"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


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

London-born Anthony Marwood is internationally renowned both as a soloist and director, collaborating regularly with many eminent ensembles around the world. These include the Australian Chamber Orchestra, Les Violons du Roy, Saint Louis Symphony, BBC Symphony Orchestra, Tapiola Sinfonietta, the Irish Chamber Orchestra and the Academy of St Martin in the Fields. As soloist he has worked with eminent conductors such as Valery Gergiev, Sir Andrew Davis, Douglas Boyd, Yan Pascal Tortelier, Marin Alsop, David Robertson, Gerard Korsten, Martyn Brabbins and Ilan Volkov.
Highlights of this season include a Wigmore Hall residency, his third tour with the Australian Chamber Orchestra in November, a performance of Berg’s Chamber Concerto with the Aurora Orchestra and Alexander Melnikov as well as a tour with accordionist James Crabb. He will give his debut as soloist/director with the Norwegian Chamber Orchestra and Bern Camerata, and return to Canada for concerts with Les Violons du Roy, where he has been appointed Principal Artistic Partner, a three-year contract starting in 2015/16. In May 2015, Anthony will embark on an extended trip to Australia and New Zealand for engagements with the New Zealand, Tasmanian, Sydney and Adelaide Symphony Orchestras.
In recent seasons he has appeared as soloist with the Los Angeles Philharmonic, the Boston and Iceland Symphony Orchestras and ORF Radio-Symphonieorchester Wien, toured with the Amsterdam Sinfonietta and the Scottish Chamber Orchestra as soloist/director, and in recital with Aleksandar Madžar in Australia. Anthony maintains a fruitful relationship with the Australian National Academy of Music, regularly directing workshops and performances with the orchestra. The 2013/14 season saw him appear as soloist/director with the Saint Louis Symphony Orchestra in an all-Mozart programme, premiere Samuel Carl Adams’s Violin Concerto in California, perform with clarinettist Martin Fröst and pianist Marc-André Hamelin in Europe and the US, and make his debut as soloist/director with the Vancouver Symphony Orchestra in Canada, the Swedish Chamber Orchestra and Tapiola Sinfonietta.
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 Steven Mackey’s “Four Iconoclastic Episodes”, premiered with the Irish Chamber Orchestra, of which Anthony was Artistic Director, in 2009. 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 the label, 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. He was named Instrumentalist of the Year by the Royal Philharmonic Society in 2006 and for sixteen years was the violinist of the Florestan Trio. He is co-Artistic Director of the Peasmarsh Chamber Music Festival and teaches annually at the Yellow Barn Festival in Vermont. Anthony was appointed a Fellow of the Guildhall School of Music in 2013. He plays a 1736 Carlo Bergonzi violin, kindly bought by a syndicate of purchasers.


October 2015

October 12-14: soloist/director/chamber music with Norwegian Chamber Orchestra and Steven Isserlis, Oslo

October 22: soloist/director with Les Violons du Roy, Quebec City (2pm and 8pm)

November 2015

November 5: soloist/director with Les Violons du Roy, Quebec City (2pm and 8pm)

November 6: soloist/director with Les Violons du Roy, Montreal

November 27: concert at Australian National Academy of Music (ANAM), Melbourne, Australia

December 2015

December 4: soloist/director at Australian National Academy of Music (ANAM), Melbourne, Australia

February 2016

Feb 5, 6: soloist/director with St Louis Symphony Orchestra, Powell Hall, St Louis USA (Bach, Dvorak, Vasks)

Feb 12-14: Sanguine Estate Music Festival, nr Melbourne, Australia

Feb 21: Recital, Wigmore Hall, London, with Aleksandar Madzar (11.30am)

March 2016

March 26: Ades Concerto, New World Symphony, conductor Stefan Asbury, Miami, Florida, USA

April 2016

April 1: soloist/director with Tapiola Sinfonietta, Helsinki, Finland


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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