Lang Lang Plays

he's Long Long. He and his signature Beaufon, were the obvious choice to open the Beijing Olympics, watched by four billion people, and for President Obama to invite to play at the intimate White House dinner for the President of China. Long Long takes an obvious joy in his art and his fame, but both are hard won. A musical prodigy, he was the son of two talented artists forced to

abandon their dreams by the Cultural Revolution. Just a few years after he won a national competition at the age of five, his father abandoned everything else in his life to focus on his son's talent. They moved together to Beijing. Long Long won so many contests that he was offered a spot by the Curtis Institute of Music in Philadelphia. His father moved with him to America too. All that vicarious ambition took its toll on their bond, but over

the years it returned. We're very close. Our conversation was taped in front of a live audience at w n YCS Green Space. We're really much better than when I was a nine year much better. It was not in the same level. Yeah, we were really and it's getting closer somehow because we are not living together. So in a way, you know, these tents makes beauty, right, So

so that's that's how exactly happened. In his mind, he must have a kind of a mixed feeling, the euphoria of you having made it to the degree you've made it, and at the same time he's not around you. I know that if I was your dad, I'm obsessed with my kids. And if I was like your dad and I was instrumental and influential in helping you become what you became, then all of a sudden you were like, Okay, Dad, I got this, and you're gonna move out on your own.

I'd be like, wait, no. You know, if you were my son, I want to live with you forever. So I mean, he, um, where is to do with himself? And I think you're not living together? He's actually uh, he's helping me a lot in China back home, and then he's also teaching a lot. He liked to helping the next generation of musicians and uh, and he himself was a musician. Yeah, he played the are Who the Chinese valnin um so um that was his um using some like circus bans. He was in an Air Force ban.

But yeah, before I was in a circus ban. Yeah. Yeah. But the instrument itself is very beautiful. It's like one of the most charming instruments from Asia, and it's very tasteful. It has a really beautiful taste and and it's also an instrument always makes you cry somehow Yeah yeah, so so sometimes, I mean, my father made me cry this different reason. You weren't crying because he broke out what is it called again? Are Who? Are Who? Yeah? Are Who? Yeah?

More like that. Yeah, I'll get my Chinese produced eventually, but maybe by the time we're done. But but but then you your country, your native country is very driven by competitions and international competitions. They put a tremendous emphasis on that. Correct, absolutely the best way to make career. We're meaning the competitions and which is the truth, especially during that time, because otherwise nobody will discover you, you know, in a way. So we we have to go out

for international competitions and to win prizes. So being number one, it's kind of became a motto in my early career. And then how farst um after I landed here, I had this teacher, great pianist, Gary Graffman, who who's also quite different compared to the other academic professors because he is so into, you know, a real career rather than a short term being you know, a price winner. So he discoursed me to do competitions and I was like, wow,

really did he say? Why? Yeah? He said, then you're too crazy about being number one and you're not really focused on what you should be, you know, learning the repertoire and too he said, do you want to become a great musician or you want to just win? And I said, oh, I said, is that not the same? I said, what was the difference? I said, if I don't win a prize, how I'm going to become a great musician. He said, Oh, okay, that's the wrong understanding

you have, and especially his wife, you know, Naomi. Every time I go to library in uh In Curtis and then uh I started looking over the competition forms like Monk Clyburn, Chopin, Shakhovsky, and I take it out and then I'm thinking to feel the form, right, And I saw Naomi next to me, Hey, what are you doing? Bad boy? H shouldn't you just working on your broms second piano concerto rather than, you know, feeling the form?

Try to be crazy number one. Somehow, I was like, okay, let me go back to when you're when you when you when you're young, you won your first competition when you were five? Correct, Yeah, I mean that's that's what what I was kind of election. Yeah, I was like, kind of a professional competition person. You know, I'm very competitive. If I see you, let's let's do a commodation now anyway I see you, Yeah, let's do it. I'm not gonna bother you with our compo. You're the winner. Let's

skip to that. But but but what fascinates me is the emotion and the feeling behind that kind of work. When you're five years old, if you can recall, are you sitting at a piano and it's pressure, and it's tense, and it's like you have to pass a test because it's a competition and you're and and there's there's a kind of a tight feeling you have where you want

or are you enjoying yourself when you're five years old? Um. One thing good about competition is that it's kind of pushes you to play better than you're normally does because you you try to play without round notes, you try to be concentrate on what you do. But also, in the same time, if you are too serious about competition, you lose your soul in a way that you are

