In Europe and the UK, Kelvin Lee has worked with North Czech Philharmonic (Czech Republic), Argovia Philharmonic (Switzerland), St Petersburg State Symphony Orchestra (Russia), Dohnányi Orchestra Budafok (Hungary), Savaria Symphony Orchestra (Hungary), Orchestra Magna Grecia (Italy), Bucharest Symphony Orchestra (Romania), Pazardzhik Symphony Orchestra (Bulgaria), Glasperlenspiel Sinfonietta (Estonia), Lemberg Sinfonietta (Ukraine), Chamber Ensemble of Cadaqués Orchestra (Spain), and Chimera Ensemble (UK), among others, and has performed in venues such as Musikverein Vienna, Municipal House Prague, Pesti Vigadó Budapest, and Lviv Philharmonie. From 2013 to 2015 Kelvin was the first Music Director of Shun Hing College Schola Cantorum (Hong Kong). Under his leadership, the Schola Cantorum won the Third Prize in the fifth International World Peace Choral Festival (Austria), during which they also performed at the United Nations Office in support of the first World Day Against Trafficking in Persons. In 2017 Kelvin was invited to participate in the prestigious Cadaqués Orchestra International Conducting Competition (Spain), for which he was selected out of over 300 applicants from more than 50 countries. In 2018 he was appointed as a visiting conductor at the Northwest School of Music (China), where he holds workshops for its symphony and wind orchestras.
Concurrently a PhD researcher in musicology at Durham University, Kelvin's research focuses on the analysis and history of symphonic music in the long nineteenth century, with special interests in the analysis of sonata form, theory of tonality, history of music theory, fin-de-siècle modernism and global approaches to music history, theory and analysis. Situated at the intersection between music theory and the history of ideas, his doctoral project addresses the formal syntax in fin-de-siècle Viennese symphonic music by scrutinising its tonal-harmonic foundation in light of the recent advances in theories of form and neo-Riemannian theory. Kelvin’s forthcoming publications include a book chapter on Enescu (in The East, the West, the In-Between, Allitera Verlag, Munich) and a book review in Notes. He has given papers at international conferences such as the Society for Music Analysis Annual Conferences, the Royal Musical Association Annual Conferences, the International Musicological Society Intercongressional Symposium and the Biennial International Conference on Music Since 1900. He is also Chair of the Society for Music Analysis Formal Theory Study Group and is the winner of Society for Music Analysis Theory and Analysis Graduate Student (TAGS) Prize in 2018.
Born in Hong Kong, Kelvin received his BA (Hons) in music and MPhil in musicology from the University of Hong Kong, and an MA in conducting with distinction from the University of York. He studied conducting in York with Dr John Stringer and subsequently in London with Denise Ham. He has also received guidance from Kristjan Järvi, Mark Wigglesworth, Richard Farnes and Christopher Seaman. He is an Associate Fellow of the Higher Education Academy.
Kelvin is the recipient of Music Analysis Development Fund, Oldman Award, Thurston Dart Research Grant, Van Mildert College Postgraduate Award, Van Mildert College Music Scholarship, Rayson Huang Scholarship in Music, The University of Hong Kong Postgraduate Scholarship, Dr Lo Kwee Seong Education Foundation Travel and Conference Grant, Reaching Out Award (under the Hong Kong Government Scholarship Fund), Jao Yu Tsong Memorial Prize in Music, and Helen Moore-Williams Music Prize.
‘Enescu’s Early Recipes: Symphonic Form as a Transnational Artefact’. In The East, the West, the In-Between (Münchner Veröffentlichungen zur Musikgeschichte, Sonderband 2 [Munich Publications on Music History, Special Volume 2]). Edited by David Vondracek. Munich: Allitera Verlag, forthcoming.
‘Review of Organized Time: Rhythm, Tonality, and Form (Oxford Studies in Music Theory) by Jason Yust’. Notes: Quarterly Journal of the Music Library Association 76, no. 3 (forthcoming).
Preface to Dionysische Phantasie: Symphonische Dichtung für grosses Orchester [Dionysian Fantasy: Symphonic Poem for Large Orchestra] (1899), by Siegmund von Hausegger, i–iii. Munich: Musikproduktion Höflich, 2019.
Preface to Konzert in C für grosses Orchester mit obligatem Klavier [Concerto in C for Large Orchestra and Obbligato Piano] (1910), by August Halm, i–iv. Munich: Musikproduktion Höflich, 2017.