"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


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


ANTHONY MARWOOD performs worldwide as soloist with many notable orchestras, and enjoys regular collaborations with Les Violons du Roy in Canada (he currently holds a three-year position as Principal Artistic Partner), the Norwegian Chamber Orchestra (Artistic Partner in the 2016-17 season), Tapiola Sinfonietta in Finland, Australian Chamber Orchestra and the St Louis Symphony in the USA. He has worked with conductors including Valery Gergiev, Sir Andrew Davis, Thomas Søndergård, David Robertson, Gerard Korsten, Ilan Volkov, Jaime Martin and Douglas Boyd. In 2015 he toured with the New Zealand, Sydney, Tasmanian and Adelaide Symphony Orchestras, and this year makes his debut with the New World Symphony in Miami, returns to A Far Cry in Boston, and appears at Festivals in Sanguine Estate in Australia, Lockenhaus in Austria, Bridgehampton, New York and Lanaudière in Quebec, where he will perform Beethoven's violin concerto. Further ahead, he will make his débuts with the Leipzig Gewandhaus Orchestra and the English Chamber Orchestra, and will tour both the United States and Europe with Les Violons du Roy. He also returns to the Amsterdam Sinfonietta for a Dutch tour and will perform Brahms' Double Concerto with Alexander Rudin at Tchaikowsky Hall in Moscow. His regular chamber music partners include Thomas Ades, Martin Fröst, Steven Isserlis, Lawrence Power and Aleksandar Mad┼żar. In the 2014-15 season he was a featured artist at London's Wigmore Hall. Anthony has made more than 30 CDs for the Hyperion label, both as soloist and as a former member of the Florestan Trio; he has also recorded for EMI, BIS and Wigmore Live. His latest recording for Hyperion, of Walton's violin concerto, will be released in the near future. Many composers have written concertos for him, including Thomas Adès, Steven Mackey, Sally Beamish and, most recently, the young American Samuel Carl Adams. Anthony was named Instrumentalist of the Year by the Royal Philharmonic Society in 2006, and made a Fellow of the Guildhall School of Music and Drama in 2013. He is co-director of the Peasmarsh Chamber Music Festival with cellist Richard Lester and appears annually at the Yellow Barn Festival in Vermont. Anthony has a close association with the Australian National Academy of Music in Melbourne and the Pettman National Junior Academy in Auckland. His teachers have included Emanuel Hurwitz and David Takeno. He plays on a 1736 violin by Carlo Bergonzi.


June 2016

June 23-26: Peasmarsh Chamber Music Festival, East Sussex, UK

July 2016

July 7-10: Lockenhaus Chamber Music Festival, Austria

July 15: Beethoven Concerto with Les Violons du Roy, conductor Bernard Labadie, Festival de Lanaudiere, Quebec, Canada

July 18-August 6: Yellow Barn Festival, Vermont, USA

August 2016

till August 6: Yellow Barn Festival, Vermont, USA

August 22-28: Bridgehampton Chamber Music Festival, New York, USA

September 2016

September 20: Recital, Rye Festival, with Aleksandar Madzar, piano

September 29: soloist/director with Les Violons du Roy/Steve Mackey, Quebec City, Canada

October 2016

October 1: soloist/director with Les Violons du Roy/Steve Mackey, Maison Symphonique de Montreal, Canada

October 13: Les Violons du Roy, Quebec City, Canada

October 21: Mozart Sinfonia Concertante with Lawrence Power/English Chamber Orchestra, Kings Place, London

November 2016

November 8: soloist/director with Norwegian Chamber Orchestra, Oslo

November 12: Recital, Hampstead Arts Festival, with Aleksandar Madzar, piano

November 17, 18, 19: Mackey Four Iconoclastic Episodes with Steve Mackey/Columbus Symphony/Rossen Milanov, Columbus, Ohio, USA

November 30: Kurt Weill Concerto, Real Filharmonia de Galicia, conductor Jaime Martin, Vigo, Spain

December 2016

December 1: Kurt Weill Concerto, Real Filharmonia de Galicia, conductor Jaime Martin, Santiago de Compostela, Spain

January 2017

January 26,27: Ades Concerto with Leipzig Gewandhaus Orchestra, conductor Andrew Manze, Leipzig, Germany

February 2017

February 4: play/direct with Aurora Orchestra, with Edmund de Waal, Royal Festival Hall, London (pm)

February 10-18: tour as soloist/director with Amsterdam Sinfonietta, Netherlands
                          (10th Muziekgebouw aan't Ij Amsterdam ; 12th Breda ; 14th Arnhem ; 16th Enschede ; 17th Leiden ; 18th Het Concertgebouw Amsterdam)

February 26: Norwegian Chamber Orchestra, Oslo (chamber music)

March 2017

March 10: Brahms Double Concerto with Alexander Rudin, Musica Viva Chamber Orchestra, Moscow, Russia

March 25: Recital, Music at Wotton, with Aleksandar Madzar, piano

April 2017

April 1: Recital, People's Symphony, New York City, USA with Aleksandar Madzar, piano

April 2: Recital, Phillips Collection, Washington DC, with Aleksandar Madzar, piano

April 8: Recital, Chamber Music Society of Detroit, with Aleksandar Madzar, piano

April-May: tour of Canada and USA as soloist/director with Les Violons du Roy. Details to be announced.

May 2017

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


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


General Management : Laura Smith at Hazard Chase  25 City Road, Cambridge, CB1 1DP  UK

Tel : +44 1223 312400

Email : laura.smith@hazardchase.co.uk

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