afraid to do something wrong. And as you know in art, sometimes when you really do something unique, you are actually not really on the page, you're actually doing something but that that is a really great moment. So so in a way, it's it's hard to say, you know, it's hard to say, but I kind of enjoyed it because sometimes I lose. Sometimes I win is encouraging me to do better. UM, And actually I learn more than UM than just playing because I see others playing and I'm like, wow,

they're good. I need to catch up, you know. So so this is a good, good vibe. It's funny to see you, of all people, and you watching other five year old kid playing and you're like, damn, he's good. I couldn't do that when I was let's have a competition, you would be right. Now you're challenging everyone to a duel at the piano. Now what was missing in your childhood? What did you wish you had? More of the video games? Uh more, more sports? Uh more? Free free time, free time?

Yeah yeah, yeah, but now I mean at eight thirty six, I can have more free times you might want. So it's in the end, it's kind of okay. Postponed it. Yeah yeah, yeah, yeah, postponed it. Yeah, but but in a way that I wish that I may have a little bit more more fun time, you know, to maybe less pressure. I would say, yeah, yeah, did your dad say I'm sorry that it was so tough and I'm so off. He never apolished, so I think the best action he was like, oh yeah, let yourself handle your stuff,

and I'm not going to handle it anymore. I think that's that's the the way that he has the management onto you right right right, and now he's cheerless off. My mom said, older, important concert you are going, and then you have a nice photo. He likes to have some nice photos. You know, your mother is doing a lot of traveling with your father. So what's your mother's answering with all the travel? Just one martini is what

her program is. She does come in handy for somethingle if she has this natural some kind of a you know, she's just never get tired. She's incredible. I think I got some of my energy from her. Her eyes are always like this. Yeah. But before she started traveling with me, she always sleep really early, like already you know, I'm very healthy, right. But then she now traveled with me far fall a few years already, and now she's like, never sleep before three, three or two at least. But

she looks better than before. So I think it's the music therapy, you know. I think, you know, she's just everywhere, like every time I play something, you better crumpting. What's on your own? Mother? Uh? Is there a piece you play that is exceptionally challenging to you? Is there one that even you every time you play a new piece, whether it's a technically easy or difficult, there's always a

new story to tell. And somehow it's not all about you know, play the note anymore, you know, as growing up pianist, So more about how to bring those music to life again, um and into you know, a different interpretation. So therefore every piece is you have to focus and in a very different style of course. Yeah, but I wouldn't say this piece I just you know, kind of I don't need to care much and it will come out in a great way. No way. You have to

really focus and to concentrate. So that's why, like in in this new album, the in a book, it's the same thing. There are many pieces considered be pretty simple, but once you start to read look into those pieces and you're like, those are master pieces. It's not simple. Maybe technically simple, but if you want to make real, you know, music out of it, you have to be focused and to play everything in your mind to you know,

to make it work. Yeah. Well, there, of course is my first uh slip up here, which is that you brought up your book before I did, which is no, no, which is a bad hosting on my part. I should have mentioned that you have your new book out, the piano book and the CD which I have. And one thing I do, which is a silly, uh preoccupation, is I go to an iTunes or any kind of a

download service and I look and see the length. So it plays the mal or ninth fourth movement, the longest and the slowest, the most tortured fourth move to the mouth. And you do, Claire Dulon, you squeeze the hell out of that. You really play the very long yes, luxuri um. And I think, you know, after getting a little older, I think it's going to be even longer. And I've

joked I don't know worry. I mean, the other day there's the one critic said, you know, from the curb duloons, Uh, the way I played, I think long Lone places Goldberg with a two hour and thirty minutes, and I think it's a that's kind of a right thing to say. I'm not trying to figure out how long I'm gonna play that piece. Uh, but you know what, I just want to enjoy the moment and I wanted to make

sure that I heard everything from that piece. I have another question for you that, of course we have a piano here which is just a suggestion only don't feel any pressure. It's there in case you feel incline. That's you. You know. I like this way of you know, inviting someone to play. Yeah, there's one friend of my um it was, you know, the birthday of mine, and so he inmited me to his house and he said, you know, I know today's your birthday. Probably you will not play today,

but I just want to know. It's also my mother's birthday. No pressure, So I played Heppy birthday for her. Also, I heard it was public South and there's a like rich lady in London always inviting him for tea um and but he always has something to do. He did not have time, and there's a family he came and then the ladies like where is your chilu? Because I was you did not you might my cello today Billy Billy Joe did our show and Billy said that that

