Inspired by Bach : Zhu Xiao-Mei

15.01.2026

"Intet nytt under solen", Bach er og har vært inspirasjonskilde for svært mange skapende mennesker - uavhengig av kunstform og sjanger. Albert Schweitzer mente alt fører til Bach, i forståelsen at Bach var et vendepunkt som alt pekte frem mot før, og alt i ettertid pekte tilbake til. 

When I play Bach I would never stop, I always keep going 

Zhu Xiao-Mei er en kinesiskfødt pianist, født i Shanghai i 1949. Hun viste tidlig ekstraordinært talent og ble som ung tatt opp ved musikkonservatoriet i Beijing. Under Kinas kulturrevolusjon ble hun imidlertid stemplet som politisk upålitelig, fengslet og sendt til tvangsarbeid på landsbygda, hvor hun i flere år ble nektet å spille musikk.

Etter kulturrevolusjonen fikk hun gradvis mulighet til å vende tilbake til musikken. På 1980-tallet forlot hun Kina og bosatte seg i Frankrike, hvor hun bygget opp en internasjonal karriere. Zhu Xiao-Mei er særlig kjent for sine tolkninger av Johann Sebastian Bachs klavermusikk, spesielt Das wohltemperierte Klavier og Goldberg-variasjonene. Hennes spill er preget av klarhet, dybde og åndelig ro, og hun regnes i dag som en av de fremste Bach-tolkerne i vår tid.


Zhu Xiao-Mei: How Bach Defeated Mao


[Mao's] regime had pushed us to the brink of total dehumanization. The Cultural Revolution was on the verge of stripping us of our humanity completely...[but] deep inside us, there remained a spark of humanity...Music blew on this spark and revived it...Music gave us back our humanity. It offered us a glimpse...of spirituality. It taught us how to love again.

Zhu Xiao-Mei: How Bach Defeated Mao er en gripende dokumentarfilm om pianisten Zhu Xiao-Mei og hennes livsreise gjennom Kinas kulturrevolusjon. Filmen skildrer hvordan hun overlevde politisk forfølgelse, tvangsarbeid og fengsling, og hvordan Johann Sebastian Bachs musikk ble en indre kilde til styrke, motstand og overlevelse. Dokumentaren er både et personlig portrett og en sterk fortelling om kunstens kraft i møte med undertrykkelse.

Trykk på bildet å se dokumentaren. Det er noen sekvenser på fransk som dessverre ikke oversettes til engelsk, men det meste er oversatt til engelsk fra kinesisk.


Intervju i forbindelse med ICMA Special Award 2015

Your career – but I guess you prefer the expression 'musical life' – is mainly focused on Bach: why?

Sometimes we cannot explain. When I studied at the Conservatory, I played 5 or 6 hours a day, until I was exhausted, but the last piece was always a Bach one, because it gave me more energy. Also in the concentration camps, I felt I had to play Bach to stay alive and to keep my dignity, my humanity; and I when I play Bach I would never stop, I always keep going.

Another sentence I found in your book: "The stiff and unbending is the disciple of death; the gentle and yielding is the disciple of life". How much freedom do you take when you study a composition and when you play it in front of a public? Is the former the 'stiff' period and the latter the 'yielding' one?
It's not my sentence, it's a sentence by Laozi, the most important Chinese philosopher: when I came out of China I did not know anything about him, he was not in Mao's red book! I never practice a new piece less than six month, but for big ones I need at least five years: maybe I am not very talented, but I must work on it a lot. That has happened, for example, with the Goldberg Variations and The Art of Fugue.

Which musical ideas do you want to develop in next years?
I would like to play Bach, especially the Goldberg, in as much countries as possible (now I count 25), to every kind of people, from businesspersons to pensioners and prisoners, people of every religion. And, of course, I'd like to play more Bach in China: I was there last here and it was wonderful. Many people had come for the very first time to a concert, but the stayed silent for the whole time and, at the end, we sold 300 recordings of The Art of Fugue! The record company told me that it had never happened!

If you had met Bach, what had you said to him?
First, I would explain him what China is and where it is! (laughs) Then, I would tell him how much Chinese people love his music, how deeply he has helped us to survive in difficult times. Then I would ask him if he likes how I play his music!

If you were allowed to save just one work of your repertoire, which one would you choose?
Well, that is a difficult question! I could say the Winterreise by Schubert, but I cannot forget either the Goldberg Variations, that saved me 30 years ago and now are a part of myself. Nevertheless, I'd hate having to leave Mozart, or Beethoven out! I would cry but… yes, I would definitely choose the Goldberg!


Journalist Arminta Wallace, Irish Times

Many pianists are mesmerised by this mathematical virtuosity. But for Zhu the essence of the Goldberg Variations lies elsewhere. It's all about emotion. When she plays that first note something special happens. "I feel something came out from silence," she says. "Something very peaceful. Something that makes me calm and gives me courage. So I want to share that feeling. It's something like a miracle."

It's a rare lapse in her flow of soft, quick, French-inflected English. But as we laugh together the whole Tao-of-Bach thing snaps into focus. Taoism's blend of profundity and spontaneous silliness is mirrored in Bach, where one minute you're listening to music of high seriousness and integrity and the next you're dancing. But it's not a change of gear; it's all part of the whole. Joy emerges from the music itself, like bubbles in a glass of spring water.

No surprise, then, that water is one of Zhu's favourite musical metaphors. "For me, as for that most famous Chinese philosopher Lao Tzu, something most important in my life is water," she says. "And I feel Bach's music is like water. His name actually is water – it's no accident," she adds, referring to the German word "Bach", which means "stream".

"The Goldberg Variations is like the water in a river. At the end it's not finished: it goes back to the beginning. The water continues to flow."


The art of Flow

Taoism is a philosophy attributed to Chinese philosopher Lao Tzu. The basic thing in the whole philosophy is the conception of Tao or "The Way", the natural order of the universe which one must discover to realise the potential for wisdom. And "Wu wei", meaning "effortless action" or "action-less action", describing a state of flow that is characterised by great ease and awareness, in which, without even trying, we achieve perfect harmony and perfect knowledge of the current situation.

Life is a series of natural and spontaneous changes. Don't resist them; that only creates sorrow. Let reality be reality. Let things flow naturally forward in whatever way they like.

― Lao Tzu

J.S. Bach – Goldberg Variations – Zhu Xiao-Mei

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