00:42:18,759 Speaker 1: I when I'm not performing, I like to listen to 581 00:42:18,920 --> 00:42:22,920 Speaker 1: jazz because somehow you know, the the jazz and the 582 00:42:23,000 --> 00:42:27,000 Speaker 1: jazz musicians are really really incredible. They can just you know, 583 00:42:27,160 --> 00:42:30,279 Speaker 1: give anything and they make it into a beautiful work, 584 00:42:30,560 --> 00:42:33,920 Speaker 1: especially on the people that I admire like Herbie Hancock 585 00:42:34,160 --> 00:42:37,120 Speaker 1: and Chicorea, you know, those my great friends, and also 586 00:42:37,280 --> 00:42:40,040 Speaker 1: learned so much from them. Um. And then the other 587 00:42:40,200 --> 00:42:42,920 Speaker 1: aspect is to to listen to new music, you know, 588 00:42:43,440 --> 00:42:47,040 Speaker 1: just fresh made, whether it's on top radio or like 589 00:42:47,200 --> 00:42:49,920 Speaker 1: E d M. You know, just here movies TV. And 590 00:42:50,760 --> 00:42:55,080 Speaker 1: it's also great um and uh and also um, I 591 00:42:55,200 --> 00:42:59,240 Speaker 1: think listen to modern symphony or Brahms. Symphonies are always 592 00:42:59,680 --> 00:43:02,640 Speaker 1: you know, always very inspiring. You always find something new. 593 00:43:02,840 --> 00:43:05,560 Speaker 1: And somehow, when I was a kid, I did not 594 00:43:05,719 --> 00:43:08,520 Speaker 1: really reflect those things into my life. You know, you 595 00:43:08,640 --> 00:43:10,520 Speaker 1: kind of listen to it, you know it's beautiful. But 596 00:43:10,640 --> 00:43:14,000 Speaker 1: now somehow what I'm especially you know, normally when you 597 00:43:14,080 --> 00:43:16,640 Speaker 1: play with orchestra, the second half is the orchestra, right, 598 00:43:16,760 --> 00:43:19,200 Speaker 1: so I always sit in and then when I listened 599 00:43:19,200 --> 00:43:23,600 Speaker 1: to Mother or Problems, it's just somehow it's reflecting your life, 600 00:43:23,840 --> 00:43:28,040 Speaker 1: the changes of the harmonies. Somehow, it's like it's it's 601 00:43:28,120 --> 00:43:30,759 Speaker 1: so related to us. You're sort of thinking, oh, this 602 00:43:30,920 --> 00:43:33,520 Speaker 1: is one point of my career. What happened is like, 603 00:43:34,000 --> 00:43:36,920 Speaker 1: you know, the turning of the harmonies. What is it 604 00:43:37,960 --> 00:43:40,800 Speaker 1: about this music that it touches people that way? What 605 00:43:40,960 --> 00:43:43,880 Speaker 1: is your feeling? Right? Because in classical music, especially in 606 00:43:43,960 --> 00:43:47,760 Speaker 1: the symphonic pieces, there's there have so many different layers, 607 00:43:48,400 --> 00:43:52,560 Speaker 1: different layers, and those layers are you know, representing our 608 00:43:52,680 --> 00:43:59,320 Speaker 1: emotion um our memories and and our kind of different 609 00:43:59,440 --> 00:44:04,440 Speaker 1: aspect of culture um and people like Moller. He's the 610 00:44:05,120 --> 00:44:07,040 Speaker 1: reason I think with love of his music so much 611 00:44:07,160 --> 00:44:09,279 Speaker 1: is that because he's he has such a mixed of 612 00:44:09,440 --> 00:44:14,200 Speaker 1: culture in his music, and it's somehow you know, every 613 00:44:14,280 --> 00:44:18,080 Speaker 1: one of us is piece of that um and and 614 00:44:18,239 --> 00:44:21,120 Speaker 1: also you know, class that's what classical music is for. 615 00:44:21,200 --> 00:44:24,240 Speaker 1: It has a you know, it's a very long pieces, 616 00:44:24,560 --> 