"Great Anthony Marwood soared to the heavens here with refulgent tone..." - Mendelssohn String Octet in E Flat Major at Wigmore Hall, THE ARTS DESK, December 16, 2017

"Far more substantial is Anthony Marwood’s intelligent reading of the sultry Violin Concerto. The work usually leaves me cold, but this taut performance is a keeper, especially in the long closing movement where the reprise of music from the concerto's opening is devastatingly effective. The coda’s fireworks are sensational." - Walton's Violin Concerto with the BBC Scottish Symphony CD Review, THE ARTS DESK, July 29, 2017

"this is neither a milking nor a show-off performance but rather an integrated one that entices as much as it also lifts the lid – organically. Such a wholeness of approach is especially successful in the Finale, the longest of the three movements, which here emerges as both explorative and a glorious summation. The middle movement – Presto capriccioso alla napolitana, with a Trio Canzonetta – is especially fine from Marwood, a high-wire act in the outer sections and wistful in the central song. However difficult the solo part is (and Heifetz made sure that it is, topping even the challenges that Walton had presented him with), Marwood gives us the music, and what a wonderful piece it is, here blest with a sympathetic and vivid accompaniment, the latter a useless word given Walton’s panoramic use of the orchestra." - Walton Violin Cto. with the BBC Scottish Symphony Orchestra CD Review, CLASSICAL SOURCE, July 2017

"Marwood is the incisive, poetic soloist in Walton’s Violin Concerto... ...an exhilarating disc" - Walton Violin Cto. with the BBC Scottish Symphony Orchestra CD Review, THE GUARDIAN, July 9, 2017

"The opening of the piece is a case in point: after an introductory phrase played by melancholic clarinets, Marwood gently entwines himself with the orchestral texture. He's never flashy for its own sake, and yet his virtuosity and absolute command come across at every moment. Both he and the orchestra respond wonderfully to the concerto's changing moods, whether it be applying just the right amount of swagger in the central section of the second movement, or the ease with which the third movement shifts from characterful bassoons and gritty orchestral strings to the most lyrical passages from Marwood." - Walton Violin Cto. with BBC Scottish Symphony Orchestra CD Review, PRESTO NEWS, July 7, 2017

"Filled with kaleidoscopic color, exhilarating tempos and the impudent sarcasm with which Prokofiev loves to veil even his most tender utterances, it was a performance as perceptive as it was brilliant." - Janacek, Beethoven, Ravel, and Prokofiev with Aleksandar Madzar at the Phillips Collection, THE WASHINGTON POST, April 3, 2017

"With delicacy and tact, this winged Beethoven is touched especially by Marwood's impressive level of grace, and is understood in very personal cadences." - Beethoven's Violin Concerto with Les Violons du Roy at Lanaudiere, LE DEVOIR, July 16, 2016

" As the violin part grew in complexity and intensity, he brought the movement to a stirring climax as he strained successfully to project notes at the upper limit of the instrument’s range against the power of the brass instruments." - Thomas Adès’ Violin Concerto with the New World Symphony, SOUTH FLORIDA CLASSICAL REVIEW, March 27, 2016

"...as both leader and soloist, [Marwood] was top-notch, with every idea beautifully expressed." - Powell Symphony Hall w/ Saint Louis Symphony Orchestra, ST. LOUIS POST-DISPATCH, February 6, 2016

“Anthony Marwood... played the solo part with empathetic intensity, capturing a sound of distinctive isolation and beauty.“   - Steven Mackey‘s Violin Concerto Beautiful Passing w/ Sydney Symphony, SYDNEY MORNING HERALD, June 4, 2015

“Immaculately in tune and emphasising rhythmic precision, Marwood‘s cool, authoritative control of consecutive technical challenges seemed to percolate down through the ensemble.“   - Dvorak Serenade in E major w/ Australian Chamber Orchestra, THE AGE, November 17, 2014

“Marwood’s refinement and detail suffused Debussy’s late, classicized Violin Sonata, which, like the ‘Rhapsodie‘, dramatically punctuates mostly ruminative music, turning over and considering aphoristic bits of lyricism.“   - Trio concert w/ Marc-André Hamelin and Alexander Fiterstein, BOSTON GLOBE, May 5, 2014

“Their ensemble playing transcended the expected level of professionalism and shot straight into musical camaraderie.“   - Trio concert w/ Marc-André Hamelin and Alexander Fiterstein, SAN FRANCISCO CLASSICAL VOICE, April 30, 2014

