Review By Hank Zauderer,My Classical Notes,August 2012
Bazzzini is best remembered as the composer of numerous show pieces for violin and piano, the most famous being “La Ronde des lutins” (The Dance of the Goblins). This piece is extremely hard to play and frequently played as a concert encore.
Chloë Hanslip is a terrific violinist. You will notice that her playing, even when flying up and down the strings at devilish speeds like in the “Ronde des Lutins”, is a delight to listen to from start to finish, always full of playfulness when called for, and deep melancholy feeling when needed. © 2012 My Classical Notes Read complete review
Review By Jean-Yves Duperron,Classical Music Sentinel,October 2009
Step aside Paganini, here comes Bazzini. Antonio Bazzini, who was born in 1818, was about 21 years old when the great Paganini died. Paganini had met and heard Bazzini play just 4 years prior, and encouraged him to become a virtuoso violinist. He took that advice and toured and travelled throughout the major European centres, all the while studying music, playing with masters of the day, absorbing all the techniques, composing, teaching, etc…
Review By Robert Maxham,Fanfare,May 2009
Itzhak Perlman once remarked jokingly, after playing Bazzini’s Ronde des lutins, that the composer hadn’t ever written anything else because he’d used up all the notes in La ronde. But though not much of Bazzini’s music remains in the active repertoire, violinists still play Calabrese (Menuhin included it in a film, Euroarts 2054618) and, of course, La ronde des lutins. (Works on the violin, including Auer’s multi-volume guide to violin-playing, mention the Allegro de concert.)…Chloë Hanslip, a sort of prodigy in her own right (after hearing the young Bazzini in 1836, Paganini advised him to undertake a tour), plays these
Perhaps Hanslip’s performance of the most famous of its numbers might serve as a sort of litmus test for the entire program, and she does bring a tangy zest—at a breakneck tempo (though without Heifetz’s élan) to La ronde des lutins…So, finding that Hanslip doesn’t turn up the voltage indicator as high as have violinists of an earlier generation in the better known of these miniatures, those general listeners may understandably be tempted to pass up the program. Recommended therefore principally to the curious among them—and again, of course, to all violinists.more....
Review By Joseph Magil,American Record Guide,March 2009
Hanslip has a clear tone, very accurate intonation, nimble fingers, and a tight, fast vibrato that she can employ on short notes. She knows how to shape a phrase by varying dynamics and adding accents.
Bazzini is best known today for his wacky, tasteless, showy ‘Dance of the Goblins’, which concludes this collection. The rest of his music is rarely performed, and all-Bazzini discs like this one are rare. His music isn’t the greatest, but much of it is pleasant if it is performed as well as it is here; and this is by far the best all-Bazzini recital I have heard, thanks to Hanslip’s taste and immaculate technique…Hanslip plays ‘The Dance of the Goblins’ as well as I’ve ever heard it.
Review By Max Schäfer,Gaystation (Germany),February 2009
„Bravourös“ titelt Fono Forum die Rezension dieser Einspielung. „Es ist vor allem ein Werk, auf das sich der Nachruhm des italienischen Geigers und Komponisten Antonio Bazzini gründet: das wirbelnde fantastische Scherzo „La Ronde des Lustins“, geigerische Artistik pur. Die englische Geigerin Chloe Hanslip meistert das Fünf-Minuten-Stück perfekt.“ (Fono Forum 12/08). Antonio Bazzini wird von Paganini ermuntert die Virtuosenlaufbahn einzuschlagen. Wie viele Virtuosen der damaligen Zeit komponiert Antonio Bazzini auch eigene Stücke, mit denen er vor allem seine Virtuosität auf der Geige in den Salons unter Beweis stellen kann. Auch wenn diese Stücke dazu angetan waren, durch Meisterung
Review By Edith Eisler,Strings Magazine,January 2009
This disc proves that [Antonio Bazzini] was a master of the genre of charming salon pieces popular at the time. The program recorded here aims at utmost variety, featuring both brilliant and effusively romantic character pieces.
Published between 1845 and 1864, these works demonstrate Bazzini’s progress in compositional technique and harmonic inventiveness. All are short, though one set of three is entitled “en forme de sonate” and opens with a substantial sonata-form movement. The slow, lyrical pieces are dreamy, melancholy, delicate, abounding in lovely melodies. The fast ones are whimsical, vigorous, bouncy, and full of dazzling instrumental fireworks.
Review By David Milsom,The Strad,November 2008
Chloe Hanslip proves a strong and assertive executant in these varied works, with a wonderfully clear and precise technique and a natural sense of mood and aesthetic…immaculately accompanied by Caspar Frantz…While the balance between the players is very well managed, the microphones appear to be very close, and this creates a rather hard and metallic sound—making the performances sound very exciting, but at the expense of tonal warmth. Despite these reservations, Hanslip’s playing is remarkably assured and, particularly among fans of the virtuosic and ’violinistic; this disc should prove highly enjoyable.
Review By Duncan Druce,Gramophone,November 2008
Does Bazzini need rehabilitating? A resounding yes after this set of delights
Review By Jonathan Woolf,MusicWeb International,October 2008
Not only is this a disc of delightful fireworks, but it’s been cannily selected as well. So let’s address the discography before we move on to Hanslip and Frantz’s splendid playing. Up to now if you wanted an all-Bazzini disc your choice was pretty much restricted to the recording made by Luigi Alberto Bianchi with pianist Aldo Orvieto on Dynamic CDS258. In that case you got the Violin Sonata in E minor, Op. 55, the two Novelettes, Op. 54, the three Morceaux, Op. 53 and the three Morceaux, Op. 46. So we now have complementary selections of Bazzini’s virtuosic flights of fancy.
Review By Giv Cornfield,The New Recordings, Cliffs Classics,October 2008
I had the pleasure of meeting the late Yehudi Menuhin around 1960 when he played a concert in Montreal. He gave me moral support in encouraging outstanding young artists making their recording debuts. Fast forward a decade, when I proposed a project to reissue some of his own recordings from the 1930s, to be called "Vintage Menuhin" (Orion ORS 7271), copied from 78 rpm disks that I had in my collection. After making the selections and transferring them to tape, he came over to listen. While Bazzini's "La Ronde des Lutins" was playing, he smiled and said wistfully: "I couldn’t play that now to save my life!" Enter 20 year-old British virtuoso Chloe Hanslip, who—with all due respect to Yehudi's memory—plays rings around this