everywhere he goes. You know, obviously a considerable number of people have a piano in their home, and he said everywhere he goes, they're like, Billy, do you mind just one quick tune? And and and everywhere he goes it's like we play Christmas carols at the Christmas party? Where do you find the same thing as true? Our people constantly saying, but they do in a different way now they say, uh, what am traveling? Oh so to you need a place to practice anytime twenty four hours. I

don't have neighbors. It's okay, it's myself. I'm like, okay, I got it. I got it. Now before we get to some other subjects that I've got a lot of questions. Here, would you be gay less with some little yeah? I will play yeah, I will play a one off of the piece from the RICORDI. I don't know whish why, but I snyeah, they will come to you. M m yea, thank you, thank you. This is the Vaults of Emily

from the movie Emily. It's really nice, nice movie. Yeah, yeah, the describe for us how did the piano book come about? Whose idea was this? I always wanted to do an album like this because when I was a kid, I barely find um the professional musician recording pieces like or Unies or Cherney atudes, or Clementi so natina or most Art so natina, or some of the piece which you consider be the beginner's piece. Um. But those are the pieces I love the most when I was a kid.

And then those those are my best friend. And sometimes it's not best friends. Sometimes after a lot of practice, become my worst friend. Uh. Sometimes sometimes I want to kill them. Yeah, but in the end of the day, you know, those are the brand and butter made UH pianist to grow. Um So, so therefore I wanted to, you know, to record something which can be appreciated by every person who loves piano. Um. So that's why we

called the album the Piano Album. Yeah, and this is for Deutsche and then it's it's already in release because I have it on my phone. I don't thank you, thank you? What was worth it? Believe thanks? I I hope it's brings some something nice feelings. And I don't

don't always count the minute, please yeah that five second? Now, Now, when you when you when you when you're leaving uh very shortly in the next few days to go on a tour, and you're you're gonna have a um You're going to Rome and then you're going on to Korea Pacific. So for now, when you go on these trips, the first thing that comes to mind is that you know you grew up in uh, communist China, and of course Americans have their own you know, um unreliable images of

China and what what goes on in China. I don't think they're quite sure. But for me, what I'm curious about is how did the cultural revolution in China impact your parents. When there's an impact on your mom, I think that the revolution, of course this is from their their generation. I wasn't there, but it certainly gave them incredible um kind of I mean openness to to the next generation. They want their kid, you know, to to

uh to be a citizen of the world. And they you know, in a way that because they kind of missed ten years of time to not connected to to the world. Um and so so in a way that that's why my generation of Chinese kids, um and not kids anymore. Um. UM, we are very you know trying to you know, learn piano and to to get connected to the world of course being Chinese, but also a world citizen. UM. So of like the our mission is bridging the culture together. UM. This is your home now

in New York, New York home. Move to New York in two thousand seven, after UM ten years in Philadelphia, um since ninety seven and Curtis, Yeah, I was studying there, um and then I was waiting to earn more money to for the department here. So how's that going. Yeah, it worked since two thousand seven, So that's that's why I moved here. And uh, when I came to America in ninety six, I was just fourteen and and I thought New York is such a a CD with the

whole world behind. So I always wanted to to come here to uh, you know, to be part of this. Um. I mean because the cultural scene here is obviously very real. New York as a cultural capital like other great cities, but but maybe not as much as other cities. There was no in Paris. I mean I actually do have a new home in Paris fully six, so I mean sold a few records, so it would be like Beijing, New York on Paris. Like my yeah, but new sounds

like the perfect triangle New York, Beijing, Paris. But but but but so when you when you travel the world, are there halls that you play in or their people that you play, ensembles that you play with that you really get excited about? Like, what are among your favorite spaces to perform it. I know that the acoustics are very much of an issue because being on the board of the Philharmonic and they're gonna be dynamiting David Geffen Hall very shortly in the next year or two to

be dull of Geffen Hall. What's the space that when you perform you just love the sound of that space? Um. I mean there are many beautiful holes in the world. Um. And of course you have Carnegie Hall. Here have Boston Symphony Hall, it's really amazing sound. Um. And you have the Music Faraye Concert House in Vienna, um and U. And one of the very beautiful look um, like this

beautiful look is the Royal Arbort Hall in London. Maybe the sound is not great, but it looks great, you know e sometimes that come to you know, for TVD recording, you know, live streaming. Nice place. Yeah, and uh, but it's a really interesting because for pianists were normally play on the side, right, so so we never really look into audience somehow. I mean, if you want you do like this right and then but in the Royal Arbort