“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.“   - Trio concert w/ Marc-André Hamelin and Alexander Fiterstein, SAN FRANCISCO CHRONICLE, April 30, 2014

“The impeccable violinist Anthony Marwood, for whom the piece was written, confers on the third movement such intensity at such a wide range of dynamics that he seems to breathe with the players.“   - Samuel Adams‘ Violin Concerto w/ Berkeley Symphony, FINANCIAL TIMES, February 10, 2014

“Marwood, the British artist who has become one of our leading interpreters of contemporary violin music, 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.“   - Samuel Adams‘ Violin Concerto w/ Berkeley Symphony, SAN FRANCISCO CHRONICLE, February 7, 2014

“...A brilliant soloist aboard for this musical aerial show: Anthony Marwood, a violinist who dispatches any challenge with sturdy elegance and seductive tone... The action quickly moves out and up to the solo violinist, who is given a series of cadenzas -- lyric, long-noted and ribbony, with a modicum of double-stops and trick moves, all of it sounding easy under Marwood‘s fingers and bow.“   - Samuel Adams‘ Violin Concerto w/ Berkeley Symphony, SAN JOSE MERCURY NEWS, February 7, 2014

“He’s technically superb, and his playing is beautifully virtuosic.“   - All Mozart, St. Louis Symphony, ST LOUIS POST-DISPATCH, October 12, 2013

“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.“   - Lammermuir Festival, BBC Scottish Symphony, THE TELEGRAPH, September 19, 2013

“They are linked as if by radar, their unanimity eerily intuitive.“   - Recital tour in Adelaide with Aleksandar Madzar, ADELAIDE ADVERTISER, November 8, 2012

Marwood and Madzar drew the listener into this expansive set of variations with a ravishing sound and cogent, expressive elasticity... Marwood‘s violin playing combines richness and clarity, precision and swirling movement.   - Sydney City Recital Hall with Aleksandar Madzar, THE SYDNEY MORNING HERALD, November 7, 2012

“Their interpretation avoids all indulgence and inhabits a world where music and thought seem to co-exist, and the result is an uncommonly delicate Kreutzer distinguished by utmost purity, sensitivity and great thoughtfulness.“   - Recital tour in Sydney with Aleksandar Madzar, THE AUSTRALIAN, November 5, 2012

"At the conclusion of the short Berio set, another magical moment occurred when Schubert's monumental Fantasy for piano and violin commenced, almost, it seemed in response to all the earlier music. In Madzar and Marwood's performance, Schubert's meticulous exploration of a workaday theme landed at a hard-won moment of sheer joy and exuberance of the sort only Schubert could create."   - Nasher Sculpture Center concert with Aleksandar Madzar, D MAGAZINE, April 23, 2012

"Mr. Marwood took advantage of the intimate venue to widen his palette of timbres, especially early in the work. He produced captivating effects with little to no vibrato, allowing his sound to open up as the musical material itself unwound like a ball of yarn descending stairs."   - Nasher Sculpture Center concert with Aleksandar Madzar, BACHTRACK, April 20, 2012

"Anthony Marwood is fully on top of the formidable technical hurdles, and his alliance with Ilan Volkov and a meticulously prepared BBC Scottish SO is as involving as it is stylish. The scherzo in particular positively sizzles, with Marwood relishing every fiendish twist and turn in the solo part and Volkov always attentive to the numerous weird and wonderful touches in Britten's boldly imaginative orchestral canvas."   - BRITTEN Violin Concerto; Double Concerto in B minor; Lachrymae CD Review, THE TELEGRAPH, March 14, 2012

"This is a lithe, spiky, rhythmical performance, bristling with satire in the Shostakovich style....there is extra spontaneity here that helps give this music a welcome lift."   - BRITTEN Violin Concerto; Double Concerto in B minor; Lachrymae CD review, GRAMOPHONE, March 1, 2012

"The depth of Britten's inspiration in that final Passacaglia is indeed profound, and magnificently set out for us by Anthony Marwood and Ilan Volkov ... The tempos in this performance are absolutely ideal, flexible where necessary but never losing sight of the underlying pulse, especially in the finale, which is magisterially held together by by soloist and conductor."   - BRITTEN Violin Concerto; Double Concerto in B minor; Lachrymae CD review, INTERNATIONAL RECORD REVIE, March 1, 2012

