Chloe Hanslip

Chloë Hanslip in Press

Medtner Violin Sonatas Nos 1 & 3 Hanslip/Tchetuev September 2013 Five Stars, Julian Haylock

"In the wrong hands, Medtner's music can feel amorphous, but played like this, with white-hot intensity by Chloë Hanslip and Igor Tchetuev, it becomes the musical equivalent of a literary 'page-turner'. Hanslip is at here most radiantly sympathetic, matching Medtner's inspiration with playing of skin-tingling purity and tonal allure. The magical final section of the opening movement, during which the two instruments musical entwine, is shaped with such beguiling sensitivity that it is impossible to imagine it better played. ... Still in her mid-20s, Hanslip plays this elusive score with a mastery and profound insight that would grace many a great name of the past. Strongly recommended."


International Record Review September 2013, Colin Anderson

"....I am aware of at least two other recordings . That said, one can come across music for the first time and know that a performance in a thousand has been discovered. This is one such, for Chloe Hanslip and Igor Tchetuev seem so inside the music and so convincing that one feels no need to listen to another view of the score.... Hanslip impresses by her sheer involvement in the music, and also through the different colours, intensities, vibratos and dynamics that she produces, so perfectly judged as not to be questioned." September 2013

"Hanslip and Tchetuev realize Medtner's grand and grandiose design with ardent affection and unstinted polish. This music deserves a larger audience" Italy September 2013

" Con questo disco Chloë Hanslip dimostra di essere un'interprete molto ispirata di questo repertorio tuttora poco noto dai tratti fascinosamente romantici, che affronta con una coinvolgente partecipazione emotiva e una spiccata vitalità.
On this recording Chloë Hanslip shows she is very inspired by this repertoire which is still not well known. It has charmingly romantic passages which she performs with an emotional involvement and a strong vitality which is transmitted to the listener "

The Romantic Violin Concerto Vol.14 (ChloŽ Hanslip, Orchestra della Svizzera Italiana, Alexander Vedernikov)

The Strad April 2013, Edward Bhesania
"Chloë Hanslip may be aged only 25, but it's already more than 11 years since her debut CD.

The Glazunov Concerto has plenty to tax even the most accomplished of players, and yet Hanslip is remarkably assured in it. Her sound may not be as richly upholstered as that of her fellow Zakhar Bron pupil Maxim Vengerov (he was just 21 when he released his recording of the work), but she has a more fluidly relaxed, more conversational approach to phrasing that suits its rhapsodic form. Even in the challenging cadenza, she creates a sense of spaciousness, before the pyrotechnics of the finale. Throughout, there's no sense of any aversion to risk-taking.

The distinctly folk-inflected Mazurka–oberek, based on Polish national dances, gives Hanslip ample chance to show off her bottom-string tone, while conductor Alexander Vedernikov maintains lightly plucked orchestral accompaniments with the occasional tinkling triangle."

Mozart Violin Concert No 5, Adelaide SymphonyOrchestra, Gerard Korsten

The Barefoot Review Master Series ASO April 2013, Kim Clayton
"The highlight of the programme was a superbly executed performance of Mozart's Violin Concerto No 5 by the young, but uber talented,English violinist Chloe Hanslip. Hanslip found the ideal balance between the playful and almost rhapsodic aspects of the composition. The adagio second movement was especially beautiful and the seamless dialogue between Hanslip and the orchestras Celia Craig on oboe was quite exquisite as they swapped responsibility for soaring sustained notes... Hanslip plays with her whole body, but not in a self-indulgent way - it is almost a dance and every section of the orchestra took turns in partnering her."

Virginia Symphony Orchestra: "Pines of Rome"

Virginia review Jan 2013, Lee Teply
"Korngold Violin Concerto conductor JoAnn Falletta. Hanslip has remarkable depth. And she has the technique to support every musical expression. With a tone that ranged from a quite full lower range to the accuracy of shimmering high notes, ... As impressive as her handling of such technical issues was, it was her ability to "sing" out the long melodic lines that was most memorable. The fast final movement exploded with energy."

