“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”
"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..."
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"
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"
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"
"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 Shostakovich"