"played with blistering intensity and astonishing accuracy" BBC Radio 3: CD Review

"exquisitely controlled tenderness and precision" The Spectator

"The radiant intensity of Marwood's playing had extraordinary emotional power" The Guardian

"Awesome dexterity and passion" BBC Radio 3: CD Review

"golden tone and surefire musicianship" Washington Post

"formidable technique and intuitive musicianship" Scotsman


November 10 2019 - Tanglewood Festival 2020

Anthony makes his Tanglewood Festival debut in the USA in summer 2020 - watch this space!

December 31 2017 - New Years Honours 2018

Anthony is delighted to announce that he has been appointed an MBE in the Queen's 2018 New Years Honours List.

October 15 2017 - Reviews for Anthony’s latest CD, of Walton’s violin concerto

Walton's violin concerto on the Hyperion label, with BBC SSO and Martyn Brabbins:

'Marwood is a thrilling, virtuosic soloist in the ever-seductive concerto, and the orchestra matches his power' (The Sunday Times)

'A supremely affectionate and agreeably lithe account of the immensely personable concerto that Walton conceived for the great Jascha Heifetz.' (Gramophone)

'An exhilarating disc... Anthony Marwood is the incisive, poetic soloist in Walton’s Violin Concerto (1939, revised 1943), a work bursting with shrill, spiky exuberance and gleams of lyricism, written for the great violinist Jascha Heifetz' (The Guardian) *****

BBC Radio 3 Disc of the Week

'Marwood once again demonstrated hie position as one of the most renowned violinists of his generation' (Klassik.com)

'Here's a Walton concerto with real bone and sinew. Anthony Marwood has the technique to encompass the dazzling fingerwork designed with Heifetz in mind, and his wiry vibrato and fat-free tome on the upper strings recall an older, less indulgent approach to music... A red-carpet recording from Hyperion provides all the necessary depth and plushness of sound, while Marwood concentrates on the arresting melancholy of the opening Andante and the needle-point sardonic humour of the the Scherzo. His success in tying in the variation episodes of the long finale draws it within the circle of similarly ambitious concerto structures by composers as disparate as Elgar, Berg and Shostakovich... An unqualified success.' (Strad magazine)

May 5 2016 - Artistic Partner of Norwegian Chamber Orchestra

Anthony is delighted to be the Artistic Partner of the Norwegian Chamber Orchestra for the 2016-17 season. For details please see www.detnorskekammerorkester.no

September 10 2015 - Playwright Sir David Hare chooses Peasmarsh Chamber Music Festival

Click here to read the Observer article.

June 16 2015 - Australia and New Zealand tour

Anthony has just returned from a tour playing concertos with the New Zealand Symphony/Thomas Sondergard, Tasmanian Symphony, Sydney Symphony/David Robertson, and the Adelaide Symphony. Read the review of his last concert in The Australian :


The current state of classical music might be immeasurably improved if there were more musicians like Anthony Marwood.

Followers of the Australian Chamber Orchestra and Musica Viva will already know how this eclectic British violinist often ­departs from convention, but for audiences at symphony orchestra concerts his appearance on stage heralds quite a few surprises.

The first is how, doubling in the role of conductor, he can transform the sound of an orchestra to match his own aesthetic as soloist. He moulds his accompanying players like a sculptor with putty.

In Beethoven’s charmingly songlike Romance No 2 in F, Op. 50, one noticed first of all how beautifully pointed and lifted were the strings of the Adelaide Symphony Orchestra, cut back to two dozen or so players for this work.

Gracefully articulate, they sounded as if they had just taken a crash course in historical performance practice under Marwood — which may well have been the case, this being one of his specialities.

But it is his own sweetly sonorous but muscular playing that commands attention. Marwood uses long, full bow strokes that combine power and a flawless ­silvery tone at the same time. His Beethoven was rapturous and magnified.

An emboldened ASO then delivered an invigorating, vital performance of Mozart’s Symphony No 31 (“Paris”), K. 297. Standing at the helm of the first violinists. Marwood occasionally moved into the centre of the orchestra to urge it along with big, flowing ­motions of his arm.

A brisk tempo can have the fiery upward octave scales in the first movement of this symphony becoming squashed into an undifferentiated whoosh of sound, but their daring paid off with excellent clarity of detail.

Those wanting to hear Marwood play one of the repertoire’s major violin concertos might have been disappointed, but more than making up for that were glorious performances in the second half of Dvorak’s Romance in F minor, Op 11, and Distant Light (1997) by the Latvian composer Peteris Vasks.

Both works took Marwood’s lavishly expressive sense of exploration to ever more distant places, most of all in the Vasks.