York Bowen - The complete works for violin and piano September 2013, Nick Barnard

"By bringing together Bowen-specialist pianist Danny Driver and the extraordinarily talented and charismatic violinist Chloë Hanslip Hyperion have what on paper should be pretty much a dream-team. Happily, so it proves – unfamiliar repertoire presented with complete conviction, technical aplomb and such subtleties and nuances of interpretation that one would think this duo had been playing this music together for years. ...Both performers here are simply excellent... Chloë Hanslip has always impressed me with her questing musical mind. Even in an age awash with firebrand virtuosi Hanslip stands out not just for the rock-solid quality of her technique but the imagination and fantasy of her playing. In the very best and most complimentary way her playing reminds me of some of the finest and most individual players of the past. There is an elegance and gallantry to her phrasing that cannot be taught or practiced – its just struck me repeatedly that Hanslip is perfectly attuned to this genre. The actual sound she makes is a carefully controlled well-projected tone which lacks nothing in weight and power when required. This is allied to a tightly focused fast vibrato that feels ideal for this style of music. Best of all is her intuitive handling of the rubato which is absolutely central to and makes the best of this occasionally sentimental style. This in its turn allows her to be deliciously coquettish one moment and passionately direct the next. She displays real understanding and affection for (the) music...

For those who have become Bowen collectors the set is a compulsory purchase and one I cannot imagine it being possible to supplant in a very long time. Both player's reputations are further enhanced but I have to say my admiration of Hanslip in particular is increased. Even by the high standards of the house this is a superlative pair of discs. Bowen might not be a genius, but if ever a pair of performers were going to persuade me otherwise, this would be the team."


The Strad Recommendation June 2013, Tim Homfray
"Hyperion's York Bowen series continues in the sensitive hands of Chloë Hanslip, partnered by Danny Driver, who has already recorded the piano sonatas and two of the concertos.

Hanslip has a beguiling way with Bowen's wistful melodies such as the sad, gentleMelody and the Song, partner to the debonair Bolero, which she executes in suitably dashing style. The Serenade, a lilting, melancholic, double-stopped waltz from 1917, is played with a light, affecting touch. In the Melody for the G string, written in the downright perverse key of G flat major, Hanslip weaves a seamless and captivating line. She produces light, exuberant playing in the early two-movement B minor Sonata of 1902 (unpublished and possibly incomplete) and a rich, noble tone for the main theme – alarmingly close to that of Beethoven's Coriolan Overture.

The first movement of the 1945 E minor Sonata is a big-boned affair, imbued with a Romantic spirit and language largely untouched by the 20th century. Hanslip gives a subtle account of the light, wistful Lento, with its sinuous lines and French-tinged harmonic landscape, and scampers around the finale with muscular agility, particularly on the G string. In the substantial Suite she mixes heroic, rhetorical flights with passages of expressive intimacy. The recording is first rate."


Gramophone Magazine - Recommended July 2013, Andrew Achenbach
"Of course, some of this material we've had before on rival compilations... but there's a wholly infectious conviction, spontaneity and panache about these superbly accomplished performance that lend them special distinction. Chloë Hanslip plays with the most enviably sweet and subtly variegated tone throughout and she forms an outstandingly compelling partnership with Danny Driver, whose irreproachably eager and stylish pianism is a joy to encounter. Production values, too, are as superior as one might expect from the experienced Keener/Eadon team"


BBC Music Magazine, 4 **** Malcolm Hayes, July 2013
"One idiomatic opportunity after another is seized on by Chloë Hanslip with panache, poise, and laser - like accuracy."

Vieuxtemps: Romantic Violin Concertos Nos. 1 & 2

Daily Telegraph May 2012, Geoffrey Norris
"When Paganini died in 1840, Henri Vieuxtemps assumed the mantle of Europe's most dazzling violinist, an evaluation that is borne out by these two concertos, beautifully and stylishly played by Chloe Hanslip. There is wit, charm and romantic flair aplenty, expressed characterfully in these performances."

