Straight Talk presenter Eugene Chan (left) interviews internationally renowned cellist Trey Lee on TVB, Dec 26, 2023. (PROVIDED TO CHINA DAILY)

Hong Kong-born internationally renowned cellist Trey Lee is on the show this Tuesday. He tells us how music transcends boundaries and can impact society during these tumultuous times we are living in.

Check out the full transcript of TVB’s Straight Talk host Dr Eugene Chan’s interview with Trey Lee:

Chan: Good evening and welcome to Straight Talk! I’m Eugene Chan. I trust all of you have had a wonderful Christmas with your family and friends. Christmas time is also a time when we listen to carols and other festive music. And for today’s session, we’re going to talk about the impact of music on our society with Hong Kong-born cellist, Trey Lee. Lee is an internationally renowned cellist, currently based in Berlin. He has worked with esteemed conductors, composers and orchestras worldwide and plays often at major venues at festivals around the world, including Carnegie Hall and the Lincoln Centre. He has even played at the Kremlin and the UN General Assembly Hall. Lee is also a laureate of major international competitions, including first prize at the International Antonio Janigro Cello Competition. Then in 2012, Trey was appointed Hong Kong UNICEF ambassador. His virtuoso playing and dedication to charitable causes are also an inspiration to young people in Hong Kong and overseas. Welcome, Trey!

Lee: Thank you!

Chan: Great to have you. Perhaps you can start sharing a little about your music journey with the viewers. I understand you were born in Hong Kong but you spent most of your time in New York and actually you attended the Julliard pre-college. Can you tell the viewers a bit more? 

Lee: Yes. I grew up in a musical family, in fact, because my mother is a piano teacher. And so my two older sisters began studying music at a very young age – piano and violin. And then eventually my mom realized we had the potential for piano trio in the family. And so I was given the task of learning the cello.

Chan: Right, that’s often the case when you have a family and you get to learn the cello. So, it was purely by chance that you started to play on the cello. I mean, being such a renowned cellist internationally, given all the background I’ve shared with all the viewers, will you say that it was by chance? As you said, or by something else? I’m sure your actual determination makes a big difference. 

Lee: Well, there’s certainly a saying about how becoming a musician, successful musician at least, is not exactly 90 or 10 percent but definitely a lot of perspiration and then a little bit of inspiration. So, of course there’s a lot of hard work that went into it and then at the end of the day, it also depends a lot on the way you approach this career as a musician. The way you look at art and its relationship not just to yourself but also to the wider world. And I think that makes a big difference in terms of what kind of musician you are then. 

Chan: I mean, I did study your CV because both my kids play cello and actually when you first graduated, you went to Harvard to actually do economics but then you turned back to music. What actually happened there? 

Lee: Well, I think perhaps I was influenced a lot by the thinking that one certainly needs to be prepared for a secure future. And so, I thought studying economics and perhaps working in a lucrative field eventually will help me secure that kind of life. But I think I realized along the way that this life I was pursuing perhaps needed some different, or that I was interested in something different for this life. And with the music background, of course then I could see that there are alternative routes to pursue one’s happiness. I think the pursuit of happiness in fact is something that a lot of us realize in different parts of our lives, during different stages of our lives. And for me, I feel very lucky that it came to me at a relatively early stage or at least it wasn’t too late to go back into music. 

Chan: Right, very often you know most of the parents especially when they’re having their kids so talented in one of the music instruments they’re playing, they’ll start to say, “Hey, you better concentrate on your studies. You treat this as a hobby.” So, I’m sure that’s what went through your mind and that’s the reason why you went to study at Harvard. To be successful, as a very primitive question, how many hours of practice do you still have to do? Do you still have to practice still? 

Lee: I mean, again, it depends on the stage of your career, I believe. Certainly, when we're young and we're still trying to master instruments, I've done as much as eight hours a day. 

Chan: Really? 

Lee: Of course, eventually, once you … I wouldn't say you've mastered the instrument because I don't think anyone ever truly masters it but once you become more comfortable and confident in your abilities, then of course it goes down. And right now, it just depends if I have a lot of concerts and different repertoire I have to prepare then of course, it'll be four, five hours. But if it's only a few pieces that I have to prepare for some concerts, sometimes just one or two.

