The latest winner of the prestigious Van Cliburn International Piano Competition, Hong Kong's own Aristo Sham, is on the show this week. He talks about his musical journey and how he thinks Hong Kong can inspire and nurture its next generation of musical stars.

Check out the full transcript of TVB’s Straight Talk host Dr Eugene Chan’s interview with concert pianist Aristo Sham:

Chan: Good evening! You are on Straight Talk with Eugene Chan. Tonight we are joined by Hong Kong's own Aristo Sham, a former child prodigy who has become one of the most exciting pianists of his generation. At just 29, Aristo has become the first Hong Kong-born pianist to win the gold medal at the prestigious Van Cliburn International Piano Competition this year. Over the following two months, he was mentioned in more than 800 news articles, and his Cliburn performance videos were streamed 2 million times across 125 countries. Aristo is now performing on some of the world's biggest stages. We will hear his story, ask him what he thinks about Hong Kong, what we can do for Hong Kong, and how we can nurture our next generation of musical stars. Welcome, Aristo!

Sham: Thank you for having me.

Personal journey & achievements

Chan: Aristo, congratulations on your big win at the Van Cliburn. I understand there were 340 competitors from 45 countries, and this is like the Olympics for the piano competitions. Really a huge moment for you and Hong Kong, and congratulations once again.

Sham: Thank you so much.

Chan: Maybe you can share with the viewers what this competition exactly is, and what it means to you and to your music world.

Sham: Of course. The Van Cliburn International Piano Competition is probably one of two major prizes in classical piano at the moment, along with the Chopin Competition. So, winning one of these competitions means that we have this platform to embark on a sustainable career in piano performance and whatever we may do in music afterwards.

Chan: Maybe you can tell us, share with us the moment, bring you back to that moment when you were on stage, how did you feel when your name was sort of being announced?

Sham: I actually haven't fully understood that moment yet. When my name was announced and I strutted up the stairs to the stage, it is sort of a ...

Chan: Did you expect it?

Sham: I didn't expect it. It was just like I did everything I could in the competition. It has been a preparation throughout my life in a way for this moment. And I just was willing to accept whatever came my way. And of course, I am delighted and honoured that I got the prize, but it is this sort of thing that you cannot either expect nor deflect.

Chan: Right. I understand your mom, who is also here in the studio today, started you on piano lesson when you were actually age 3, and you have been competing and performing since you were 10. Quite a long time ago! So, you were, in fact, featured in Channel 4's documentary, ‘The World's Greatest Musical Prodigies’. What was the actual turning point when you realised that music wasn't just a passion but could be a career?

Sham: So in a way because I started so early and I was performing and competing already from a young age, I never actually decided to do it when I was a child. I was sort of swept by the current and it just happened. And I think this continued all the way until university and I only fully decided to dedicate myself when I was 21. And before that, I did also a degree in economics and I went to a normal academic high school. So, I wanted to enjoy as broad of an exposure in education as possible before I decided to do anything. And at some point, one has to decide, right? So, that happened when I was 21.

Chan: Right. So, you went to a university to actually do economics rather than music.

Sham; Yes, well, I did the joint programme between Harvard University and New England Conservatory. So, I had the opportunity to do both at the same time.

Chan: Looking back over your last sort of nearly 20 years or even more than 20 years of your music journey, do you think it is the people or opportunities or experience? So, what sort of helped you to get to where you are today? That is my question.

Sham: I think definitely a combination of all of the above. It’s … and of course, an immense amount of luck because of who we meet and the opportunities that were afforded. But, of course, also if I may say so, talent and a lot of hard work, and a lot of good influences from all directions.

Chan: So, how many hours did you actually practise a day when you were younger?

Sham: When I was younger, I actually never practised that much.

Chan: Really?

Sham: I mean, I think I averaged probably around an hour or two. Actually, most of my life until I was 21, I think I was doing that. And of course, before an important competition or performance, I would practise more. But as a rule, I was busy doing a lot of different things.

Chan: Right. So, you had a very normal childhood and actually student days as well. See, most people from Hong Kong will say that Hong Kong isn't the best environment for music because, I mean, you are surrounded by different news, Hong Kong is a financial center and all the students would like to do medicine as always a lot of people say. So, how does all this background actually allows you to actually, I will use the word “succeed” at this stage? I mean why?