Telegraph Rating ****

BBC Music Magazine, Martin Cotton, June 2012
"First Concerto - There's a lovely depth to her(Chloe's) tone in the dolce first theme, and the acrobaticsVieuxtemps puts her through are not just surmounted, with double-stops impeccably crafted even at speed, but are meaningfully phrased with a variety of tone and dynamics. She also finds character in the lyrical Adagio, and the more playful Rondo Finale, with its swaggering main theme.

Second Concerto - ... It gives the soloist similar problems and rewards, most of which Hanslip is eager to enjoy: a key word, as I really feel a smile coming out of the loudspeakers, especially in some of the delicious rubato in the Finale. And the mix of sentiment and display is once more on show in Greeting to America..."

Gramophone, Jeremy Nicholas, July 2012

"...few will be able to resist Hanslip's deliciously coquettish handling of the rondo movements of both concertos. In brief, for a single disc of these works there is no competition...", Jonathan Woolf June 2012

"Hanslip brings a wealth of neatly sculped phrasing to bear to the E major, her feminine sounding wistfulness warmed with just enough tremulousness to vest the music with a particularly satisfying sense of characterisation. This soon converts to something immediately uplifting and confident, even martial, and her canny control of dynamic extremes - and there are really extrtemes in this first movement - are seconded by Simon Eadon's engineering.

Hanslip's bowing is light and dextrous throughout, and she takes advantage of the cantabile opportunities presented her, as well as the consistently virtuosic ones too.

The slow movement offers an ingratiating aria, which is perfect for Hanslip's soft, delicate and refined musicianship."
June 2012
"British violinist Chloe Hanslip has revived some terrific Romantic virtuoso repertory, and she continues her winning ways with this trio of pieces by Henri Vieuxtemps. Hanslip renders this with a good deal of flair and sensitivity, and she receives competent support from the Royal Flemish Philharmonic under Martyn Brabbins. Recommended for any lover of Romantic concerto..."

Radio New Zeleand Concert,
The Critics Chair Robert Johnson June 2012
"The soloist is British violinist Chloe Hanslip in her first recording for the Hyperion label. A child prodigy, Hanslip performed in major concert halls on both sides of the Atlanticat age 10, recording her debut album for Warner Classics at just 13. Over the past decade or so she's matured into a true artist of the violin, who can deliver the pyrotechnics with apparent ease when they're called for, but who also displays fine musicianship in the more cantabile passages."


"It’s fair to say that Chloë Hanslip made the transition to violin superstardom with her superb Naxos recording of John Adams’s Violin Concerto five years ago. It secured her status as one of the most talented and intelligent young musicians around, a status she has built on with recordings of fascinating, slightly off-piste repertoire and her extensive concert schedule. She was back with the same forces as on the Adams disc, firing on all cylinders in a gripping performance of Prokofiev’s Second Violin Concerto.

From the eloquent solo opening, it was clear she was in complete sympathy with this 1935 work that mixes a broad romantic sweep with Shostakovich-like Soviet anxiety. Her delight in the concerto’s extensive arsenal of mood-changes made the music leap off the page in an extraordinarily vivid and infectious way, and gave her ample opportunity to communicate the charismatic virtuosity of her playing. Her phrasing breathes naturally, and she cast the sort of long, opulent line that must have the pantheon of great romantic violinists murmuring their approval. She was at her complex, inquisitive best in the ravishing slow movement, giving its Romeo and Juliet-inflected lyricism an unsettling, distracted quality that evoked the spirit of Mahler. On the evidence of this concerto alone, Hanslip is a player in the ‘old souls’ category, an artist of exceptional musicianship, with a wisdom and grace beyond her years. "


Birmingham Post, Norman Stinchcombe, May 2010

"Congratulations to whoever decided not to programme a more obvious choice of concerto, especially as the Glass was performed with such vivacity by Chloë Hanslip. Glass’s minimalist style, sometimes making a few notes go a long way and his trademark brightly polished major chords and chugging rhythms were all evident but its lyricism and moments of intense sensual beauty more than compensated.
It’s not a virtuosic work but Hanslip ensured that the second movement’s slow and sinuous theme was elegant, yet erotic, while the cadenza-like duet with timpani – Glass’s nod and wink to Beethoven’s concerto perhaps – was excellent."


