Jeremy Chan
Biography
“Great intelligence and sensitive artistry.” ~ Christopher Axworthy, acclaimed music critic
Jeremy is an award-winning concert pianist based in London. He holds an Artist Diploma and Masters degree with Concert Recital Diploma from the Guildhall School of Music and Drama, as well as a Bachelor’s degree in English Literature from Durham University.
Jeremy is a winner of multiple competitions, including the Guildhall Beethoven Prize, Guildhall Romantic Prize and Beethoven Piano Society of Europe Senior Intercollegiate Competition. He also won second prize at the Tunbridge Wells International Music Competition. In July 2023, he made his concerto debut at St John’s Smith Square with the London City Orchestra playing Rachmaninov’s Second Piano Concerto. In the summer of 2023, he was invited to work with pianist Angela Hewitt for a week in Italy.
Jeremy has been playing the piano since he was six and has studied in prestigious institutions such as the Hong Kong Academy of Performing Arts and the Royal Academy of Music. He obtained his Licentiate Diploma in Piano Performance in 2014. He has since participated in numerous competitions, local and international, such as the International Tchaikovsky Competition for Young Musicians in Switzerland and the Chopin-Asia Piano Competition in Japan.
Jeremy has performed in different venues including Steinway Hall London, Bechstein Hall London, St John’s Smith Square, Silk Street Concert Hall, Milton Court Concert Hall, Salle Gilles Lefebvre, Stoller Hall and City Lit Recital Room. Jeremy has worked with and received great insight from world-renowned musicians such as Dame Imogen Cooper, Sir Stephen Hough, Jonathan Biss and Claudio Martínez Mehner.
Jeremy is also an avid chamber musician and is currently a member of the Wayfarer Trio with cellist William Lui and clarinettist Kosuke Shirai. As an avid writer, Jeremy writes regularly on his blog www.literallylefthanded.com, which enjoys a wide readership, and has been publishing his concert reviews there as well as interviews with musical personalities.
In 2025, Jeremy completed his Artist Diploma degree at the Guildhall School of Music and Drama studying under Noriko Ogawa, Charles Owen and Ronan O’ Hora.
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I grew up in Hong Kong and have been in the UK for ten years. I started playing the piano when I was six or seven, but the real turning point came when I entered secondary school and joined the school orchestra. I was a flautist back then, and playing the flute was what first made me realize that classical music could be exciting and even “cool.” That experience sparked my genuine interest in classical music, and from there I went down the usual YouTube rabbit hole, discovering more and more.
What truly drew me into piano was an online competition I found—the Tchaikovsky Competition for Young Musicians in Switzerland. I sent in a recording, still using my upright piano at the time, without really knowing what to expect. To my surprise, I was accepted. I flew to Switzerland when I was 12 or 13, and that experience opened my eyes. It was then that I decided I wanted to pursue classical music seriously.
The journey, however, wasn’t linear. I came to the UK with the hope of studying music, but my first degree was actually in English literature. Gradually, I found my way back to music, and after finishing my literature degree, I decided to dedicate myself fully to piano. I enrolled in a master’s program in piano performance at the Guildhall School of Music and Drama. That was five years ago, and I recently graduated.
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It felt a bit unusual at first to find something that connects writing with music. I had done it during my literature degree, my thesis was on the role of classical music in fiction, but I wasn’t sure how I could make it into a regular practice. It was actually my mother who encouraged me, saying, “Why don’t you try writing concert reviews?” That’s how it all began.
While studying for my literature degree, I was watching the Leeds Competition livestream and decided I would write about every single round. So that’s what I did. Gradually, it snowballed. More people started inviting me to concerts to review, and I began receiving new opportunities through writing.
It’s not something many people do, especially those who really understand music. Once you start, you quickly realize that a lot of concert reviewers aren’t necessarily musicians themselves. That’s why I think there’s real value in musicians writing about music as well.
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Looking back, I didn’t realize how unorthodox my choice was until I had already made it. I feel very lucky because my family was supportive throughout. They told me, “If you really love classical music, you’ll find your way back to it.” That has been the greatest blessing; the freedom to have full control over my own life and to find my own path in classical music.
Now that I’ve graduated and am finding my way in the industry, I’ve come to realize how valuable that independence is. In the long run, it helps much more than having your family push you through each stage. In the end, you are on your own for most of it, and having the independence to guide yourself through the arts industry is essential.