Marked by a rough-hewn honesty and sophistication, this single-movement concerto traverses an emotional journey of huge scale.

From meditative stillness to demonic passion and a feathery ghostliness at its conclusion, Marwood and the ASO turned in a thoroughly mesmerising performance of this remarkable work.

One only wishes there could be more concerts like this.

Into the Light. Adelaide Symphony Orchestra. Adelaide Town Hall, June 12.

March 9 2015 - Principal Artistic Partner

Anthony is honoured to have been appointed Principal Artistic Partner by Les Violons du Roy in Quebec. Please see this press release for more details.

May 22 2014 - Latest review : San Francisco Chronicle, April 29th 2014

Recital with Marc-Andre Hamelin and Alexander Fiterstein : "The longer partnership between Marwood and Hamelin could be heard in the tautly coiled rhythms of Schubert's Rondo in B Minor, which opened the evening in a superb rendition that was all theatrical vigor and sharp swerves of direction. Marwood's playing - both here and in the Debussy Violin Sonata that came later - was a marvelous blend of tenderness and steely determination; he dispatched Schubert's bursts of heroism and Debussy's flights of fantasy with equal alertness."

February 10 2014 - World premiere of Samuel Adams violin concerto, 6th February 2014

"powerfully assured.... Marwood gave as radiant a performance as anyone could ask. His tone was full-voiced and fluid, even in the concerto's most abrasive passages, and he brought to the score a combination of urgency and serenity that was endlessly inviting" San Francisco Chronicle

October 2 2013 - Latest Live Review

From The Daily Telegraph, 19th September 2013 (concert with BBC Scottish Symphony Orchestra at the Lammermuir Festival) :

"Anthony Marwood gave an unapologetically serious-minded yet searing account of the Violin Concerto, grappling with its premonitions of war with a rawness and honesty that were at times unsettling. Yes, there was beauty in his playing, and in that of the orchestra under an energetic Martyn Brabbins. But it was soloist and orchestra’s restless search for meaning in every note of the Britten that remained etched on the memory"

June 27 2013 - Honour from Guildhall School of Music

Anthony is to be awarded a Fellowship (FGS) of the Guildhall School of Music, at a presentation in the Great Hall of the Guildhall, City Of London, on November 1st.


Anthony Marwood

British violinist Anthony Marwood is known worldwide as an artist of exceptional expressive force. His energetic and collaborative nature places him in great demand as soloist/director with orchestras worldwide. He is Principal Artistic Partner of the celebrated Canadian chamber orchestra, Les Violons du Roy, a post he took up in 2015. In the 16/17 season, he was Artist in Residence at the Norwegian Chamber Orchestra. His eminence as a soloist has brought him to work with conductors such as Valery Gergiev, Sir Andrew Davis, Thomas Søndergård, David Robertson, Gerard Korsten, Ilan Volkov, Jaime Martin, Bernard Labadie and Douglas Boyd.

In recent years, engagements have included the Boston Symphony, St Louis Symphony and Vienna Radio Symphony, as well as the New Zealand and Tasmanian Symphony Orchestras and the Australian Chamber Orchestra. Last season included performances of Kurt Weill’s concerto with the Royal Philharmonic Orchestra of Galicia, play/direct projects with the Aurora Orchestra at London’s Royal Festival Hall and with the Adelaide Symphony Orchestra, a return to the Amsterdam Sinfonietta for a tour of the Netherlands, and a performance of Brahms’s Double Concerto with Alexander Rudin and Musica Viva Moscow.

Marwood is a renowned champion of contemporary music, alongside more traditional repertoire. Among those new works composed for him is Thomas Adès’ Violin Concerto “Concentric Paths”. Marwood first performed the work in Berlin and at the BBC Proms with the Chamber Orchestra of Europe conducted by the composer, following these performances with many national premieres around the globe and a release on EMI in 2010; last season, he performed it with the Leipzig Gewandhaus Orchestra under Andrew Manze. Also composed for Marwood were Steven Mackey’s “Four Iconoclastic Episodes”, premiered in 2009 with the Irish Chamber Orchestra, and Sally Beamish’s 1995 violin concerto, premiered by Marwood with the BBC Scottish Symphony Orchestra under Martyn Brabbins. The most recent work written for Marwood is Samuel Adams’ Violin Concerto, premiered in 2014 by the Berkeley Symphony in California under Joana Carneiro to critical acclaim.

The 17/18 season includes a tour with the Scottish Chamber Orchestra, play/direct engagements with the Sydney Symphony and Tapiola Sinfonietta in Helsinki, debuts with the Gävle Symphony Orchestra (Adès concerto) and Jacksonville Symphony (Berg) and two concerto appearances with the Chamber Orchestra of Paris (Beethoven and Berg).