Yorkshire Post, David Denton, May 2010

"Philip Glass's minimalist Violin Concerto is certainly an acquired taste, but put in the hands of the phenomenal Chloe Hanslip, and its haunting quality is irresistible.

Still only 22 she has a staggering technique that dealt easily with the mercurial passages, her intonation so exact,and energy levels digging her deep into her violin when adding to orchestral tutti passages, though a few less strings players would have achieved a better balance."


Yorkshire Post, David Denton, November 2009

"The audience were left in no doubt that Chloe Hanslip is the finest and most exciting young violinist this country has ever produced.

Still only 21, she performed four works, each of which would normally form the big virtuoso ending to a recital, yet her unfailing energy and technical brilliance just dismissed the demands they each made.

I don't suppose we will ever hear a finer performance of the Ravel sonata, the smoochy second movement a moment of sexy relaxation before the fireworks of a finale that was taken just about as fast as human fingers can manage.

From her small slight body she produces such a massive tone that the pianist, Charles Owen, had the opportunity to open up the texture of Chausson's Poeme into waves of erotic passion.

He could equally savour that rare opportunity of the full dynamic range of Cesar Franck's sonata, Hanslip shaping the score to perfection before she moved to that final test of a violinist's technique in Ravel's Tzigane.

They threw caution to the wind in 10 minutes that were as much pure adrenalin for the performers as it was for the audience."

Jeno Hubay Concertos Nos 1&2, Bournemouth Symphony Orchestra, Andrew Mogrelia

The Telegraph Geffrey Norris, September 2009

"These two concertos by the great Hungarian violinist Jeno Hubay(1858-1937) embrace a beguiling spectrum of colour and benefit from the lustre, bravura and sensibility that Chloe Hanslip brings to them. It is an ear-opener to some captivating Music."

Telegraph rating * * * * *

BBC Music Magazine, Julian Haylock, November 2009

"Even compaed with Hagai Shaham's first-rate coupling of the two violin concertos for Hyperion, Hanslip's radiant artistry and phrasal sensitivity is highly seductive. On paper, Op. 21's finale might at first seem a fairly standard exercise in late Romantic rhetoric, but when Hanslip enters with the langerous second theme, counterpointed by sighing cellos, such is her mastery of line, deeply-felt sincerity and glorious tonal opulence that she could easily be mistaken for Itzhak Perlman at his mid-1970's peak. There are no greater expressive weapons in violin music of this kind than the subtle use of upward portamento and exquisite musical intakes of breath to ease new phrases gently on their way. Few violinists of the younger generation sound totally at ease employing these techniques, yet for Hanslip they seem to come entirely naturally, witness her first entry in the Second Concerto which is shaped with exquisite finesse."

The Strad, Catherine Nelson, November 2009

"The explosive virtuosity of these two concertos by Hungarian violinist and composer Jeno Hubay is underpinned by beautifully coloured orchestral writing. Chloe Hanslip is on sparkling form, bringing to bear a rich, full tone in the wild romanticising of the First Concerto's opening Allegro appassionnato, but pulling back at times to allow the light to shine through the texture. Hanslip clearly delights in the acrobatics of the more familiar Scenes de la Csarda nos. 3 and 4 both infused with the infectious rhythms of Hungarian folk dance, and executed with brilliance and bell-like transparency."

David's Review Corner, David Denton, September 2009

"Described as ďthe most charismatic violinist the UK has produced in recent yearsĒ, this disc would show Chloe Hanslip on the way to being the greatest it has ever produced. Still only 21, her virtuosity is immense even in an age of virtuosos, and the depth of musicianship she brings to these two long-forgotten concertos is striking. The booklet does not credit the violin she is playing, but she draws from it the most honeyed tone, silvery brilliance and pianissimos of feather-like delicacy. Her intonation is very good , and she throws off the fireworks with an ease that belies their difficulty. "

UMEA Symphony Orchestra Rumon Gamba Oct 2009

Capriccio by the American Composer John Corigliano

"The evening's big surprise turned out to be Benjamin Britten's Violin Concerto in d minor, written during the second world war and also a work (this is a reference to Shostakovich Symph no 9) that mirrors the composer's thoughts on how his compatriots lived under harsh circumstances. The young British violinist ChloŽ Hanslip turned out to be an extraordinarily talented musician, one that no doubt will compete with the world's foremost violinists. Her technical command is wonderful and is perceived as perfectly in the service of the interpretation. Each note is burning hot and melodious but also achingly aggressive when Britten intended. She has an ability to tie the lines of the work together while lovingly intonating her violin with taste at all times. The insistent applause from the audience was rewarded with a break-neck encore."