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Concert reviewing has definitely helped me because it allows me to articulate what I enjoy in someone’s playing, and that reflection helps me examine my own performances. I can think about what inspired me in a recent concert, learn from it, and then apply those insights to my own playing.
I’m immensely grateful for my literature degree because it opened up a whole world of the arts for me. It wasn’t so much about equipping me with a specific skill to apply, but rather about opening the door to curiosity. If I had gone straight to conservatoire, I probably would have focused only on technical matters. Studying literature, however, encouraged me to consider the wider context in which composers were working.
Composers and writers often influenced one another, especially in the Romantic period—think of Robert Schumann and Johannes Brahms. That kind of cross-pollination makes the artistic world so much more colorful. And today, the real world is moving in that direction as well, with artists collaborating across disciplines and creating cross-arts projects.
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That’s what we do for a living—mistakes are inevitable. I can recall one of the worst mistakes I’ve ever made. I was performing Beethoven’s 31st Piano Sonata in A-flat major, which is such a profound piece. The ending is especially challenging because it’s a fugue that builds to an ecstatic climax.
Right at the very end, I had a memory slip, and I simply couldn’t find my way back. I ended up looping for nearly a full minute before finally reaching the last chord. I was relentless; I didn’t want to just stop and start over. Therefore, I kept grappling for anything in my mind to pull me through. That was definitely one of the most horrific moments I’ve experienced on stage.
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I was definitely a victim of performance stress. In a way, I felt lucky to be able to step away from music and then return to it. While I was doing my literature degree, I had no obligations to play the piano at all. During that time, I began approaching music differently—organizing university music societies, conducting, and gradually finding my way back to performing through amateur concerts. That was where I rediscovered my love for being on stage.
This shift in perspective really helped me confront my stress. I began to focus on the idea that I was sharing music with people, and that I genuinely enjoyed the act of sharing, rather than obsessing over making sure every note was perfect. It wasn’t about me anymore; it became more about the audience. That change in mindset is where I found both energy and relief from stress.
I also try to introduce my pieces whenever I can. Speaking to the audience before performing, sharing a bit about the music, and establishing a rapport helps me feel less isolated. It turns the performance into something we experience together, which makes the whole process far more meaningful.
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This week, on 16 September 2025, I’m performing Messiaen’s Quartet for the End of Time at the Fidelio Café in London.
But the bigger milestone for me is actually next month, when I make my debut at King’s Place as part of the London Piano Festival. I’ll be performing with Steve Rosenberg, the BBC Russia editor, and Petroc Trelawny, who presents on BBC Radio 3. Together, we’re presenting an event dedicated to Shostakovich, marking the 50th anniversary of his death. I’ll be playing a selection of his preludes and fugues. Unfortunately, the event is already sold out.
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In terms of venues, Wigmore Hall has always been a dream of mine. As for repertoire, I’ve been drawn to Beethoven’s Hammerklavier Sonata—I like big and ambitious works. And of course, for every pianist, Rachmaninoff’s Third Concerto looms large. I’ve often been told there’s a kind of “biological clock” for pianists: once you pass the age of 30, it becomes much harder to learn pieces of that scale.
Career-wise, one thing has remained constant: I’ve always wanted to be a concert pianist. I’ve always wanted to travel and perform everywhere, and that dream is beginning to take shape—I was performing in France just last month. At the same time, I think it would be exciting to one day have my own festival. I’m very open to exploring different paths, and I definitely want to keep writing. Beyond concert reviews, I’d love to write essays sharing my own reflections on music.
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I would definitely say networking. It’s something people don’t talk about much, especially in music. When you study music, the focus is naturally on playing your best and perfecting your technique. But what they don’t really tell you is that gigs don’t usually come just from winning competitions. Of course, if you win something like the Van Cliburn, you’ll get a tour, but what truly sustains a career is how well you can connect with people—whether you’re someone others enjoy being around and working with.
Being a good person really matters. It’s about being open and approachable, not just showing up to perform and then leaving. I think that’s a big part of being a musician. It’s important to be well-rounded, to be interesting as a person, and not only focus on the playing itself.
Follow Jeremy’s musical journey on his Instagram at @jeremy.pianist and read his concert reviews in his ‘Literally Left-handed’ blog!
