Ian Buruma on Tan Dun
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQF-dPX23KuF51qdVeXFlJ8oBE9eIaBlivKl95jbkE0j6yw3uIA6vciZpUFcOxlbWftrWaJN5VRA3c49y7dfWPCF9O9x9OZc2jJGPQ3WUiTCrORk7HjvEu_imhvJ2lZY5sn0Y3drdh11i/s200/nottandun.jpg)
In Stockholm last fall, walking past a McDonald’s, Tan Dun turned to me and said: “Some 20 years ago, I was still planting rice in China. And now I’m conducting orchestras in all the great concert houses of the world: La Scala, the Met, the Berlin Philharmonic. I still can’t believe it.”
That might even be too neat—retelling Tan's brilliant success story, a rise from rice paddies to the Berlin Phil, while the Golden Arches lurk in the background. Can the musical sort of globalization have a double edge, too? The politics of Tan Dan's music are as complicated as his music is beautiful, and he deserves a profile this incisive and nuanced.
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