Sham: I mean I entered the Hong Kong Academy of Performing Arts when I was 6, and there I enjoyed a very brilliant, actually first-class education in, especially the foundational elements of piano playing and music making. And so, I still credit that for a lot of what I do nowadays. I was at the academy from 6 to 14, and I studied with Professor Eleanor Wong, and also took a lot of other courses in other things in music, such as composition, theory, choir, all these other stuff. And I think all of that provided me with the basic ingredients that I need to make music and perform on the level that I do nowadays. And I think Hong Kong does have that level of opportunity and infrastructure, especially at that age.

Chan: How would you say the background of Hong Kong's culture sort of mould you in this classical world, which is predominantly sort of more Western-based? How would you say that?

Sham: I would say, first of all, Hong Kong is a cosmopolitan city to begin with, and we have influences from the West and the East. And so even from a young age, I think, everyone is exposed to Western culture in one way or another. And so, we have an understanding of what it is like, even if we are not fully Western, we have a decent amount of exposure. But also I think the confluence of the East and the West, and how we live actually every day in every interaction is an example of how these two influences interact. And I think this is a very important facet in how we are, as Hong Kongers, as we have this capacity to take in so many different influences and information and make something of it. And, I think, this is actually a gift and a great quality that we share as Hong Kongers.

Chan: Well, Aristo, I know you have performed for royalty, including King Charles, and also alongside many of the world's greatest conductors. If I am going to ask you, which performance will be the most memorable one for you so far? Which one would that be?

Sham: That is a difficult one. I mean a lot of performances, in a way, every single performance is memorable. I know that is non-answer, but each one is a special experience with the situation, the audience, the venue, the music I am playing. But of course, some of the most memorable concerts are also with great orchestras in different places, such as … well, in the finals of the Van Cliburn, of course, the 3 concertos that I played there were very memorable. Or when I played for then Prince Charles in London at the inauguration of the Cultural Centre, that was also very memorable, a special situation.

Chan: Yeah, and, I think, actually in the makeup room, we were talking about winning the Cliburn has been sort of the achievement for all the pianists. So, I am sure it has opened many doors for you. And you are now, I mean you are on the first Asian tour with Hong Kong at the end of August. So, how has life changed since you having this sort of a gold medal?

Sham: Of course, musically, I have become a lot busier with the concerts. There are a lot more concerts than I was doing before. I was already performing, but not to this sort of intensity and …

Chan: You were saying you had 17 concerts this month?

Sham: Yes.

Chan: Wow!

Sham: And that is not something that I am used to doing. But I am very excited for it and I am very much looking forward to seeing how I respond to this level of frequency. But of course, there is also other aspects of a professional musician's life, which I have to ... it is a bit of a learning curve at the moment. And of course, there is a lot of negotiations and contracts and different stuff with media, which … I am enjoying the ride for sure, but it definitely takes up some capacity of the brain.

Chan: Right. So, has this been … would you say that it has changed your approach to your music career?

Sham: I wouldn't say it has changed my approach, but I would say that I am definitely finally able to and ready to embark on this sort of intense performing life. And I get to play the music that I love frequently, so, I think that is definitely something I enjoy.

Challenges of a music career

Chan: Let's get back to your career as a musician. I am sure many viewers, apart from listening to your successes, they want to know how it has helped to make up for what you are today. Throughout the last 20 odd years, I am sure you have come across with many musicians as well. What would you say are the toughest challenge of pursuing a career in music nowadays? Because I know a lot of Hong Kong youngsters, they love music, they want to have a career. But what do think will be the toughest challenge?

Sham: Honestly, I think one of the toughest challenges is the fact that music education is not aligned with the music career. And the conventional music education through conservatory or university doesn't really prepare people well for a career in music. And I think this is one of the greatest challenges because the opportunities are there, and there are lots of different jobs, especially for non-pianists, there is a lot of orchestra jobs or also, for pianists, teaching jobs. And they are out there, but the education system doesn't prepare them very well and doesn't actually even on an information level, let them know very well how they should lead themselves in this career.

Chan: Right. But do you think people nowadays have more opportunities than your younger days or vice versa?

