“If there were rock-star equivalents in the classical music world, ace British violinist Anthony Marwood would be on the list"
The Age, Australia
Representation: General Management
Photo: Walter van Dyck
Anthony Marwood is an artist of great sensitivity and vitality, placing him in high demand all over the world as an orchestra director, concerto soloist and chamber musician. Equally comfortable in mainstream repertoire and contemporary music, he has premiered and recorded many new works for violin, including those written for him by Thomas Adès, Sally Beamish, Steven Mackey and Samuel Adams. He is currently Principal Artistic Partner of Les Violons du Roy in Canada.
British violinist Anthony Marwood, awarded an MBE in the Queen’s 2018 New Year Honours list, is known worldwide as an artist of exceptional expressive force. His energetic and collaborative nature places him in great demand as soloist/director with chamber orchestras worldwide. He is Principal Artistic Partner of the celebrated Canadian chamber orchestra, Les Violons du Roy, a post he took up in 2015. He was Artist in Residence at the Norwegian Chamber Orchestra in the 2016-17 season, and enjoys regular collaborations with with Australian Chamber Orchestra, Tapiola Sinfonietta in Helsinki and the Adelaide Symphony Orchestra, among others.
His renown as a soloist has led to collaborations with celebrated conductors such as Valery Gergiev, Sir Andrew Davis, Thomas Søndergård, David Robertson, Douglas Boyd, Jaime Martin, and Bernard Labadie, with orchestras across the globe, from the Los Angeles Philharmonic and Boston Symphony to the Leipzig Gewandhaus Orchestra and the Sydney Symphony.
The 2018/2019 season include a collaboration with Amsterdam Sinfonietta, in a programme incl. the Enescu Octet and the Mendelssohn Double Concerto with Alexander Melnikov, returns to New Zealand to perform the Adès concerto with the Auckland Philharmonia, and to the US for play/direct engagements incl. the Beethoven violin concerto with the St. Louis Symphony and the New Century Chamber Orchestra. Furthermore Anthony will be involved in chamber music projects with the New World Symphony, as well as with pianist Aleksandar Madžar and across the UK with cellist Steven Isserlis.
Anthony’s passionate advocacy of contemporary music is reflected in his diverse programming, alongside more traditional repertoire. Among those new works composed for him is Thomas Adès’ Violin Concerto “Concentric Paths”. Anthony first performed the concerto in Berlin and at the BBC Proms, with the Chamber Orchestra of Europe conducted by the composer. This concerto inhabits a uniquely popular standing among contemporary violin concerti and Anthony continues to perform it with leading orchestras worldwide. Also composed for Anthony were Steven Mackey’s “Four Iconoclastic Episodes”, premiered in 2009 with the Irish Chamber Orchestra, as well as the violin concerti by Sally Beamish (1995) and Samuel Adams (2014).
Anthony Marwood’s most recent release – his 50th on the Hyperion label – is a recording of Walton’s Violin Concerto with the BBC Scottish Symphony Orchestra and Martyn Brabbins. The disc has received critical acclaim, including a 5-star review in The Guardian and Classical Source and a ‘Recommended Recording’ in The Strad Magazine, whilst the Sunday Times hailed Marwood as “a thrilling, virtuosic soloist”. Anthony also recorded Schumann and Brahms’ violin sonatas with Aleksandar Madžar on the award-winning Wigmore Live label.
Anthony is co-Artistic Director of the Peasmarsh Chamber Music Festival in East Sussex, which celebrated its 20th anniversary in 2018. He performs annually at the Yellow Barn Festival in Vermont and enjoys a close association with the Australian National Academy of Music in Melbourne. He 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, and a 2018 violin made by Christian Bayon.
Berg Violin Concerto with Jacksonville SO, February 2018
“Marwood performed with the conviction and directness needed to pull off such a demanding work to full effect; none of the towering technical challenges of the score seemed to cause him the slightest concern, and throughout he displayed a control that colored the lines with a seemingly endless variety of light and shade.”