Hall it's a round right, so everywhere's audien. So first time I felt really nervous when I start playing Mozart, you know, so delicate, and then I see someone sweeping at me. I was like, oh, this is only downside. I was playing the round House, you know, and I'm thinking about cellist every day, you know, playing like wow, that's that's tough. I move with you with Manhattan School of Music. I told you about this story. We're in Central Park and you're playing Rhapsody in Blue and you're

there with the Philharmonic with Alan. It's the concert in the Park and where that's obviously where the reverse you'd be facing the other way, and you're playing the piano and you get to this the most tender and the most beautiful, the most gorgeous moment in that soft piano part of Rhapso and Blue. And you get to the end of the keyboard and you took this nano second to look at the audience. Of course I'm projecting here.

And you get to the end of the piano and you look at the You're like, you really love me, You're really crazy about me. When I do this, When I do this to this piano, you go crazy, don't you. I know you do like, yeah, it's me. Yeah, with you and I said that your mother, and your mother goes exactly. That's him. That's what he does. The great pianist Long Long. He took his first lesson when he was just three years old. You know who else got his start at three? It Sack Proman playing on a

toy violin in his bedroom. I love the sound of the violin. I heard it on the radio and I said, that's what I want to do. Simple, that's what I want to do. And there's no explanation. You know, everybody has a different thing that grabs their imagination. And the violent sound was that, and I think it was fitz So he was pretty good for grabbing the imagination. You know, my full interview with its perman can be found. And here's the thing, dot Org long Long on music that

moves him coming up. Yeah, I'm Alec Baldwin and you're listening to here's the thing. Long Long had barely hit puberty when he and his father landed in Philadelphia from Shenyang. The Curtis Institute of Music awarded Long Long of full scholarship. But teenagers still need a high school education. I still remember my first day in Phildelphia in high school and I went into the class and they say, and so introduce yourself, and I said, yeah, I'm I'm playing piano.

I come here to to study classical music. And everybody looks at me. It's like they're seeing an alien. What a s a Mozart? You know Mozart? I say, I heard about that guy. Yeah, he's dead for many years. Right, I'm like, wow, this is something you know, I've been in a bubble. Oh. By the way, I also record Chopstick, you know, but I did not know that piece in China. I did not know Chopstick. I know Chopstick, you know. But so so they so, you know, so they find

me that jug my career would be over. Right. So so one day where you might them backstage offended off our course for there's a piano. They were in the rehearsal for two minutes and they cannot stand anymore. That they all came out because they just couldn't listen to symphony. And and they said, look, if there's a piano there, can you play chap stick? And and I also, yeah, so I don't. I don't really know. And then but they showed me and I started. But from that moment on,

we became really good friends. It's also you know, this culture class is kind of you know, we went through that that point, um, and then I realized, you know, one day I should help my friend and classmate to have a bit of uh, you know, music inspirations in the school. So therefore, ten years ago we found it that the non non international Music Foundation in New York and now we have almost sixty schools. And I also

want to thank thank you. But I also I want to have this opportunity to thank alk because from the first time when we played concert, Alec was the host already and then in every every fund reasing time he's always there and he's also U you know, don't hard to you thank you know, we really appreciate your help. And so the foundation has been in existence for how long now ten years? Ten years? Yeah, and sixty schools

in the US around the world. Yeah, how would you say, I mean to the extent that this is possible because I'm always quick to to undervalue or under emphasize the American experience, if you will. But you are a prodigy, obviously, and it's not Gonnam dead at the piano since you're five years old, how much would you say, the United States, and your experience of living United States helped to crystallize some of your talents. Um. I was very lucky. I

had this best teacher in the world, Barack Graffman Curtis. Yeah, Curtis. He basically became a lifetime mentor to me. Um. And so because this is quite important, there are many schools, many different teachers. You need to find someone who's having a you know, green college, but also fits your style. And in the way Gary is that absolutely the right one because he taught me so much about different culture because you know, learning piano, this is not just playing

the note. You have to learn the culture, and you have to learn the history. You need to learn their culture, roots, folk music, and somehow you're learning the culture of the world and you really need to dig into it. Um. And then I think in the US it's a it's a really um. You have so many different neighborhood you know, if you want to find more European neighborhood like German Town, you're under the French quarter um or you know, so you always find people from different culture and they can