Sham: I think, definitely, there is more opportunities, especially in a growing market like East Asia. It is a huge burgeoning market that there is a lot of opportunities, especially, say, in orchestras. There are orchestras popping up all over China, for example, that each orchestra needs, I don't know, 30 violins. And, so, there is a lot of jobs out there.

Chan: Right. Aristo, time for a quick break now, and we will be back with more Straight Talk.

Chan: Welcome back. With us is Aristo Sham, former child prodigy and the first pianist from Hong Kong to win the gold medal in the Van Cliburn Piano Competition, one of the world's toughest and most prestigious music competitions. He has been sharing his journey with us, and how he thinks Hong Kong can nurture our next generation of musical stars. So, Aristo, thank you for sharing with us your past experiences. One thing I am sure the viewers are going to ask you is that many parents want to encourage the children to take music lessons, but very few see that as a long-term career. How did your parents actually see you now having a career in professional music?

Sham: Well, I think my parents were always very trusting of whatever I would do professionally, in music or otherwise. And so I guess they always let me choose whatever I see as most suitable for my career in life. But, of course, right now with my career going well in this sense, of course they are delighted. And with the music background in my family, with my mom having taught piano as well, I think it is a nice sort of full circle moment in that sense.

Chan: And you know, I mean all of us face tough times, I am sure same as musicians. Looking back at the journey, were there times that you felt the challenges was really overwhelming? Or I would say that make you feel like giving up, maybe? Have you ever doubted yourself along the way?

Sham: I think everyone faces challenges in any career path. I wouldn't necessarily say doubt, but sometimes it is difficult to see a way in every career I guess. There is always impasses and different situations we have to navigate. And I think especially during COVID, with the dwindling of opportunities in performance, it was definitely a tough time for a lot of us classical musicians. But with the recovery afterwards, we also saw that it was actually… classical music is here to stay.

Chan: Right. As a performer yourself, how do you actually cope with the pressure or what we call the mental demands of actually not only competition, but actually on stage? Even like today when you go on an interview in front of cameras, we do have some sort of stress. But how do you deal with that so-called demands of being on stage and performance?

Sham: I think that is still something that is adjusting all the time. And I think every time you go on the stage, the feeling and the situation is going to be different. And I think one of the main tenets of our job is to be able to adjust to all of them.

Chan: Right.

Sham: And of course, the mental focus and, in a way, pressure that we face on stage is immense. And knowing how to turn that into good energy into performance is very important and that, I think, is one of the main things we need to learn as a performer.

Chan: Right. Aristo, I know you told me that you are sort of traveling a lot right now between three continents – Hong Kong, Sweden, and New York as well. How do you balance yourself and with this global career and be connected to Hong Kong?

Sham: Of course, my family is in Hong Kong, and so, I return to Hong Kong quite often. And also whenever I have concerts in Asia, I definitely use Hong Kong as a base to go on all of these. And I lived in Hong Kong full-time from the time I was born until 14. And, so, definitely, I carry a lot of Hong Kong with me wherever I go. I identify very cosmopolitan in my makeup, but there is definitely a Hong Kong root.

Hong Kong’s music ecosystem

Chan: Right. Maybe the rest of the show, I want to ask you more about Hong Kong's music ecosystem. So, from your perspective, I mean how or what is Hong Kong doing well in terms of supporting music and arts?

Sham: From my perspective, I think the best thing that Hong Kong does is definitely the foundational education in music. There are so many opportunities and we have really high-level institutions, such as the Academy, that support people who are able to or aspiring for high-level music making.

Chan: Is there anything that is holding us back from producing even more world-class musicians from your angle?

Sham: I think with music and the arts in general, or actually in any career in general, but more specifically to the arts, we sometimes suffer from a lack of openness and a lack of experimentation in our approach. And I think this is crucial in doing any sort of creative industry. And in Hong Kong, we are so obsessed with results and getting there as quickly as possible, we miss the point of the arts, which is to experiment and to express. And in that sense, we actually hold ourselves back because we cannot succeed in the arts with this sort of attitude. The most important and crucial thing is to take in all the information that we have and make something of it ourselves.

Chan: Right.

Sham: And I think this is something that we can do a lot better as a society.

Chan: Right. Aristo, so how do you see it, can we have sort of classical music to be more appealing to kids or even the teens? Do you think we are on that direction?