Chan: Right. How do you keep your passion? I mean, you've been doing this for quite some time and every time I talk to you, I can feel the energy burning. What keeps up the passion? 

Lee: I think, we're extremely lucky as musicians in that what we do is sort of … refilling the inspiration every time you hear it. Because it's such incredible music, you know, these works of art that inspires you naturally. No matter how many times you've heard it, the works of the greatest composers will always be that, which is just great. You know, when you look at a painting, you never get tired at looking at the masterpieces, same as music. 

Chan: Do you ever have the feeling of burnout? Say, alright let's forget it for the time being, I want to go on a holiday. 

Lee: Absolutely. 

Chan: It had happened as well? 

Lee: Always absolutely. I mean, sometimes your body can only take so much. Not to mention, your brain. And you know, playing an instrument, being a musician is equal parts physical and intellectual exertions. So, it's … I've certainly hit the walls many times. 

Chan: Well, certainly this is a very reassuring message to the viewers because I’m sure many of them or their families will have encountered the same problem. Playing a cello, we all know that it's quite a large piece of instrument, do you have encountered problems when you have to travel with it? 

Lee: Oh, tons. I have to say, this is perhaps the time when I wish I had played something else. When I'm at an airport and I have to lug the thing around and it always has to sit next to me in the airplane by the window because it cannot block other passengers during an emergency, in case something happens. You know, it's the price we have to pay unfortunately. 

Chan: Right, and you know that having a very top class musical instrument, compared to an average instrument of course, the sound will be different. If you have the resources, you will be in a better off position. What will you say to those people who may not have the resources and still want to play great music? 

Lee: Well, first of all, we're very lucky that we're in an age now where a lot of modern and relatively well priced instruments are everywhere now. Because the science and the technique has improved so much. So, that's already a big advantage for our younger players who may not have access to the great old Italian masterpieces. But second of all, I have to say that when you have talent, when you work hard and when you can show your hard work and talent, no matter how bad your instrument is, that's only one part of your performance. People who really know how to listen will be able to tell that you have a certain personality in your music, certain musicality, certain intellectuality or … I'm sorry is that even a word? But a certain way of expressing yourself that's unique and so, even if you have the worst instrument in the world, people who know how to listen and can identify it immediately. 

Chan: Extremely reassuring message that you've just made. Another thing I want to ask you. You've been mainly playing western classical musical pieces, as you told me earlier, you do play some Chinese sort of music. Having playing a majority of time, western classical music, do you as a Chinese, do you ever encounter actually any problems or challenges? And being a maestro in western classical music, how would you reflect on my comments? 

Lee: Well, I think certainly, perhaps, not too far in the distant past that has been an issue for non-Caucasian musicians let's say. Because when you're playing in Europe, let's say in the olden days perhaps they would think, "Oh, they don't understand our music." But I believe now, in this day and age, western classical music has become so international in such a lingua franca that I don't think it's such a big question mark anymore when you go on stage and you don't look like this traditional, stereotypical European master musician. Now, people have the chance to prove themselves. In fact, many of us, Asian musicians have already proven ourselves on the international stage. And so, I feel very lucky that we don't need to think so much about that anymore. 

Chan: Fantastic comment you've just made. Time has gone very fast, I'm going to ask you the last question before the break. I need a quick answer. People do have unforgettable moments in playing the cello, especially in your career when you sort of perform. Will you say there are some touching moment that you can actually share with us? 

Lee: I believe, going back to just what makes us … what inspires us … what keeps me going as a musician, is that in every great piece of music, there are moments that the composer wrote down and that we have to recreate on the instruments and it's those moments that you’re saying, you know the touching moments. Even the most simple tune, in the Dvorak Cello Concerto, the second theme melody, it's one of the most beautiful, pastoral, pristine or angelic … however you want to describe it kind of a song. You know, when you can just play those few notes, sometimes you think, "Wow, this is why I'm alive. This is why I'm doing this."

