"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

News

May 21 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 9 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.

About

Anthony Marwood

Anthony Marwood is one of the most distinguished violinists of his generation. Internationally renowned both as soloist and director, he collaborates regularly with many eminent ensembles around the world. These include the Academy of St Martin in the Fields, the Australian Chamber Orchestra, Les Violons du Roy and the Irish Chamber Orchestra (of which he was Artistic Director). As soloist he has worked with eminent conductors such as Valery Gergiev, Sir Andrew Davis, Douglas Boyd, Yan Pascal Tortelier, Marin Alsop, David Robertson, Martyn Brabbins and Ilan Volkov.

In the 2013/14 season Anthony travels to North America on three occasions, firstly as soloist/director with the St Louis Symphony in an all-Mozart programme; then for the world premiere of Samuel Carl Adams’ Violin Concerto, written for him and commissioned by the Berkeley Symphony Orchestra; and he returns for trio concerts with Martin Fröst and Marc-André Hamelin in Boston and San Francisco, and to Les Violons Du Roy in Quebec. In Australia he directs a project at the Australian National Academy of Music for the fourth successive year.  In Europe, Anthony debuts with the Kymi Sinfonietta, the Odense Symphony and Iceland Symphony Orchestras, and as soloist/director with the Swedish Chamber Orchestra and the Tapiola Sinfonietta. He also returns to the BBC Scottish Symphony and the London Mozart Players. On the chamber music front he joins Steven Isserlis and friends at Wigmore Hall, as well as Thomas Adès in a concert celebrating the opening of the Guildhall School’s new concert venue in London, Milton Court. Trio performances with Martin Fröst and Marc-André Hamelin are scheduled for Holland, Belgium and London’s Wigmore Hall.

Recent performances have included a critically acclaimed tour with the Amsterdam Sinfonietta as soloist/director and a tour of Australia with recital partner Aleksandar Madžar. Last season also saw Anthony return to the Scottish Chamber Orchestra, and give three performances of Thomas Adès’ violin concerto with the Sydney Symphony.

European highlights included the Austrian premiere of Steven Mackey’s violin concerto Beautiful Passing with the Radio-Sinfonie-Orchester Wien, performances of Brahms’ Double Concerto with the Aurora Orchestra, and of the Britten Double Concerto with Lawrence Power and the BBC National Orchestra of Wales. Anthony also participated in the Vinterfest Chamber Music Festival in Sweden and performed Stravinsky’s A Soldier’s Tale with Ensemble 10/10 in Liverpool. In Canada Anthony gave his debut as soloist/director with the Vancouver Symphony.

Anthony regularly collaborates with contemporary composers, and violin concertos that have been composed for him include Thomas Adès “Concentric Paths”, Sally Beamish’s 1995 concerto, and a concerto by Ross Harris, premiered with the New Zealand Symphony Orchestra. The Adès concerto was first performed by him in Berlin and at the BBC Proms, with the Chamber Orchestra of Europe conducted by the composer, before giving many national premieres around the globe.  EMI released the recording of the Adès concerto in 2010 to widespread praise.

Anthony Marwood’s most recent CD features Schumann’s violin sonatas, released on the award-winning Wigmore Live label, which the International Record Review described as “exemplary in every way… must now be the recording of choice in these works.” This is Anthony’s second CD for Wigmore Live, following on from the much acclaimed recording of the Brahms violin sonatas (both with Aleksandar Madžar and recorded live at Wigmore Hall). Recent releases on the Hyperion label include Schumann’s late works for violin and orchestra, and of the Britten Violin and Double Concertos, both with the BBC Scottish Symphony Orchestra. In total Anthony has recorded more than 30 CDs for Hyperion Records, spanning from the core trio repertoire with the Florestan Trio, to Stravinsky’s complete music for violin and piano (with Thomas Adès) and the violin concertos by Kurt Weill and Peteris Vasks.

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 fruitful 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 Sandor Vegh and Daniel Phillips at IMS Prussia Cove. The Royal Philharmonic Society named Anthony Marwood ‘Instrumentalist of the Year’ in 2006. He is the co-Artistic Director of the Peasmarsh Chamber Music Festival and teaches annually at the Yellow Barn Festival in Vermont. He plays a 1736 Carlo Bergonzi violin, kindly bought by a syndicate of purchasers.



Schedule

September 2014

September 16: soloist/director with Norwegian Chamber Orchestra, Oslo

September 20: Berg Chamber Concerto with Alexander Melnikov, piano, Aurora Orchestra, conductor Nicholas Collon, Kings Place, London

October 2014

October 7: Wigmore Hall, London with Isabelle van Keulen, violin, Lawrence Power, viola, Richard Lester, cello, Heath Quartet

October 12: Britten Concerto, Slovak Philharmonic, conductor Pinchas Steinberg, Bratislava Festival

October 16: soloist/director with Irish Chamber Orchestra, Dublin

October 17: soloist/director with Irish Chamber Orchestra, Limerick

November 2014

November 14-30: soloist/director with Australian Chamber Orchestra

14th: Sydney (1.30pm)

16th: Melbourne (2.30pm)

17th: Melbourne (8pm)

18th: Adelaide (8pm)

19th: Sydney (7pm)

20th: Woolongong (7.30pm)

22nd: Sydney (7pm)

24th: Brisbane (8pm)

25th: Sydney (8pm)

27th: Newcastle (7.30pm)

30th: Sydney Opera House (2pm)

Listen

Listen to excerpts from Anthony's recordings on Hyperion.

Reviews

“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

SCHUMANN CONCERTO WITH AUSTRALIAN CHAMBER ORCHESTRA, SEPTEMBER 2009:

"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

Bookings

General Management : Sibylle Jackson at Hazard Chase  25 City Road, Cambridge, CB1 1DP  UK

Tel : +44 1223 312400

Email : mailto:sibylle.jackson@hazardchase.co.uk

USA, Canada and Mexico : Chris Putnam or Lee Prinz at Colbert Artists Management  307 Seventh Avenue, Suite 2006, New York, NY10001  USA

Tel : +1 212 757 0782

Email : putnam@colbertartists.com

Email : mailto:lprinz@colbertartists.com