Sham: I think a lot of people are learning music and a good percentage of those actually say fall in love with music or gain some affinity to music. And I think we can definitely do a better job of supporting people who have this, I say tendency, or this liking to music. And I think because of the sheer number of people learning music, there are definitely people out there who are dedicated and love music.

Chan: So, sorry, I am asking you a lot of questions because I feel music is very important for the community. I mean, it really makes people calm and relaxed and be much more prepared when they face challenges. Do you think our schools or even governments or even institutions are working enough in a collaborative manner? Should this be a collaborative approach or you think whatever is happening so far is adequate? What do you think?

Sham: I cannot say for sure very concretely, but I would definitely say opportunities for everyone in society, but especially children to be exposed to music and to enjoy music, to get to know music, is definitely a net benefit for the society as a whole because, as you said, music has its value and its powers. And I think anything we can do to increase patronage and interest in this area is good.

Chan: And as we all know, like in sports, we have sports stars. And I am sure that in music, we want to have more role models, which, I am sure, you will be qualified to be one of those. Do you think we have enough role models in Hong Kong for the young people to look up to and to sort of work towards that? Do you think we have enough?

Sham: In music, I would definitely say we don't, at the moment, locally. But again, this is something that is part of the ecosystem. We cannot just create role models out of thin air. So, I think with the maturing of this musical education and opportunities and the whole ecosystem, there could be more role models. And also to show people, especially youngsters, that a career in the arts is actually viable and there is a lot that we can develop in this area.

Way forward

Chan: Right. Maybe you can share with the viewers what will be your goals for the next 10 years, or even the next 20 years?

Sham: For sure, I would like to continue performing for the rest of my life, if possible, but for the next 10 or 20 years, for sure is to establish myself as an important player in classical music and an established performer around the world. And actually after I won the prize, the same evening, one of, I guess, the world's most celebrated pianists, he wrote me a message saying “Congratulations, in 3 years, you have to be Aristo Sham, not the previous Van Cliburn winner”.

Chan: Really?

Sham: Yes.

Chan: That is something that I am sure we will look forward to having you back as Aristo Sham soon in less than 3 years hopefully.

Sham: Hopefully, yeah.

Chan: Right. We know that everybody is trying to make Hong Kong a better place, make sure more talents come to Hong Kong. I am sure Hong Kong needs more young people. How would you design Hong Kong as an ideal environment to nurture young musicians for the Asia area because, as you said, East Asia is coming up? Has Hong Kong got the soil or the base to be an attractive place?

Sham: I think, Hong Kong definitely, with its cosmopolitan and international background, is very attractive for the arts because that is sort of the meaning of the arts where we connect people and tell stories that people can relate to or expand on. And I think Hong Kong definitely has that ability. And I would just encourage people to really take advantage of that and use our sort of panoramic background to express what we can in the arts.

Chan: Right. So, after all, I have seen that a lot of it is, I can see in you, apart from the talent and practice, you have that international flavour. How do you think we should groom our students from Hong Kong so that they will be able to succeed internationally?

Sham: I think the most important thing is just to be curious about everything that is happening in the world and everything that happens around us. And I think as long as we take everything that we are exposed to and can learn from, and make something of it in our own way, I think this is the most valuable thing.

Chan: What would be your dream for the next generation of musical stars in Hong Kong because the last 18-19 years, you are through the whole journey, now you are successful with sort of a landmark. And how do you see yourself contributing to that part of Hong Kong?

Sham: Well, as you say, I would say I am at a point where there is a landmark, but it is only where the journey is really beginning, so I am very glad to be doing that. But I think what I would love to see and would love to be able to do is just to be exactly as you said, a positive role model for people, especially young people, not just in the arts, but especially in the arts …

Chan: Exactly.

Sham: … that we can carve our own way internationally in whatever manner we would like, as long as we have good intentions and are purposeful in our way.

Chan: Thank you, Aristo, for sharing with us your insights and your remarkable journey. Aristo's story is a powerful reminder that with passion, support, and opportunity, Hong Kong can continue to produce world-class musicians. We look forward to seeing the next generation of musical stars inspired by his example.

Thank you for joining us on Straight Talk, and have a good evening.