As a chamber musician, Marwood is a frequent participant at major chamber music festivals, with recent appearances including Vinterfest in Sweden, the Trondheim Chamber Music Festival and Bridgehampton Festival in New York. His recital partners include pianist Aleksandar Madžar, with whom he toured the US last season, and accordionist James Crabb, with whom he appeared at Wigmore Hall in 2015. Marwood returns to the Wigmore Hall in the current season to join musical colleagues for the octets of Mendelssohn and Enescu.

Anthony Marwood’s most recent release – his 50th on the Hyperion label – is a recording of Walton’s Violin Concerto with the BBC Scottish Symphony Orchestra and Martyn Brabbins. The disc has received critical acclaim, including a 5-star review in The Guardian and Classical Source and a ‘Recommended Recording’ in The Strad Magazine, whilst the Sunday Times hailed Marwood as “a thrilling, virtuosic soloist”. Other recent releases for Hyperion include Schumann’s late works for violin and orchestra and Britten’s Violin and Double Concertos, both with the BBC Scottish Symphony Orchestra. Marwood’s recording of Schumann’s violin sonatas, recorded with Aleksandar Madžar on the award-winning Wigmore Live label, was described by International Record Review as “exemplary in every way”, and followed on from the duo’s acclaimed recording of the Brahms violin sonatas on the same label.

Another facet of Marwood’s career is genre-bending presentations, such as the Academy of St Martin in the Fields’ fully-staged production of Stravinsky’s “A Soldier’s Tale”, in which Marwood acted the role of the Soldier and played the violin part. He also enjoyed a successful collaboration with award-winning Indian classical dancer Mayuri Boonham.

Born in London, Anthony Marwood studied with Emanuel Hurwitz at the Royal Academy of Music, David Takeno at the Guildhall School of Music, and took lessons from Sándor Végh and Daniel Phillips at IMS Prussia Cove. He was named Instrumentalist of the Year by the Royal Philharmonic Society in 2006 and was the violinist of the Florestan Trio for sixteen years. He is co-Artistic Director of the Peasmarsh Chamber Music Festival in East Sussex, performs annually at the Yellow Barn Festival in Vermont, and enjoys a close association with the Australian National Academy of Music in Melbourne. Marwood was appointed a Fellow of the Guildhall School of Music in 2013. He was appointed an MBE in the 2018 Queen's New Year's Honours List. He plays a 1736 Carlo Bergonzi violin, kindly bought by a syndicate of purchasers, and a 2018 violin by Christian Bayon.


September 2019

September 13: soloist/director with Tasmanian Symphony Orchestra, Hobart (2.30pm)

September 14: soloist/director with Tasmanian Symphony Orchestra, Launceston

September 18: soloist/director with Adelaide Symphony Orchestra, Adelaide (11.30am)

September 22: Four Winds, Bermagui NSW, Recital with James Crabb, accordion (1pm)

September 26, 27: Schumann concerto with Adelaide Symphony Orchestra, conductor Douglas Boyd, Adelaide

October 2019

October 13: Recital with James Crabb, accordion, UKARIA, South Australia

November 2019

November 16: Recital with pianist Aleksandar Madzar, Cape Town Concert Series, Baxter Theatre, Cape Town, South Africa

December 2019

December 7: Adès concerto with London Philharmonic Orchestra, conductor Andrew Manze, Royal Festival Hall, London 

December 13, 14, 15: Beethoven Triple concerto with Spanish National Orchestra, Madrid, with Alexander Melnikov and Jean-Guihen Queyras, conducted by Antonio Méndez

January 2020

January 5-12: Ilumina Festival, Brazil

February 2020

February 19: solo/direct performance, Royal Welsh College of Music and Drama, Cardiff

February 29: Beethoven violin concerto, Milwaukee Symphony Orchestra, Gemma New, conductor, USA

March 2020

March 1: Beethoven violin concerto, Milwaukee Symphony Orchestra, Gemma New, conductor, USA

March 8:  Chamber music performance at UKARIA, Adelaide Festival, with Timo Veikko Valve, cello and Stefan Cassomenos, piano, Australia

March 14, 15: Adès violin concerto with Adelaide Symphony Orchestra, Nicholas Carter, conductor, Adelaide Festival, Australia

March 28: solo/direct performance at Australian National Academy of Music, Melbourne, Australia

April 2020

April 9: soloist/director with Les Violons du Roy, Quebec City, Canada (2pm and 8pm)

April 25: Beethoven concerto with Concerto Budapest Symphony Orchestra, Liszt Academy, conductor Andras Keller, Hungary

April 26: Beethoven triple concerto with Dénes Várjon, piano, Miklós Perenyi, cello, Concerto Budapest, Liszt Academy, conductor András Keller, Hungary

May 2020

May 16: Beethoven violin concerto with Northern Chamber Orchestra, Macclesfield

May 17: Beethoven violin concerto with Northern Chamber Orchestra, Manchester

June 2020

June 25-28: Peasmarsh Chamber Music Festival, East Sussex


Listen to excerpts from Anthony's recordings on Hyperion.


