CHLOE PLAYS EVERYTHING LIKE SHE WROTE IT
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SUBLIME
“Sublime, one of the finest violin solos I have heard in a musical's pit orchestra”
David Laugharne, Musical Director
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GIFTED
As a co-composer-deviser of collaborative work across music composition, theatre and dance, Chloe is highly gifted and makes it easy to listen and watch her working.
John Hardy, Composer
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UNIQUE
Chloe is a musician of great integrity, passion and curiosity. Refusing to be siloed, Chloe's bold creativity has seen her throw herself into several interesting collaborations. From bringing a children's book to life with original music as part of The Flying Bedroom Company, appearing as an acting musician in plays including Uncle Vanya and Grimm Tales, to playing and singing original material with the group Layer by Layer. First and foremost, Chloe is an excellent violinist, but coupled with her lovely, professional manner and her fearless zest for working in as many diverse ways as possible, I believe this makes her a highly attractive and unique performer.
Tim Rhys-Evans MBE FRWCMD, Director of Music RWCMD
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CAPTIVATING
Chloe is a charismatic and focused musician and composer. In particular I have found her approach to both Classical and Jazz compositions to be filled with fresh rich compelling melodic & harmonic story-telling narratives, that captivates the imagination of the listener, while at the same time employing a good versatility of sound palates and approaches in order to create beautiful, thought-provoking music.
Orphy Robinson MBE, award-winning jazz multi-Instrumentalist & composer
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PHENOMENAL
Flying Bedroom's 'Fate and the Unexplained' is absolutely phenomenal. Had goosebumps and tears throughout, it was so moving. Wanted the performance to start all over again when finished. Thoroughly recommend this fabulously talented bunch and will be raving about them to anyone who will listen from now on!
Nic Austen
I've been fortunate to hear many fantastic violinists play live---what distinguishes Chloe from them is that, aside from the given technical virtuosity and shaping of longer phrases that one expects in a string player operating at a professional level, there's also an awareness of the structure of the piece and an understanding of what role she's playing in a group that sets her apart from the rest. It has been speculated that part of Horowitz's abilities as possibly the finest pianist ever was his stint as a younger teenager studying composition with Felix Blumenthal, and that becoming a pianist was a secondary goal so as to be the best salesman for whatever he would write---what ended up happening, of course, is his "side gig" as a pianist ended up defining him and what made him such a fine pianist was his awareness of compositional structure. He "played it like he wrote it". Chloe plays everything like she wrote it, and her creative imagination in that ability also extends, in real time, to active listening so that, in whatever piece and chamber configuration she's in, she knows if she's the lead singer, the tambourine player, or the violinist for the 12 to 36 measures she's carrying a particular line and adjusts accordingly. These are all gifts which, on a less experienced listener, just sound good, and for a more experienced listener, shakes you out of whatever complacency you might have been in with expectations for someone at this early stage in their career by the shock of their mastery of these gifts traditionally associated with older performers twice their age or more.