Amelia Chan

violinist | Creator, First Principles Violin

Amelia Chan is currently concertmaster of the City Chamber Orchestra of Hong Kong (CCOHK).

She came to this position from her tenure as concertmaster of the West Virginia Symphony Orchestra (US). An experienced leader, Amelia has served in the concertmaster chair under acclaimed conductors such as Sir Neville Marriner, Michael Tilson Thomas, Manfred Huss, Sergiu Commissiona, Anton Coppola, Zdeněk Mácal, Jorge Mester, Julius Rudel, and Gerard Schwarz. She has also performed with the New York Philharmonic extensively. As a chamber musician, Amelia has served as first violinist of the Montclaire String Quartet, and has collaborated with guitarist Sharon Isbin, accordionist Richard Galliano, violinist Lara St. John, the Ying Quartet, members of the Vienna Philharmonic Orchestra, and the Jupiter Symphony Chamber Players (NYC), among others. She has appeared as soloist with orchestras including the West Virginia Symphony, the International Virtuosi Orchestra on tour in Central America, the New Amsterdam Symphony Orchestra (NYC), the Brooklyn Symphony Orchestra (NYC), and the City Chamber Orchestra of Hong Kong. She has shared the stage as co-soloist with acclaimed flutist Sir James Galway, and frequently acts as director for the City Chamber Orchestra. She has performed at the Costa Rica Music Festival, the Guatemala Music Festival, Cooperstown Chamber Music Festival in New York and the Pacific Music Festival (Japan).

Amelia has been heard on WQXR, New York; WQED, Pittsburgh; West Virginia Public Broadcasting; BBC Radio Scotland, Scotland; and RTHK Radio 4, Hong Kong.

As an educator, Amelia approaches the teaching of technique through the lens of whole-body biomechanics, and on the principle that techniques of playing an instrument need to be relational to the body, and to how it moves, instead of relying on a static one-size-fits-all method. She believes in a focused and deep education that goes beyond rote training, where the student learns discernment and critical thinking, while sifting through the layers of intellect needed to decipher the depths of the musical art, to get to the natural, joyful simplicity of music-making.

Amelia holds undergraduate, graduate, and post-graduate degrees from the Mannes College of Music and Manhattan School of Music (NY). She began her violin studies in the junior school at the Hong Kong Academy for Performing Arts. Her major teachers included Thomas Wang, Alice Waten, Albert Markov, Shirley Givens, Lisa Kim, Yoko Takebe, Sheryl Staples, Glenn Dicterow, and double-bassist Julius Levine.

For more information on Amelia, please go to her Instagram page at https://www.instagram.com/ameliachanviolin/ 

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"Concertmaster Amelia Chan in particular played with passion, acting as the vibrant soul of the ensemble.” South China Morning Post 

“…gutsy solo violin throughout [by] concertmaster Amelia Chan…” theprickle.org

Purposeful Movement: The "Rubber Wrist" [Video]

I recently came across the idea of the “rubber wrist” in the left hand—the premise being that the wrist shouldn’t be rigid if we want to maintain a secure hand position. This was demonstrated with some loose, exploratory movement.

We can build on this exercise by looking at the root of why this freedom is so helpful. Understanding these mechanics helps us find the exact boundaries of that movement, allowing us to transition from an intuitive exploration to a precise, intentional practice where we know exactly what physical feedback we are looking for.

Why a Free Wrist Matters

A flexible wrist is essential because it allows the weight of the hand and arm to shift naturally. Instead of squeezing or pressing, we can allow gravity to do the work by using quiet micro-adjustments throughout the entire arm to channel its weight directly down into each finger. In fast passages, this fluid release is what lets us transfer that weight seamlessly from one note to the next.

"Ultimately, speed is not about forcing your fingers to move faster; it is about how quickly you can transfer weight between them."

Try this: The Two-Note Weight Shift

Play only two notes at a time, very slowly.

  • As you transition, focus on feeling the weight shift across your knuckles.

  • Let the second note sit "heavy," acting as a stable, grounded destination.

  • Then, move to the third, letting the weight flow forward to make that note just as heavy.

In the following video, I use a passage from Rimsky-Korsakov’s Scheherazade to show how this works. You’ll see that even while I’m experimenting with what to “relax,” the movement remains quite precise and quiet. I’m simply trying to help gravity do its job.

https://youtu.be/pt64y0b2Hrg

Ultimately, speed is not about forcing your fingers to move faster; it is about how quickly you can transfer weight between them. Learning to indulge in the feeling of this weight shift at a luxuriously slow tempo is what makes fast passages clean.

As you do this, you will discover how little movement is actually required. The nervous system learns by mapping physical feedback, and it thrives on quiet, precise signals. Reducing any extraneous wriggling also minimizes background noise that drowns out the very subtle movement you are trying to learn.

This is why the more we can narrow down exactly what we are looking for whenever we practice, the more fruitful our work becomes. When we aim for true precision stemming from a first-principles understanding of physical mechanics and neuroscience, we transform our practice from an initial exploration into deep, efficient learning.