The Times, September 2008

"Hanslip’s passion and technical bravura are palpable and exciting. Fiery glissandi, tremulous multi-stopping: the fireworks never stop." 

Odense Symfoniorkester 2008, Odense, Petr Altrichter Prokofiev Concerto No 2

Jyllands-posten 21.1.2008

"Chloë Hanslip, British, 20 years old. As soloist in Prokofjev’s Violin Concerto she was a phenomenon! She played the concerto superbly, in close connection with Czech conductor Petr Altrichter; lightning-quick changes of atmosphere and tempi perfectly in place. No technical problems (ie meaning: the technical difficulties of the piece were nothing to her),the sound from her wonderful 1730-violin was impressively full and clear. She bubbled with joy in the lively virtuosities, while she made a poetic miracle of the intimate Andante.

The audience were totally enraptured by this young and charming performer, who reciprocated with an equally virtuose extra number, from John Corigliano’s “Red Violin”-suite, announced in Danish!”

Stalintidens folkelige musik

"Chloë Hanslip played Prokofjev’s 2nd Violin Concerto from 1035, a work in the classic-romantic style, almost devoid of the composer’s (usual) Russian edge and ironical distance.

She played with a deliciously dark and full tone and convinced us with her natural musicality. What more can you wish for? In a capriccio-extra from Corigliano’s “The Red Violin” she demonstrated the joy of having the ability to play with dazzling virtuosity. In Prokofjev she never for a moment exploited her technical skills for the sake of bravura. A feat for such a young musician, and something that really holds promises for the future”…

(5 stars out of 6!)

Edinburgh Festival Theatre, Royal Scottish National Orchestra, Jakub Hrusa, Barnaby Miln

"November 2007 , the Royal Scottish National Orchestra was under the baton of the 26 year old Jakub Hrusa who was born in the Czech Republic and is currently the Principal Conductor of the Prague Philharmonia. A smaller orchestra, with its conductor using a more restrained technique, accompanied Chloe Hanslip for Mozart’s Violin Concerto No 3. This is one of only five concertos written by Mozart and allows the solo part every opportunity to excel and Chloe did not disappoint. Using the full length of her bow she was in command of her violin and demonstrated too by her movements her integration with the orchestra’s accompaniment. Yet Chloe is just 20 and already a star. This Edinburgh audience was highly delighted with her performance."

Cadogan Hall 2007, Royal Philharmonic Orchestra, Leonard Slatkin Prokofiev Concerto No 1 Gill Redfern

"Chloë Hanslip, at 20 years old, has already made a considerable name for herself, both in concerts and as a recording artist, and her persuasive rendition of Prokofiev’s technically demanding First Concerto was due in no small part to her ability to perform from memory and to her impressive visual and musical communication with Slatkin and the orchestra.

Coaxing an impressive range of dynamics, colours and depth of tone from her instrument, Hanslip totally engaged with the music from the outset. Her full vibrato complimented perfectly the work’s more lyrical sections, though, like so many other performances of this piece, some of Prokofiev’s more gymnastic writing came across as somewhat overly aggressive. There were also a couple of moments when she didn’t seem totally comfortable with the orchestral pace, but these quickly passed and it was a credit to her that she seemed willing (and able) to treat the performance as a partnership rather than a duel."

Benjamin Godard, Violin Concertos, Chloe Hanslip

The Strad

"It's to Hanslip's credit that. She is unafraid to risk the unfamiliar. She makes a triumphant success of this concerto, not least because her playing is as forceful and muscular as it is assured, and one hears in every entry how well thought-through are her approach and her grasp of the work's subtle musical nuance."

