The music scene in Hong Kong suffered a setback during Covid. How do you think it can recover post Covid?
This post-pandemic time is crucial to refine [young local musicians’] international level of performance. International collaborations between schools, arts organisations and orchestras will help [young musicians] immensely. The last three to four years have been very difficult here, like in other places across the world. Career and exposure opportunities for new musicians basically stopped, and they have to catch up on years of progress. We need to have more global artists coming in [to the city] to share their knowledge.

You’re one of the earliest Chinese pianists to perform for the Berlin Philharmonic and other famous orchestras. As an Asian pianist, how do you feel the international classical music scene has changed over the years?
Things have been slightly easier [for Asian musicians]. There are more Asian artists today on the world stage than 25 years ago when I started. But it really depends on the individual person—if you’re good, you will always shine no matter where you come from.

How has mentorship played a role in your road to success?
I’ve been quite lucky in the sense that I have always had the right mentor and great teachers back when I was a student. My parents were a big part of my development, who sent me to the right school at the right age.

For me, it’s important to share my knowledge and experience—both the good and bad things I faced. That way, people will know how to avoid the disadvantages that I faced. We always need mentorship, regardless of who you are. That’s why I’m very excited to meet the three students at this masterclass, and I’m hoping to help bring them and other newcomers to the international stage.

Can you highlight the advantages and disadvantages of Hong Kong’s music education scene?
The advantage is that Hong Kong is such an international city. We have the most advanced music theories and [teaching] methods. People here are [already making] really good music. You have this incredible orchestra, the HKPhil, which is one of the best in the world.

As for disadvantages, students here have a lot of schoolwork. The schools are very competitive. So maybe they don’t get enough time to practice.

Read more: Meet the Hong Kong artists with disabilities who are defying social expectations and creating powerful art

What are your thoughts on the future of music education for the next generation?
I would want for music students to be happier when they learn. If they feel forced to learn music, that’s a waste of time. Of course, there are times when learning the basics can be a process to endure, but we should guide them in a way that they can find pleasure in the musical experience.

As a parent, do you have the same expectation for your son?
My son really enjoys music. I didn’t need to guide him to like it. At the same time, he doesn’t need to become purely a pianist—he can decide his options. He also enjoys conducting and listening to popular music.

What’s in the pipeline for you?
I have a new recording coming out in February. It’ll be French music, including pieces by [French composer Claude] Debussy and The Carnival of the Animals by [French composer] Camille Saint-Saëns.

Next year, I’ll continue touring the world and host masterclasses. I also plan to spend time playing with my son.

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