00:44:28,480 Speaker 1: very long symphonies, and you know, it's it's very different 617 00:44:28,520 --> 00:44:31,160 Speaker 1: when you if you see a film at five minutes 618 00:44:31,719 --> 00:44:35,000 Speaker 1: and finishes, if it's a TV so twenty minutes, or 619 00:44:35,120 --> 00:44:38,200 Speaker 1: it's a it's a movie for two hours, it's get 620 00:44:38,440 --> 00:44:41,879 Speaker 1: you into a different stage of your heart, of your 621 00:44:41,920 --> 00:44:46,160 Speaker 1: mind as well. And I think symphonies are like an opera, 622 00:44:46,440 --> 00:44:49,759 Speaker 1: you know, they can really get in two very deep 623 00:44:50,000 --> 00:44:54,880 Speaker 1: layers of your heart and of your senses. Um. And 624 00:44:54,960 --> 00:44:57,719 Speaker 1: another thing is that once you're in the concert hall 625 00:44:57,760 --> 00:45:02,760 Speaker 1: listening to those incredible work, is that everything else get blocked, 626 00:45:03,480 --> 00:45:06,920 Speaker 1: everything else. So that's why your emotion becomes so pure, 627 00:45:07,239 --> 00:45:11,839 Speaker 1: so genuine. You become who you are. And so that's 628 00:45:11,880 --> 00:45:14,920 Speaker 1: why you know, we get tears in our eyes because 629 00:45:15,000 --> 00:45:18,520 Speaker 1: we're so focused and we just let music take us 630 00:45:18,880 --> 00:45:22,200 Speaker 1: to when we start, you know, our life, the first 631 00:45:22,320 --> 00:45:27,200 Speaker 1: day of your memory. And I think that's ill. I 632 00:45:27,320 --> 00:45:29,359 Speaker 1: was going to ask this question, but I'll just say 633 00:45:29,400 --> 00:45:31,359 Speaker 1: this now, and that is that I was going to say, 634 00:45:31,880 --> 00:45:34,080 Speaker 1: you grew up your whole childhood in China and then 635 00:45:34,080 --> 00:45:36,800 Speaker 1: you've lived here and abroad for years, and I was 636 00:45:36,800 --> 00:45:39,120 Speaker 1: going to ask you, what what have you learned that 637 00:45:39,239 --> 00:45:41,880 Speaker 1: the Chinese people in the American people have in common? 638 00:45:42,400 --> 00:45:44,480 Speaker 1: And I guess what I'm realizing is everywhere you go, 639 00:45:44,640 --> 00:45:46,919 Speaker 1: what people have in common is this language of music 640 00:45:47,000 --> 00:45:50,319 Speaker 1: and absol love of music. Like, for example, there are 641 00:45:50,320 --> 00:45:53,560 Speaker 1: a lot of great augurs are coming to visit China, 642 00:45:53,719 --> 00:45:56,680 Speaker 1: I mean, and most of those Chinese kids probably never 643 00:45:56,800 --> 00:46:00,160 Speaker 1: heard of those countries before in their life. But when 644 00:46:00,200 --> 00:46:03,200 Speaker 1: they start playing their music, we all how that we 645 00:46:03,360 --> 00:46:05,960 Speaker 1: know each other. Um and this is the power, This 646 00:46:06,080 --> 00:46:09,719 Speaker 1: is really the power. Please join me in thanking our 647 00:46:09,800 --> 00:46:44,680 Speaker 1: very special guest, long long, Thank you, Long long. His 648 00:46:44,960 --> 00:46:49,320 Speaker 1: most recent album of pieces normally reserved for young learners 649 00:46:49,520 --> 00:46:55,400 Speaker 1: is called Piano Book. The accompanying hardcover has all the 650 00:46:55,440 --> 00:46:58,479 Speaker 1: sheet music, plus his notes on why each piece meant 651 00:46:58,520 --> 00:47:02,800 Speaker 1: so much to him. But up, I'm Alec Baldwin and 652 00:47:02,880 --> 00:47:04,480 Speaker 1: you're listening to here's the Thing.