The Times

"Hanslip.makes a good advocate of these pieces. Just what the music needs. And all her solo sprints are exhilarating. Glissando dashes, double, triple and quadruple stopping - nothing gives her pause."

Adams Violin Concerto, Naxos, Royal Philharmonic Orchestra, Leonard Slatkin, Rob Witts

"Coming to public attention as a heavily marketed teen virtuoso, Chloë Hanslip has emerged as a stunningly accomplished and thoughtful musician, and this excellent recording of John Adams’s 1993 Violin Concerto is proof. Simply put, this is the most persuasive performance I have heard on disc, finer than such established talents as Gidon Kremer (Nonesuch) or Leila Josefowicz (BBC Late Junction).

This is the composer at his most introverted, almost approaching at times the emotional world of late Ligeti, especially in the fifteen-minute first movement, as the soloist is threatened by a ceaseless surge of rising chords. Chloë Hanslip’s singing upper register initially floats serenely above this restless landscape but is drawn down into it and spins off into virtuoso passagework; the gradual transition of mood is beautifully handled, with real care lavished over every note.

The second movement ‘Chaconne’ enables Hanslip to display gorgeous tone in long-breathed melody. The steady accumulation of detail in the orchestral writing is clearly and movingly evoked, and the synthesised keyboard sounds blend nicely, giving just a suggestion of otherworldly shimmer. The recording balance is good, with the soloist prominent but not detached; this is especially tricky in the hectic finale, whose bluegrass fiddle figurations can easily be drowned by the band. The high-octane dialogue between Hanslip and the Royal Philharmonic players is thrilling, and Leonard Slatkin keeps things bowling along to the exciting conclusion; you can feel the buzz in Studio 1, Abbey Road as the final notes ring out."

Limelight January 2007 Christopher Latham

“This might be one of Naxos’ best recordings ever. Young British violinist Chloe Hanslip is outstanding on this fascinating solo portrait CD---. Corigliano’s Red Violin Chaconne,---, demonstrates immediately that we are hearing a very special violinist. Hanslip’s sound is sensual, vocal and yearning and totally radiant in its top register.

Leonard Slatkin has the Royal Philharmonic Orchestra at their best with Hanslip out front displaying poise and authority that should be impossible at her age. I am converted - she is likely to become the greatest violinist of her generation.”

Gramophone October 2006, Philip Clark

"The richness and clarity of her tone is beyond learning and she demonstrates such profound empathy for John Adam's 1993 Violin Concerto. ... This is the sort of performance that secures a reputation for life. The first movement strikes me as a particular challenge, as an unwinding melodic line generates itself over a quarter-hour span. ... Hanslip deconstructs their (notes) meaning and pieces together a cogent narrative direction that's a bona fide interpretation. The sing-song ballad quality of the slow middle movement unlocks her lyrical imagination, while the tricky moto perpetuo of the violin part zigzags and breakdances across occasional Nancarrow-like rhythmic overlays in an exuberant finale. Assertive and enthused accompaniment from Slatkin and the RPO, too - everybody's doing Adams the greatest of service."

BBC Music Magazine October 2006 Calum MacDonald

“This is the fourth recording of the Adams Concerto. The first by Gidon Kremer with the Orchestra of St. Luke’s on Nonesuch, remains dazzling in the cruelly demanding solo part, but Kremer is uncomfortably spoilt by the recording; Hanslip, much better balanced and with much more orchestral detail apparent, gives few points away to him in virtuosity, even in the frenetic perpetuum mobile finale, --- Hanslip’s new version seems to me undoubtedly the one to acquire.”

Performance *****

Sound ****

The Strad October 2006 Roderic Dunnett

"The blossoming career of the gifted young violinist Chloe Hanslip hasben a delight to watch in recent years.  This characterful performer has worked assiduously at her technque and range of tone, and her spirited playing can safely be described as both versatile and mature.  Here she offers a typically imaginative programme, in which every item brings its own delights.  One astonishing achievement is Wagner's Tristan and Isolde(arr. Waxman) in which any temptation to overplay the sentiment is finely sidestepped: what we hear is a sensitive , measured reading of the text which allows the music to weave its spell without any overunctuousness or overegging.  It's a deftly managed interpretation.

