It's a balancing act that she continued to pull off with ease on the likes of the shuffling electro rhythms of "Storm," a reworking of Summer - III. Ignoring her preteen release Violin and Kids' Classics, and her series of Tchaikovsky & Beethoven Violin Concertos, this EMI collection starts with breakthrough LP The Violin Player, and although Bach's Toccata and Fugue in D Minor might not be the most radical of introductory classical pieces, its fusion with driving rock beats, hair metal guitars, and alluring spoken word flashes certainly is. Her first compilation, The Best of Vanessa-Mae, which cherry-picks the most popular 17 tracks from the 1995-2001 era of her career, proves that her revolutionary reputation is entirely justified. Armed with an electric violin, an array of pumping dance beats, and an eyebrow-raising image that was seen as sacrilegious by the stuffy classical purist brigade, she emerged in the mid-'90s with a sound that was as much influenced by the club scene as it was the concert halls, scoring several mainstream hit singles and albums in the process. The female answer to Nigel Kennedy, Anglo-Chinese violinist Vanessa-Mae was influential in making classical music accessible to a wider audience, thanks to an inventive spin on the genre self-described as violin techno-acoustic fusion.
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