Chan: Let's take a break now, viewers. Stay tuned. We will see you right back here on Straight Talk in just a few moments.

Renowned cellist Trey Lee attends the Straight Talk show on TVB, Dec 26, 2023. (PROVIDED TO CHINA DAILY)

Chan: Thank you for staying with us. We have the renowned cellist Trey Lee on the show this evening, and we have been talking about the impact of music on society. So, Trey, we spent a lot of time understanding your training, your feelings, and your views on cello playing in general. Coming back to the title of the show tonight, do you believe music has an impact on our society? And how does it do it?

Lee: I think that is a very interesting question because for me, at least two ways of looking at it.

Chan: Right.

Lee: First of all, as a musician, what is very important to me is to look at it the other way around, which is how society impacts music because I believe music is a reflection of our world. And so if you play music without thinking about anything else, without thinking about how the music, where it comes from, and what it means to people, and what it meant to the composer, and how it should be performed as a result, then I think that really limits the possibility of how you can understand the music, and then how you can transmit that to the audience. So, I think it's very important as a musician to look at society and the world around you, and say what is happening, and how does my music reflect that.

Chan: Right.

Lee: At the same time, what you are asking before also is how music affects society. I think that can be answered in many, many different levels. First of all, you know in Hong Kong, and in Asia in general, when Western artists come, one of the first questions they always ask is “why are there so many more young people at concerts here?” 

Chan: In Hong Kong?

Lee: In Hong Kong, especially in Hong Kong, and also in the rest of Asia, I think, compared to the West. And I always have to come up with the answers for this, and one of them, I believe, is that people here, especially parents and teachers, educators, but society at large, look at music, whether it is classical western music or just music in general, folk music, any kind, as a part of your education. You know, it is not just for enjoyment, of course it should be. But it has much more useful and powerful effects on the rest of society.

Chan: When you mentioned about that, we know that Hong Kong parents, so-called tiger moms and tiger dads, I mean music is something they want to push their kids to sort of excel at. And they spent a lot of time on the good teachers and good instruments, as I brought up earlier in the show. So, what you are saying is the Hong Kong youth stands very well, compared to the other kids in the rest of the world. Is that what you are saying?

Lee: Well, I think they are very lucky that they, on an average, have more exposure to musical education than the rest of the world, because relatively speaking, many countries around the world right now, you go to any society, cities, and schools, they are cutting back; whereas in Hong Kong, in Asia, there is still a lot more emphasis. It may also be decreasing, I don't know, whether that is the priority anymore for everybody. But when I look at other places around the world, Hong Kong and just this region of the world has much more exposure for the young people to classical music.

Chan: Right. So, if that is the case, you are saying that Hong Kong is quite favorable for the musicians or the music talents to develop?

Lee: Absolutely, I think so. And another thing that I've seen developed here is not just the development of young people’s musical ability, but also society's attitude towards a career in music and the arts. You know, we have the West Kowloon Cultural District, we have so many ensembles now, and groups, NGOs, cultural NGOs, and support from various sectors of society here. And I see that blooming and blossoming everywhere. And even with Musicus Society that I had, we have been really astounded by the level of young Hong Kong musicians playing. And you know, when we introduced them to overseas musicians and they play together, they are also astounded by that. 

Chan: Right.

Lee: So, I think this is definitely a very, very positive development.

Chan: Right. Thank you for your encouraging remarks to the parents who are right by the television right now because their effort has paid off because Hong Kong students or youth are being regarded very highly in the world. And with our national 14th five-year plan, where they are wanting Hong Kong to be part of an international culture exchange center, or arts and all that. So, we are in a very favorable position.

Lee: I believe music, especially, is perhaps one of the best tools for this kind of cultural exchange because, obviously, everyone always says it is an international language, it doesn't require spoken words, and everyone can understand it easily. And to take that to the next level, I think when you have artists, musicians, working together from different cultures that adds and elevates this kind of cross-cultural collaboration. So, I think this is definitely something that is going in the right direction, and we need to keep going forward with it.