share you know, their their culture with you. Uh. And and I still remember the first few years it was very difficult for me to understand the culture. And then uh Gary found a wonderful teacher who taught me Shakespeare. Um. Then you know, after reading a few of the books, that I starting to understand the Western classic music. You know, the readationship between you know, the music to the art theme you know, to the novels. You know too, you have to have the surroundings. And then of course not

only US is important. You also need to go to Europe because this is some of some of the greatest composers, like going to Moscow and our Saint Petersburg, going to Vienna, going to Berlin, Hamburg, Paris and our Madrid. You know, to get into the European culture. What does a conductor

have to offer you these days at your level? Um, when I was a teenager, I had many great life experience with you know, conductors like salalish Uh, Laura Mazell Uh and they're like my grandfather, you know, they're like a totally different generation and from a totally different time. And so they told me how to understand payto and how to understand Brahms, how to understand you know in a way that it's hard to explain in the schools,

but this is like face to face. They show you the feeling, you know, like they basically even though sometimes they don't sing really well, they can really show what they want. And those are kind of life experiences. And this is something that I'm so treading because some of those masters already passed away and I still have a beautiful memories of my first time meetings about it or Mozelle. Um.

And this is just tremendous experience for me. Name if you can't a couple of kind of conductors who you really love working, Yeah, absolutely, uh, Costavo do them. He's my great buddy. I love him. We just played yes, I mean before yesterday in l a um and then pay to the number two. Yeah. And also I love the new conductor of Burning Pharmonic uh, Careo Patriinko, which is going to be starting with Burning Field this season. Um and uh and of course I love to be meta.

He showed me all the tricks what Harvest did with him the Rachmano third Concerto. And also when I played chopin number one, he said, this, honest not good enough. I said, I said, so, so what do you think? He said? Yeah, I play with his other room in style. He did not play like this. Show me my star showed me and he said, I don't know how to do that, but he did like this are you still learning?

So here's the thing. You know, sometimes you you go to a master class and um, you learn a lot of things in that class, and then afterwards it helps you a little bit, you know, for a few more weeks. If someone's really good, real master, you will hear a master class and that class will carry at least another

ten years. And every time you think about, you know what he or she told you, And then that class is not just about how to make music, but it's it's a really the way how are you going to think about music and how you connect with your personality you know, to the composers, and how are you breading your imagination into the music, and how are you going to develop your next ten years? So they basically make

you think much more than who you are. Few musicians can really do that, and it really brings you to think much deeper and to think about in a very different concept. Um and I still remember working with the Maesro, Nicholas Hannon, core um Mozart and of course I played many times motar concertos, but that lesson I played, Um, he showed me something that I had never seen. Mozart can be described or interpreted in that way, and that

changed the whole time. You You you basically think, oh my god, what I did was wrong, you know, and I'm gonna relearn everything. So so you know, some musicians have that power to really restart your thinking of everything. Yeah, are you gonna tell us what he said about Mozart? These people love class or is that a secret? That an industry secret? Nothing? I mean, I think I play a little bit of now would be the perfect time

for that. It's yeah, it's a little bit hard to to describe because it's you don't need to describe it. You can just do it. I play two variations from the Twink of Twinkle variation, right, and let's take a couple more. Um the uh, was there a moment in your life? I mean, I know I asked these sappy questions, but it was there a moment in your life when you said, I really am pretty good at this? Like when did you realize you were becoming the person that

you became? It happened few times, Yeah, because because like you know, it happens, and then you think you're now god enough. You know. It's kind of like that. So when I was nige, I thought, I really don't have tenant and I thought I'm going to give up. Um. And then somehow why why, I mean, what was going on in your life? That happened? When I had I had a professor who did not like me, and then she fired me. Uh, and I thought, I'm so bad.

