Chinese pianist Lang Lang performs after receiving the trophy for Category "best music international" during the 48th Golden Camera award ceremony in Berlin, February 2, 2013. The award honours outstanding achievements in television, film, and entertainment.[Photo/Agencies]

Now that he is firmly established as one of the masters of his art form, he will not rest on his laurels. "Although my style will not change significantly, I'm always able to find room for improvement. With age come more depth of emotion and a wider range of expressiveness."

That includes a better mastery of the essence of a piece as well as the whole structure. "The more I learn from travel and study and know about the historical background of a work and the customs of the place where it was born, the more I'll be able to get to its inner spirit. And that manifests itself more in the slow movements such as the andante and the largo, which tend to receive less attention when one is younger and bursting with energy," he adds.

"Technically, the way I'll play at 50 will not be too different from the way I play at 30. But the way I approach the music rationally will be somewhat different," he says. "When I listen to Horowitz' recordings made when he was 30, 40 or 70, there are subtle differences. And old masters like him always inspire me."

Likewise, Lang is inspiring a younger generation. He has a piano school in Shenzhen and knows first-hand his influence on others. "Many youngsters study the way I play and even imitate my body movements and facial expressions. I don't see anything wrong with that. Not many people can play like Vladimir Horowitz," which means, in a seemingly imperturbable way.

Lang feels that when the audience come to his concert, they want "the whole package", not just shut up their eyes and listen. "Unless you have reached an incredible height, it is useful to incorporate physical movements into your playing. A human being is not a machine."

He has been criticized for injecting unrealistic notions into children and their parents that learning the instrument may lead to a career like his. "It is a mistaken notion to think of young piano students as future professionals. Why herd everyone into this circle? There is nothing wrong with every kid learning to play the piano, but not every kid wants to be a professional pianist. It would be too utilitarian to push them onto that road."

Lang takes it upon himself to raise the level of music appreciation, especially in China, where he spends roughly one sixth of his time. "We are in a new age and I'm lucky to come this far," he says. "Many of the performances I dreamed of have come true."

On a recent day he was listening to his new album of Sergei Prokofiev's piano concerto No. 3 and Bela Bartok's piano concerto, which he recorded with the Berlin Philharmonic under the baton of Simon Rattle and will be released later this year. Critics are expected to find new words to heap praise on it. But Lang is clear-headed: "In 10-20 years I may find ways to improve upon it. There is always room for improvement."

By that time, more of his countrymen will be able to find the beauty of the music he plays, and also more will join him on the international stage where he has blazed a trail.

And blazing a trail indeed. On July 14, exactly one month after his gala with friends in China's Qinghua University, Lang becomes the first Chinese musician to grace the stage of even bigger gala – the one in Paris celebrating Bastille Day.