0 Schumann: Violin Concertos, Fantasie in C

“Marwood's tone is notably characteristically focused with a notable sweetness which is matched by Wallin...Boyd and his Scottish players set ideal tempi in outer movements, enabling Marwood to negotiate fearlessly the fairly awkward and largely middle-range-lying solo writing...Utterly winning and authoritative.” --Gramophone Magazine, November 2012

Gramophone Magazine Editor's Choice - November 2012

“[Marwood's] tone is sweetly centred, and avoids excessive contrasts between the upper and lower strings, so equalisation is the name of the game. So, too, is a certain chamber-scaled approach, with give-and-take with the orchestral wind principals...Marwood and Douglas Boyd keep the music on the go and bring out its felicitous colour” --MusicWeb International, December 2012

“There's little Marwood can do to disguise the shortcomings of the solo writing [of the D minor concerto], or the repetitions of the finale, but he and the BBC Scottish Symphony under Douglas Boyd go at it with a great deal of enthusiasm, with the solo line very prominent in the sound picture.” --The Guardian, 29th August 2012 ***

“in a performance as strong and imaginative as this one by Anthony Marwood its impact is considerable. The sinew of the first movement, with its bold opening statement and toughness of inner workings, is contrasted with the mellow, reflective lyricism of the central slow one...There are firm Schumann fingerprints all over the score, and it fully merits the passionate advocacy that it receives here” --The Telegraph, 6th September 2012

Detail: Schumann: Violin Concertos, Fantasie in C

0 Grieg & Schumann: Piano Concertos

Claudio Arrau recorded these concertos twice for Philips, the present performances in 1963, and then again in 1980 with Colin Davis and the Boston Symphony. There’s very little to chose between them. Tempos are almost identical, and contrary to what one might expect, the slow movement of the Schumann concerto is actually a bit faster in the later version.

Arrau’s way with the music is wholly characteristic of the man: serious, even reverential (at the beginning of the Schumann), and played with drop-dead gorgeous tone. The result enhances the stature of both works, but the Grieg in particular. The climax of the finale has an epic grandeur without a hint of bombast that you simply won’t find in any other performance. Dohnányi’s accompaniments are also distinguished: he lets Arrau lead but isn’t afraid to permit the orchestra to assert itself where necessary; and of course the playing of the Concertgebouw is top-notch. If you haven’t heard Arrau in this music, it really doesn’t matter which of his recordings you wind up with, but do try to get at least one of them. --classicstoday.com [4/17/2000]

Detail: Grieg & Schumann: Piano Concertos

0 Schumann: Piano Music

'While there’s no shortage of either visceral excitement or poetic exploration, this remains supremely balanced playing … If you’re already a Hamelin aficionado, of course, you won’t need my urging to buy this disc; but if you’ve been wary because of his usually offbeat repertoire, here’s a chance to see what he can contribute to the mainstream. Top recommendation' --Fanfare, USA

'A dazzling technician fuses technical dexterity and poetry to compelling effect' --Gramophone

‘For me the outstanding performance is the great C major Fantasie…so beautifully voiced and phrased I can only say that it moved me more deeply than any I have heard for a long time’ --Gramophone

Detail: Schumann: Piano Music

0 Schumann: Complete Works for Violin and Orchestra

“a fine case for this heinously neglected work.” --Gramophone Magazine, February 2012

“Wallin captures a freshness and energy in his performance. Brushing aside those associations of madness that have coloured Schumann's music, Wallin and his equally dedicated orchestra and conductor have achieved new levels of understanding - listen to the captivating second movement of the Concerto in D minor to appreciate his poetic interpretation.” --Classic FM Magazine, October 2011 ****

“Wallin has just the right sound for the music, sweetly expressive rather than brilliant...What makes these performances really special is the way they reveal the wayward passions under the music’s cosy, gentle surface. Wallin’s playing has a rhythmic flexibility which is exactly right for Schumann’s diffident impulsiveness...It’s hard to imagine more sympathetic and insightful performances of these wonderful pieces.” --The Telegraph, 4th August 2011 *****

Detail: Schumann: Complete Works for Violin and Orchestra