Chan: Right. You, as I mentioned earlier in your introduction, you played and performed at very prestigious venues worldwide, including the Carnegie Hall and the Kremlin. So, you can say that music does serve as a universal language that transcends cultural and linguistic barriers. Will you agree to that?

Lee: Absolutely. I think that happens every day, you know, wherever I go to perform, it is happening. It is very interesting when you have musicians from different countries and different continents getting together all the time. At first they don't know each other at all, but by the end of the first day of rehearsals usually, there is a bond there already, an unspoken bond that you just know it’s there and you feel it’s there. Even if you still can’t speak the same language at the end of the day, but somehow you feel like you have experienced something that is human, really transcendent together.

Chan: Right. As I said earlier, you are also a UNICEF Hong Kong ambassador. And you have been involved in inspiring young people. Can you tell the viewers how the music actually resonates and influences our younger generation? How does it work?

Lee: That is a very interesting question because some people would say that classical music is old.

Chan: Exactly.

Trey Lee (right) says music can impact society during these tumultuous times we are living in. (PROVIDED TO CHINA DAILY)

Lee: Centuries old. Well, I have some very interesting examples for my own, to keep myself inspired. For example, music of the Romantic era from the 19th century, a lot of that was inspired by nature, as a reaction against the age of reason because people have become too intellectual and overthought things, they thought they weren’t trusting their heart anymore and their emotions. And today if we look at things like what is happening to our environment globally, Hong Kong right now, this month, is incredibly hot, until this week. And these are things that are reflected in the music. When I play music, for example, Brahms and Schubert, and things like that, they were so inspired by the nature around them that today when I played, I think “yes, this is the nature that we should all be living in, but we are not anymore”. And so, there are always connections. You know we also have this concert series from Musicus called ‘Musicus Heritage’, ‘Musicus Heritage Stories’ now, where we go to our heritage sites around the city in Hong Kong and perform in them.

Chan: Beautiful.

Lee: And this is something that, again, it is not just about music, it is about our common shared heritage. And then when the audience comes in and also we bring this to local schools, we tell them the stories through music. And so music has such an influence beyond just pure entertainment or enjoyment, it tells stories and keeps a history of our world. There is so many possibilities with it.

Chan: Right. Trey, you were also involved in the Imagine Music Recording Project to mark the 25th anniversary of the Conventions on the Rights of the Child. People say that music can be a tool for social change, basically you have just elaborated that, and contribute to important courses. I am sure you agree. How successful this has been, say for Hong Kong? I mean we have been through some tough times, and the world is not really united at the moment. I mean how can you see music play a part in this?

Lee: I have to say when we play music, whoever I am playing with, I have no idea most of the time, unless if they say it out loud, but I have no idea what they are thinking. All I can tell is their musical personality, which at the end of the day, most of the time it’s something really beautiful. You know there is something, when we just rely on our hearts and our minds, put together to create this musical performance, I think you go way beyond all of these talks of other things, and it is just something that is so pure. And that is so universal, that you, at least momentarily, have the ability to forget all the negative stuff. 

Chan: Right. The last part I want to ask your feelings on we just had COVID, and during that time, a lot of live concerts were canceled around the world. But then we do have virtual collaborations, live streams, and concerts. Would you say music is quite like a silver bullet at a particular time? Sort of be a panacea for the conflicts at that time. What do you say to that? 

Lee: I think it was helpful up to a certain point.

Chan: Right.

Lee: Because of course, when we were all locked at home inside, everybody in the whole world was, and there was nothing to do. And luckily we have the internet, which brought us a lot of music, but I think those of us who are able to play music are even luckier. 

Chan: Right.

Lee: Because we could sort of inspire ourselves and entertain ourselves and challenge ourselves. Whereas those who could only consume music realized how wonderful live performances where.

Chan: Right. Unfortunately that is all the time we have this evening. And thank you, Trey, for sharing your insights into how music can transcend boundaries, and be used as a force for positive change and social cohesion. I am going to share a quote from Trey himself: “Art has the ability to make one look at the world from a different perspective.” Have a nice evening and see you next week!