How did your early training in Hong Kong prepare you for your international careers?

A: My education at The Hong Kong Academy for Performing Arts played a very important role. I studied with Professor Eleanor Wong from the age of seven to 14. She is one of the best teachers in the world for young pianists. In Hong Kong, we also had access to world-class concerts by great artists such as Maurizio Pollini, Krystian Zimerman and Evgeny Kissin; I remember their performances vividly. On the other hand, since music is an extension of language and much of the repertoire we play is European, it's essential to immerse yourself in the spirit and languages of those cultures to develop a more holistic understanding. This wasn't something that could be easily done in Hong Kong.

C: Hong Kong offered unique opportunities. For me, the annual Hong Kong Schools Music Festival was unforgettable. The intensity of preparation was exhilarating. That experience really sparked my curiosity and energy. Another highlight were the readily accessible record stores. I went to HMV every week, listening to all kinds of music and taking physical copies off the shelves. But in truth, nothing fully prepares you for moving abroad. You just go and do it. Music is like that too: you just dive straight in.

Pianists from Hong Kong have become highly visible on the international competition stage. What do you think drives this prominence?

A: Playing the piano is a highly intellectual endeavour. You're essentially the entire orchestra by yourself. I think the Hong Kong mentality, with its emphasis on multitasking and operating on multiple levels, prepares us for that challenge.

C: The piano offers endless possibilities, which makes it naturally fascinating. Competitions provide a platform not only for showing technical skill, but also for discovering and developing one's own sound.