I got fired human, you know, can't you imagine this? Really? And she told me that you you will never become a pianist. So yeah, yeah, so you call her before every concert? No, I I got ring out. No. I get so scared because every time when I'm making audition in the conservatory, she's sitting first roll because she's the professor, you know. So I had so many nightmares because of you know, her her encouragement. Um. Anyway, so but but then I am and then, uh, the first time I

thought I'm pretty good. It's that I when I won the international competition at the age of twelve in Germany, and I thought, wow, I actually can play some good sound. Yeah. Um. And then and then I had a horrible time at school again, like I did not do well, and I'm like, okay, I'm not good enough. And then when I came to America in the beginning, I was so confident. In the first months, I'm like, wow, I'm pretty good. And then

you know, there are many great students at Curtis. They play so well, uh, and I'm like, I'm not good enough. And then I have no concerts, you know, for for like three years almost because nobody have the confidence to take a fifteen year old boy, you know, to play Beethoven concertos or or Tchaikovsky. It's kind of like too young,

you know. So I still remember my early days audition, you know, from Philadelphia taking the the Greyhound boss um like twelve dollar or something like yeah yeah, and then came to uh him to Times Square and then running into auditions, and then afterwards the conductors like yeah so um. So there was a audition for Milwauki Symphony. It's good, good, good orchestra. And the conductor look at me from some European country and you played really good, But how old

are you? And I'm a fifteen Oh, maybe let's meat another ten years. So it did not go so well in the beginning. Now, there's a story that I read about you going to eat Lincoln and you go the German one like in twelve one. I was twelve right, and you go to a competition first international company for me yea. And when you go there, you went to a church, and I remember you prayed to Jesus when

you were in this church. And I'm just wondering, and I want to phrase this question the right way, which is do you have without enumerating them, were discussing them if you don't want to specific religious beliefs or like many people that I've met in the classics, music itself your religion. I think certainly music is our religion. But I do believe, uh, there's some incredible power beyond us.

You're getting inspired from somewhere, and this is not just about our wonderful friendship, but there's some someone is helping you, that's for sure. And also from the different part of my life. You know, there's a lot of time I thought I'm not gonna make it, but somehow I made it. Strength do you listen to any classical music? For me? I when I'm not performing, I like to listen to jazz because somehow you know, the the jazz and the

jazz musicians are really really incredible. They can just you know, give anything and they make it into a beautiful work, especially on the people that I admire like Herbie Hancock and Chicorea, you know, those my great friends, and also learned so much from them. Um. And then the other aspect is to to listen to new music, you know, just fresh made, whether it's on top radio or like E d M. You know, just here movies TV. And it's also great um and uh and also um, I

think listen to modern symphony or Brahms. Symphonies are always you know, always very inspiring. You always find something new. And somehow, when I was a kid, I did not really reflect those things into my life. You know, you

kind of listen to it, you know it's beautiful. But now somehow what I'm especially you know, normally when you play with orchestra, the second half is the orchestra, right, so I always sit in and then when I listened to Mother or Problems, it's just somehow it's reflecting your life, the changes of the harmonies. Somehow, it's like it's it's so related to us. You're sort of thinking, oh, this is one point of my career. What happened is like, you know, the turning of the harmonies. What is it

about this music that it touches people that way? What is your feeling? Right? Because in classical music, especially in the symphonic pieces, there's there have so many different layers, different layers, and those layers are you know, representing our emotion um our memories and and our kind of different

aspect of culture um and people like Moller. He's the reason I think with love of his music so much is that because he's he has such a mixed of culture in his music, and it's somehow you know, every one of us is piece of that um and and also you know, class that's what classical music is for.

It has a you know, it's a very long pieces, very long symphonies, and you know, it's it's very different when you if you see a film at five minutes and finishes, if it's a TV so twenty minutes, or it's a it's a movie for two hours, it's get you into a different stage of your heart, of your mind as well. And I think symphonies are like an opera, you know, they can really get in two very deep

layers of your heart and of your senses. Um. And another thing is that once you're in the concert hall listening to those incredible work, is that everything else get blocked, everything else. So that's why your emotion becomes so pure, so genuine. You become who you are. And so that's why you know, we get tears in our eyes because we're so focused and we just let music take us to when we start, you know, our life, the first

day of your memory. And I think that's ill. I was going to ask this question, but I'll just say this now, and that is that I was going to say, you grew up your whole childhood in China and then you've lived here and abroad for years, and I was going to ask you, what what have you learned that the Chinese people in the American people have in common? And I guess what I'm realizing is everywhere you go, what people have in common is this language of music

and absol love of music. Like, for example, there are a lot of great augurs are coming to visit China, I mean, and most of those Chinese kids probably never heard of those countries before in their life. But when they start playing their music, we all how that we know each other. Um and this is the power, This is really the power. Please join me in thanking our very special guest, long long, Thank you, Long long. His most recent album of pieces normally reserved for young learners

is called Piano Book. The accompanying hardcover has all the sheet music, plus his notes on why each piece meant so much to him. But up, I'm Alec Baldwin and you're listening to here's the Thing.