The Chaccone from John Corigliano's The Red Violin is given a comparably fine performance: in Hanslip's hands the beautifully played solo line emerges as beguiling and atmospheric.....  Inevitably the highlight is the John Adam's Concerto... in which the offsetting of the assured solo line against the almost tangetial musings of the orchestra is especially finely done here.  The recording is pleasing and Hanslip's whole spirited programme could be described as a triumph."  

The Times September 2006 Geoff Brown  

"Her new image shouts that Hanslip, now a recording freelance, has become her own person.  The violin playing tells us this too.  It was always secure in tone , unaffected; but the authority and depth displayed in this release of American music puts Hanslip on quite a different level.  She is promising no more; at the age of 18, she seems the complete artist, able to rival well-established players with subleties of expression and a firm grasp of what the music needs. Though Adams's Violin Concerto has been recorded by Gidon Kremer and Leila Josefowicz, Hanslip's version is the most persuasive yet.

Adams's long, singing lines are beautifully projected in a finely spun tone, largely free of vibrato.  She's equally impressive in the bucking rhythms of the finale, though she never abandons finesse.

...with Hanslip in this form I'd listen to anything.  ****"

Bavarian Radio Sibelius Concerto and Chorus/Jansons, Philharmonie, MÜNICH ****

The Independent Thurs 13 October 2005, Roderick Dunnett

Janson’s soloist in Sibelius’s Violin Concerto was the beguiling Chloë Hanslip, a sizzling young product of the Yehudi Menuhin School. Hanslip produces a full-blooded sound: her wide-spaced vibrato and powerful resonances rendered her an expressive, idiosyncratic advocate of the Sibelius: intense, passionate, not without cheeky waywardness. Her dazzling technical proficiency made sparks fly in the finale. Hanslip’s high spirits whipped you along: tussling with tympani and bassoon, teasing out the allegro’s long-lined big tune, slyly echoing herself in the adagio, or sweeping up to the laughing harmonics in the finale, she delighted the Munich audience.

Kymi Sinfonietta, Pietari Inkinen, Tchaikovsky Concerto

Helsingin Sanomat 8th Jan 2005, Hannu-Ilari Lampila

"17 year old British girl Chloë Hanslip is a brilliant violinist. Petite, graceful and joyful Chloë Hanslip is a sensational, impressive talent. Tchaikovsky's violin concerto suits her romantic mentality well. She has a beautiful timbre, emotionally glowing melody lines and also a deep power. It would be wrong to say that this young artist is only a romantic sentimental girl because she is also full of energy which gives her the the ability of phenomenal, vivid and spirited virtuosity."

Colorado Music Festival, Michael Christie, Glass Violin Concerto

The Denver Post 30th July 2004, Sabine Kortals

"There are teenagers. And there are prodigies. Sixteen year-old Chloë Hanslip is both, plus generous measures of poise and power that reach beyond her youth. In her debut performance with the Colorado Music Festival, the no-nonsense violinist riveted an appreciative audience Thursday night in her un-restrained, magnetic performance of Philip Glass' Concerto... Hanslip,... tied together the surging phrases for 30 minutes of rhythmic and harmonic inspiration. Fingers flying, Hanslip managed the numerous repetitions of arpeggio passages with aplomb. Best of all, her self-possessed, deeply felt performance was reminiscent of the composer's theater music, replete with metaphors to stir even the most quiescent imagination."

Philharmonie of the Nations, Justus Franz, Tchaikovsky Concerto)

The Independent 16th March 2004, Nicholas Pike

"The astonishingly talented Chloë Hanslip soloed in the Tchaikovsky Violin Concerto... In the soulful middle movement she was soft but steely, delicate in detail yet catching the composer’s typical feeling of freshly released hormones in full charge....The common factor right through was a subtle ear for tuning: sharps and flats felt exactly right, whatever the pace, and you can’t say that of too many violinists of any age."

