JULY 21 2020 - JAMES BROWN MANAGEMENT
Anthony is delighted to be joining the new agency announced today, working with his manager of ten years, Sibylle Jackson. Details below.
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
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.