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

“Simplicity is the final achievement.” — Frédéric Chopin

The First Principles Violin System is a philosophy and applied discipline that deconstructs physical mechanics and musicianship down to their elemental roots.

It is an integrated approach to performance that unites biomechanics, musical structure and intention. It offers musicians a clear and natural pathway toward technical freedom and artistic clarity.

The Biomechanics of Technique
The body has a logic. So does the instrument. This is about aligning the two.

The mechanical demands of the instrument are clarified through the lens of movement. Guided by a practical understanding of biomechanics—observing where movement originates and how anatomy interacts with the geometry of the instrument—this approach provides the support for a technique that is structurally sound, natural, and efficient. Rather than a fixed result, it offers continuous development and refinement for players at every level.

The Dimensions of Musicianship
A score is a map, not the territory. This component makes music three-dimensional.

Music-making is not a two-dimensional aural reiteration of the score; it is a three-dimensional creation of a narrative. The abstract truths of the score are accessed not merely through intellectual processing, but by making them viscerally felt. By translating musical elements into physical properties—where rhythm is governed not just by speed, but by mass and velocity; and intonation is defined not just by pitch, but by gravitational tensions in harmony, as two examples—this system opens a gateway to endless possiblities to render musicality as an innate, natural expression rather than a prescribed output.

Unified Embodiment
Where technique and artistry stop being two separate things.

Functional biomechanics and abstract artistry merge into a singular state of natural expression. This approach honors the unique realities, constraints, and individuality of every player, providing the scaffolding to maximize potential. This process brings a deep level of precision and clarity to both technique and musicianship. The aim is always to equip the player for a lifelong pursuit of mechanical control, physical freedom, and unfettered musical expression.