“Is there nothing Anthony Marwood cannot do? He plays the violin, acts, dances, and can do all at once. He directs the Irish Chamber Orchestra, plays with the Florestan Piano Trio, commissions composers, jointly runs his own festival and has a network of worldwide collaborators. To cap it all, this consummate artist is blessed with boundless energy, intellectual curiosity and creative wizardry” BBC MUSIC MAGAZINE

“He’s a magic name in the business” INDEPENDENT, UK

"Few musicians serve their metaphorical master as convincingly as British violinist Anthony Marwood. His every endeavour seems to stem from a debt to art, a debt to music. There is nothing that gets in the way of the ultimate goal - the realisation of perfection and honesty in his craft" SUNDAY TRIBUNE, IRELAND

"If there were rock-star equivalents in the classical music world, ace British violinist Anthony Marwood would be on the list" THE AGE, AUSTRALIA

Thomas Ades concerto with Chamber Orchestra of Europe/Ades/EMI, June 2010

"superb....Anthony Marwood performs astounding feats..." BOSTON GLOBE

Ross Harris concerto (world premiere) with New Zealand Symphony Orchestra, May 2010

"Ross Harris’ new Violin Concerto has a strange effect on the listener, who seems to be almost drawn into its creation. It starts hesitantly, the soloist on his own playing fragmentary ideas: then the clarinet enters and his brief melody invites the other woodwind to join him. In effect, the beautifully textured concerto, hovering tantalisingly between tonality and atonality, is at last under way.
The soloist is hardly ever out of the limelight, decorating and rhapsodising on the material. Then the orchestra arrives on a hushed, seamless chord, over which the soloist reflects on its melodic ideas and draws them together. The concerto ends with the orchestra finally bowing out, leaving the soloist to return to the same fragments with which the concerto opened. “Questions finally unanswered,” writes Harris in the briefest of programme notes. It is a work that captures perfectly the essence of our time - it is also a work of extraordinary and haunting beauty.
The success of the performance owed much to the commitment and understanding British violinist Anthony Marwood brought to it. It was a performance that heightened the emotion of the solo line: there was tenderness, mystery and joy of the dance, as well as thrilling virtuosity. The orchestra under Tecwyn Evans's baton gave enthusiastic support." NEW ZEALAND LISTENER

"English violinist Anthony Marwood was electrifying, teasing us with his opening, serpentine solo that fuels the work, fragment by fragment." NEW ZEALAND HERALD

"a dazzling violin role, here played absolutely superbly by eminent English violinst Anthony Marwood" DOMINION POST

Zankel Hall, Carnegie Hall, with Thomas Ades and Steven Isserlis, March 2010:

"When Mr. Marwood and Mr. Isserlis took up that theme, their sound was focused yet spectral and haunting. This refreshingly unvoluptuous take on the piece [Ravel Trio] continued in the incisive, spiky account of the macabre, scherzolike second movement and the almost medieval austerity the players brought to the subdued and inexorably slow Passacaille. While the finale had the requisite whirlwind energy, the crunchy, incisive playing never allowed the music to sound flashy." NEW YORK TIMES

"...an effortless technique and a beautiful, rich, varied tone that was free and flexible - his Janacek had a spoken, improvisatory quality, but also form and coherence" STRINGS MAGAZINE


"In Anthony Marwood's hands this concerto [Schumann] sounded decidedly virtuosic. Sustaining a rich, full-bodied tone and clear, focused sound, his accurate rapid-fire passagework and sensitive phrasing were particularly impressive" THE AUSTRALIAN

"Marwood's beautifully intelligent musical conception made him an ideal exponent and champion... the musical vision was compelling" SYDNEY MORNING HERALD

Britten concerto with London Philharmonic, conducted by Marin Alsop, 2007:

"Marwood didn't spare the angst. His playing was tough and sinewy, his tackling of the tricky passages in harmonics by no means facile. In the devilish double-stoppings and glissandi of the scherzo, he and Alsop raised the spirit of Schostakovich" THE TIMES


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