Notes & Reviews:
Awarded the prestigious title of 'Instrumentalist of the Year' by the Royal Philharmonic Society in 2006, British violinist Anthony Marwood is internationally celebrated for his engaging and insightful performances. For Schumann's three Violin Sonatas, he is joined by Aleksandar Madar, recently praised by Classical Music Magazine as match¬less 'in terms of technique and interpretation'. Considered by many to be the product of a tired mind hovering on the edge of insanity, these richly impassioned works are filled with restlessness, melancholy, and fractured lyricism.
BBC Music Magazine, August 2013
The two musicians form a closely wrought partnership, their exceptional musical sympathy shining through the whole performance; the lyricism of Marwood's tone is ideally complemented by Madzar's variety of touch and sensitivity to balance...a wonderful listen.
Financial Times, 6th July 2013
Marwood, matched at every step by Madzar, captures the playfulness and whimsical poetry of the First Sonata, the nobility of the Second and gypsy-like brilliance of the Third. Even so, there's a whiff of the genteel about these readings.
Gramophone Magazine, August 2013
The music is full of character, energy and passion. Marwood and Madzar bring out these aspects strongly; their playing is clearly defined, with precise variations of articulation.
Musical Opinion, November 2013
This is the answer to a prayer: the finest recording of Schumann's three violin sonatas, superbly played by both artists and beautifully recorded in the Hall's legendary acoustic...an outstanding CD.
The Observer, 26th May 2013
These works are not universally admired but this duo give as convincing a performance as any, at once febrile and lyrical, the sound well balanced, the musical invention explored to the full.
American Record Guide, November/December 2013
Schumann's two violin sonatas are excellent works that can be riveting in the hands of the right performers. Marwood, an excellent violinist and musician, finds the right tempos for these works, which so often elude others. He even makes by far the best case that I have heard for Sonata 3. All that I can say is that I hope that someday he finds the right partner for these works. Marwood plays a violin made by Carlo Bergonzi in 1736.
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