Friday, May 19, 2017 9:49am
Anthony Marwood enjoys a whirlwind international career, travelling the globe to appear with the finest orchestras and ensembles. Anthony's energetic and playful nature have placed him in great demand as both soloist and director, leading to posts with celebrated Canadian ensemble Les Violons du Roy, and in 2016/17 Anthony is Guest Artistic Leader of the Norwegian Chamber Orchestra.
He took five minutes to tell us a little bit about his upcoming appearance here in Adelaide, and working with the early compositions of three of orchestral music's great masters - Mozart, Mendelssohn and Beethoven.
Can you tell us a little more about this program – what do you love about this music?
The program shows three great composers at different stages of their early development : The child Mozart taking his cue from baroque style ; the unbridled teenage genius Mendelssohn in free flow, with influences from baroque to Mozart ; and the young Beethoven in full mastery of the symphonic form, an intimidating example for all future first symphonies to follow.
How many times have you performed Mendelssohn’s Violin Concerto in D minor (as opposed to the composer’s more popular E Minor concerto) and how does this concerto tell you what’s to come?
Perversely, I've probably played the D minor more than the E minor, which I consider to be 'perfect' in the way of his famous octet. The D minor's imperfections are very interesting : Mendelssohn is determined to follow his inspirations and is less inclined to crystalline perfection of form. The experimental quality is daring and touching, I think, and borne of astonishing confidence.
Considering these works were written when the composers were very young, do you approach them differently (compared to a performance of their later works)?
Absolutely the same - these composers were old souls in young bodies. And in the case of Beethoven's first symphony, the revolution is in the hands of a master.
What are you looking forward to most about returning to Adelaide and the ASO?
The ASO are such great collaborators, and the Town Hall is one of my absolute favourite venues for repertoire of this size. Oh, and the MARKET!
How do you prepare for concert day?
Well before the project starts, I need a period of calm and still in order to revisit the scores and hear them afresh. Then time for my own practise with the violin, of course. Then the frenzy of rehearsals with the players, which is often joyfully intense. The day of the concert has a few hours which I call 'stupid time', where I'm on my own conserving energy and lying low.
Hear Anthony Marwood in action on 26 & 27 May as he play directs Youthful Genius with your Adelaide Symphony Orchestra. More information and tickets available here.