"Has the opening Moderato's edgy lyricism ever sounded so tantalisingly seductive? Marwood goes on to capture the sinewy vitality of the middle movement and, no less brilliantly, the quixotic moods of the closing Passacaglia, where Volkov's tensile accompaniments are spot-on."   - BRITTEN Violin Concerto; Double Concerto in B minor; Lachrymae CD Review, FINANCIAL TIMES, February 22, 2012

"In this country at least, Britten's Violin Concerto seems to be stealthily cementing its place in the concerto repertory; both live performances and recordings seem more and more frequent. This latest version is one of the best so far. Anthony Marwood's slightly detached, rhythmically incisive playing suits the dry, distantly neoclassical world of the Concerto perfectly, and Ilan Volkov marshals an equally crisp accompaniment."   - Britten: Violin Concerto CD review, THE GUARDIAN, February 2, 2012

"Marwood's solo line was secure, firm tone and even phrasing making the first section particularly poignant.... The spark took hold in the subsequent section, feisty bowing and crisp expression making way for a serene calm in the work's final bars."   - Beethoven, Strauss, and Steven Mackey’s Beautiful Passing, concert, THE SYDNEY MORNING HERALD, December 12, 2011

"Showing the depth of ANAM's string talent, Marwood led a sterling performance of Metamorphosen by Richard Strauss."   - Beethoven, Strauss, and Steven Mackey’s Beautiful Passing, concert, THE AUSTRALIAN, December 12, 2011

"...It was fascinating to hear, especially in A Far Cry's terrific rendition. They were joined by violinist Anthony Marwood, fresh off his triumph in Thomas Adès's violin concerto with the Boston Symphony last week. He managed the difficult solo writing with total command and a natural sense for Schumann's winding melodies. He and the Far Cry players achieved a tight, harmonious rapport, especially in the nimble last movement."   - Schumann/Jopling Concerto, A Far Cry, The Boston Globe, April 4, 2011

"The work was written for violinist Anthony Marwood, who last night gave it a reading that was deft, vigorous, and coolly gleaming."   - Adès Concerto "Concentric Paths", Adès w/Boston Symphony, The Boston Globe, March 26, 2011

"Negotiating high harmonics, fluttering triple stops, precise long-distance leaps up and down the finger board, and furious, bow-hair-shredding passages, Marwood never broke a sweat and made the many difficulties in this powerful score look easy."   - Steven Mackey "Beautiful Passing", St. Louis Symphony, The Post-Dispatch, February 27, 2011

"The Duo concertant can sometimes seem a cold and even abrasive statement, but not when played with this degree of poise and bombproof technical command. The Pulcinella suite and Divertimento from The Fairy's Kiss both scintillate from start to finish."   - CD Review, Stravinsky Complete Works for Violin and Piano, BBC Music Magazine, August 1, 2010

"Marwood's intelligent, but emotionally charged, performances on his 1736 Bergonzi never feel forced or melodramatic...It takes a violinist of high caliber to give voice to such poetic masterworks and Marwood delivers the goods time and again. I've seldom heard Stravinsky sound so spectacular."   - CD Review, Stravinsky Complete Works for Violin and Piano, Strings Magazine, July 1, 2010

"All the performances are superb, and Anthony Marwood performs astounding feats with the difficult solo writing in the concerto."   - CD Review, Ades Concentric Paths on EMI, The Boston Globe, June 6, 2010

"On a visit to the Australian National Academy of Music (ANAM), Marwood made a sterling contribution on Saturday evening to that organisation's celebrations for the bicentenary of Schumann's birth. He is easy to like, projecting a clean line with muted brilliance, abstaining from lecturing his audience, confident in his young colleagues: a real collaborator, not a show pony."   - Schumann Concert, Australian National Academy of Music, The Age, May 4, 2010

"The performances were riveting.  The players' instrumental command was entirely at the service of the music...Marwood, also the violinist of the Florestan Trio, displayed 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."   - Zankel at Carnegie Hall with Thomas Adès and Steven Isserlis, Strings Magazine, June 1, 2010, May 1, 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 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."   - Zankel at Carnegie Hall with Thomas Adès and Steven Isserlis, The New York Times, March 21, 2010

"Marwood, too, has that springy balletic quality always needed in Stravinsky, but he finds a myriad of colours to go with it: sly and sentimental in the "Chanson Russe" from Mavra, tender in the Duo. In all, it's a marvel."   - CD Review, Stravinsky Complete Works for Violin and Piano, The Telegraph, February 5, 2010