Chloe hanslip maxim vengerov biography
Chloë Hanslip and her mother, Averil
My parents didn’t want another pianist in the house, so they started me on the violin. At three, I heard Eine Kleine Nachtmusik on the radio, and I picked up my violin and started playing it. I had a lovely little sixteenth-size violin. I played solo at the Purcell Room, at the Festival Hall, when I was four, and for Lord Menuhin at his school when I was five. I remember telling the pianist she was playing the piece too slow. Menuhin taught me how to stand while playing and how, if you don’t have good posture, you will end up like a hunchback.
When I was seven I met Professor Zakhar Bron. I knew I wanted to study with him. And he said: “I
Chloë Hanslip
British classical violinist (born 1987)
Chloë Elise Hanslip (born 28 September 1987) is a British classical violinist.
Biography
Hanslip was born in Guildford, Surrey, and has been playing the violin since she was two. At the age of four she performed solo at the Purcell Room. When she was five, she performed for Yehudi Menuhin and subsequently, at his invitation, studied with Natasha Boyarskaya at the Yehudi Menuhin School. At the age of ten, she had played in major concert halls throughout Europe and North America, including Carnegie Hall in New York City and the Royal Albert Hall in London.
In 1995 she began studying in Germany with Professor Zakhar Bron, the teacher of Maxim Vengerov and Vadim Repin. In addition to her lessons with Professor Bron, she has taken part in masterclasses and received guidance from Shlomo Mintz, Ida Haendel, Salvatore Accardo, Ruggiero Ricci and Maxim Vengerov.
In 1997 Hanslip was featured in a television documentary in Germany with Igor Oistrakh and Professor Bron. She was also featured in the BBC documentary Can You Make A Genius? screened in 2001 on BBC1 and played the child prodigy violinist alongside Ralph Fiennes and Liv Tyler in the film Onegin.
At 13 she was the youngest recording artist ever to be signed to Warner Classics UK. Her debut album, recorded with the London Symphony Orchestra under Paul Mann, was released in September 2001 to great critical acclaim. Her second CD, a recording of Max Bruch's Concerti No. 1 and No. 3 with the LSO under Martyn Brabbins, was released in 2002.
Chloë Hanslip has received numerous awards for her playing, including first prize and four special prizes in the 2nd International Violin Competition in Novosibirsk, Russia, resulting in concerts in Russia, France and Japan. In 2000 she was awarded a Scholarship by the Sibelius Foundation, one of Finland’s highest honours, presented by the Finnish Ambassador. Also in 2000 she was nominated by Justus Frantz f For a real treat, watch an exceptional master class run by Maxim Vengerov that includes the acclaimed British violinist Chloë Hanslip, who was only 11-year-old at the time, on YouTube: Since that time, Chloë Hanslip has gained an international reputation as one of today’s most exciting young violinists. Her Naxos recordings have consistently attracted high praise from critics. ‘This might be one of Naxos’ best recordings ever. Young British violinist Chloe Hanslip is outstanding on this fascinating solo portrait CD, taking us through a range of eclectic and recent works.’ – Limelight ‘This is a lovely disc which adds valuably to the Naxos American Classics marque. More from Chloë Hanslip please.’ – MusicWeb International ‘Hanslip certainly has the confidence and technique for this repertoire: more importantly, she’s able to engage with each piece, bringing out its expressive character. For the Romance in Op 44, for instance, she produces a soft, sensuous tone, quite different from her sound in the plaintive, ornate Nocturne from Op 41. Caspar Frantz accompanies very stylishly throughout, and Hanslip’s musical personality, graceful and with spontaneous verve, brings everything to life. It’s lovely violin playing!’ – Gramophone ‘Hanslip plays each melodic statement as if she were playing Massenet’s Meditation from Thaïs or a gossamer moment from Saint-Saëns. More militant derring-do from Godard and Hanslip for the finale, quite passionate, as marked, and bristling with double-stops and “perpetual,” breathless filigree calculated to raise our musical eyebrows in awe and admiration.’ – Audiophile Audition Chloë Hanslip Biography & Discography
The Cross-Eyed Pianist
Who or what inspired you to take up the violin and pursue a career in music?
I was so small that it is a little hazy but I think it went like this: my Mum asked if I would like to choose an instrument to play. We had an upright piano at home so I had already started playing that by myself as my older sister had begun lessons and I was trying to catch up alone…. but this was a whole different matter. I was just six. I remember being absolutely entranced with the shape of the violin, so when I had the chance to choose – after examining the curves, edges, the smooth tiger’s-eye stripes of the varnished wood and that high string tension of the violin – my imagination was absolutely caught. I began lessons locally and found there were many challenges to overcome, both musical and otherwise – but my strongest memory was that whatever the obstacle, I always knew above all else that I really just wanted to play the violin. My mum and dad were amazing too – they ferried me to early Saturday lessons and continued to enable practice even if i was, like any child, a little reluctant – and would far rather run up the garden to make my escape!
I think it was only when I met my teacher Xue Wei that I considered a career, and aged 15, it was just about the right time to be thinking about pathways ahead. In fact, if I look back, I realise that until then, most people tried to put me off a career in music. School teachers had been very keen to promote an academic musicology route, I had been begged “was there “anything” other than music that I could consider?”
When I was adamant, Xue Wei’s view was that I was spending far too much time at school and should go to China to practise. So aged 17, right before A-levels , I went to Beijing for six weeks to live with his own former teacher, the legendary Lin Yao-Ji, and had lessons twice a week or more.
Who or what have been the most important influences on your musical l