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Matthew Chin & Julian Chan

1 February @ 12:45 pm 1:45 pm

£7 Adults

Tickets on the door (cash or card). Under 18s and carers go free

Doors open at 12:15 pm

Aylesbury Lunchtime Music

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St Mary the Virgin

Church Street
Aylesbury, Buckinghamshire HP20 2JJ United Kingdom
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duo violin and piano


Matthew Chin


Julian Chan


Notes on the performers

Matthew Chin

British based Violinist Matthew Chin leads a rich musical life as soloist, chamber musician and concertmaster throughout Europe and Asia. Born in HK, and graduate of Mozarteum University of Salzburg, HEMU Lausanne and Geneva. His mentors have included Pierre Amoyal, and Svetlin Roussev. Scholarships and awards during the period includes, Thomas Edward Wilson Scholarship (UK), MBF (UK), Ida Caroll Prize (UK), Helen Porthouse Paganini Prize UK, Tarisio Grant UK, Max D.Jost Foundation (CH), Lalive Foundation (CH), ‘Association des Amis du Conservatoire de Lausanne’ (CH).

He has received top prizes in Tunbridge Wells International Music Competition (UK), Internationale Anton Rubinstein Wettbewerb (DE), 1st CullerArts International Violin Competition (ES), 8th International Arthur Grumiaux Violin Competition (BE), Concerto Competition Winner in Pablo Casals festival (FR)and Atlantic Coast International Young Soloist Competition, (PT), Musicus Society Young Concert Artist Audition (HK).

Recent highlights have included appearances at Gstaad Menuhin Festival Switzerland, Abu Dhabi Classics, Haydn Violin Concerto in Pablo Casals Festival (FR), Mozart Violin Concerto No.5 with Capella Istropolitana(SK), and London City Chamber Ensemble(UK), Vivaldi Concerto in Musicus 10th Anniversary Festival (HK) as well as performing regularly at venues such as Royal Albert Hall, Berlin Konzerthaus, Royal Opera House, Cadogan Hall London in Season 23/24.

Matthew is currently on trial for both 1st Associate Concertmaster of Royal Philharmonic Orchestra and leader of Scottish Ballet Orchestra in Season 23/24. He was a regular member of Orchestre de la Suisse Romande (CH) from 2017-20. Previous experience includes Concertmaster at Moritzburg Festival Orchesta (DE), Aurora Chamber Orchestra (SE) and Principal 1st Violin for English Chamber Orchestra (UK).

Julian Chan

Rapidly developing a reputation as one of the most innovative pianists of his generation, Julian Chan has given performances at a number of prestigious venues across the UK, including Wigmore Hall, Southbank Centre, St John’s Smith Square, and the Sheldonian Theatre. Performing music by a particularly diverse range of composers, he has given alluring recitals featuring works by figures from Sweelinck to Messiaen, from Alkan to Rzewski, unifying these various styles in a captivating

Julian has had masterclasses with numerous pianists of international renown, including Stephen Hough, Imogen Cooper, Jeremy Menuhin, Melvyn Tan, Bobby Chen, and Joanna MacGregor; distinguished conductors with whom he has performed, both as a soloist and as part of the acclaimed Manson Ensemble, include Jessica Cottis, Ryan Wigglesworth, Ben Glassberg, Jonathan Berman, and
John Gibbons.

A passionate composer and performer of new music, Julian has collaborated with eminent composers such as Howard Skempton, Anna Thorvaldsdottir, Hans Abrahamsen, Deborah Pritchard, Michael Berkeley, and Peter Seabourne. Recently, Julian was awarded First Prize and Sonata Prize at the Nanyang
International Music Competition, Singapore, Second Prize at the Jāzeps Vītols International Piano Competition, Latvia, First Prize at the Norah Sande Award, and First Prize at the Coulsdon and Purley Festival with his performance of Rachmaninoff’s Piano Concerto No. 3.

Julian is currently recipient of the Ronald and Rita McAulay Award at the Royal Academy of Music, where he studies with Ian Fountain and Michael Dussek. He had his first book of compositions published at age 6, earning him the title of Malaysia’s Youngest Composer.


Programme notes

Johannes Brahms

Sonata for Violin and Piano no.2 op. 100
  1. Allegro amabile
  2. Andante tranquillo
  3. Allegretto grazioso

The Violin Sonata No. 2 in A major, Op. 100 (“Thun” or “Meistersinger”), by Johannes Brahms was written while spending the summer of 1886 in Thun in the Bernese Oberland, Switzerland.

It was a very fertile and refreshing time for Brahms. His friend, the Swiss pastor and poet Josef Victor Widmann de, lived in Berne and they visited each other. He was also visited by the poet Klaus Groth and the young German contralto Hermine Spies. Both Groth and Brahms were somewhat enamoured of Spies. He found himself so invigorated by the genial atmosphere and surroundings that he said the area was “so full of melodies that one has to be careful not to step on any”. In a short space of time, he produced, in addition to this violin sonata, the Cello Sonata No. 2 in F major, Op. 99, the Piano Trio No. 3 in C minor, Op. 101, and various songs.

The second Violin Sonata is the shortest and is considered the most lyrical of Brahms’s three violin sonatas. It is also considered the most difficult of the three to bring off successfully, and to exhibit its balance of lyricism and virtuosity. It maintains a radiant, happy mood throughout.

Source: Wikipedia

Richard Strauss

Sonata for Violin and Piano in E flat major op. 18
  1. Allegro, ma non troppo
  2. Improvisation: Andante cantabile
  3. Finale: Andante – Allegro

The Violin Sonata in E-flat major, Op. 18 was written by Richard Strauss between 1887 and 1888. Although not considered a milestone in violin literature, it is frequently performed and recorded. It is noted for its lyrical beauty and its technical demands made on both violinist and pianist.

The first movement opens with a brief piano solo, followed by lyrical violin interludes, through which the thematic material is presented. This movement follows typical sonata-allegro form, and although it begins in a melancholy tone, the movement ends jubilantly.

The second movement is unique in that it is an Improvisation; that is, the tranquil violin passages give the impression of improvisational material. This movement maintains a beautiful singing tone throughout, and ends meditatively. It is in ternary form.

The third and final movement begins with a slow, methodical piano introduction which then leads into an exuberant Allegro. After a rush of virtuosic passages from both performers, the sonata comes to an explosive end.

Source: Wikipedia