The Times 13th March 2004, Richard Morrison

"The teenage British sensation, now 16, has progressed enormously in the last two years.... The tone is far more distinguished and commanding; the technique even more assured; the impulsive dash and daring... refreshing.... the potential of this tiny teenager is huge."

Bruch Violin Concerti Nos 1 & 3

American Record Guide March/April 2003, Haller

"The remarkably gifted young violinist Chloë Hanslip (she turned 15 last September) joins James Ehnes and Isabelle van Keulen in pairing the first and third concertos of Max Bruch. The new entry from Warner quite sweeps the field. ...

Here we have a fresh new approach to No. 3. In the G-minor concerto, Chloë Hanslip, like Ehnes, makes the music soar at a tempo rather more expansive than the classic Heifetz yet her tone-pure and sustained-is a gift wholly at the service of the music, spun out like gold....we cannot but wonder at a teenage girl for whom such sensitivity and expression, such mastery of dynamics and phrasing come so easily.... the sheer joy of making music comes through in every bar....

Yet even her expansive embrace of the G minor could not prepare me for her remarkable achievement in the D minor... once again her sustained and flowing tone is nothing short of a marvel. Indeed, about halfway through the opening movement I set aside my notepad and simply sat back and let the music wash over me..."

Diapason February 2003 - awarded 5 "diapasons"

"Ever since then (10 years old) her gifts have been confirmed and she is asserting herself as one of the most promising talents of her generation. You do not have to listen to this disc for long to realise that she clearly deserves her reputation. Sound, inspiration, fluency and self-assurance, a pure, elegant but unpretentious style, fresh and vivacious: it is hard to imagine that any adolescent could hold a conversation with such confidence.... In Opus 58 she finds an even more natural eloquence and a freedom that restores the beautiful lyricism and original inspiration that are in this all too-forgotten work."

BBC Music Magazine December 2002, Stephen Pettitt

"The very first thing that strikes you about this disc is 15 yr old Chloe Hanslip's sound. It is quite extraordinary in its richness and depth of tone.... But her instinctive feeling for line and colour, her impeccable control of the bowing arm, her incredibly precise intonation and her utter self-confidence are astonishing.... But what is most impressive is her clear vision of the music's span. (Bruch No.3)"

The Gramophone December 2002 - Editor's Choic, Edward Greenfield

"The popular G minor work comes in a warm confident reading which is impressive... this is a performance of No.3 in which Hanslip sounds as though she has lived with this work so completely that the phrasing comes spontaneously, with fine, clean attack, flawless intonation and wonderfully crisp and clear double-stopping.... She plainly revels in the beauty of the violin-writing and its range of expression, with formidable bravura set against moments of pure poetry..."

The Strad December 2002, Jeffrey Joseph

"... the soloist turns in here such a profoundly emotive 70-odd minutes of playing that cynicism is kept wholly at bay.... I defy anyone to pinpoint a single important aspect of the performing which negatively demarcates it as being by a teenager.... Such is her fiery but by no means unconsidered artistry, so beautiful her lyricism, so powerful and clean her articulation, so wise her pacing... The future belongs to Chloe Hanslip."

Daily Telegraph 19th Oct 2002, Geoffrey Norris

"... her new recording of the G minor Concerto and the Third Concerto in D minor with the London Symphony Orchestra... has an appealing freshness. Her playing is warm, thoroughly rounded and finished.... youthfully mature artistry."

The Guardian 11th Oct 2002

"It seems that for Hanslip the bigger the challenge, the greater her success... With clean attack and flawless intonation she gives a spontaneous - sounding reading..."

Wigmore Hall Recital

The Strad February 2003, Joanne Talbot

"Throughout this recital one had to marvel at her gloriously free bowing arm and sense of bow planning which ensured an even tone in a beautifully sensitive account of Chausson's Poeme, with a particularly fine shaping of the chromatically hued melodic line. ... Here (Saint-Saens/Ysaye Waltz Caprice) Hanslip admirably displayed not only her dextrous fluency, but also a grace and wit entirely suited to the work."

More reviews to follow...

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