Stravinsky’s collaboration with the violinist Samuel Dushkin was a great artistic success, generating new works for the repertoire as well as arrangements of some of the composer’s most tuneful and popular works. Of these arrangements, Dushkin wrote that Stravinsky seemed ‘to go back to the essence of the music and rewrite or recreate the music in the spirit of the new instrument’. Reviewing the current performers in The Independent, Bayan Northcott writes that ‘these are no ordinary transcriptions. In reducing items from The Firebird or The Fairy’s Kiss to the violin and piano medium, Stravinsky rethought and respaced their every chord’.

In the performing partnership of Anthony Marwood and Thomas Adès, Hyperion has a combination that seems to reignite the original flames of inspiration, creation and re-creation.

play Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi (1925, arranged from the ballet Pulcinella): Introductione

play Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi (1925, arranged from the ballet Pulcinella): Serenata

play Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi (1925, arranged from the ballet Pulcinella): Tarantella

play Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi (1925, arranged from the ballet Pulcinella): Gavotta con due variazioni

play Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi (1925, arranged from the ballet Pulcinella): Minuetto e finale

play Pastorale (arrangement of solo vocal work)

play Airs du rossignol et Marche chinoise (1932, arranged from the opera The Nightingale): Airs du rossignol

play Airs du rossignol et Marche chinoise (1932, arranged from the opera The Nightingale): Marche chinoise

play Duo concertant (1931-2): Cantilene

play Duo concertant (1931-2): Eglogue I

play Duo concertant (1931-2): Eglogue II

play Duo concertant (1931-2): Gigue

play Duo concertant (1931-2): Dithyrambe

play Stravinsky: Berceuse

play Stravinsky: Prélude & Ronde Des Princesses

play Stravinsky: Scherzo

play Stravinsky: Chanson Russe

play Stravinsky: Divertimento - 1. Sinfonia

play Stravinsky: Divertimento - 2. Danses Suisses

play Stravinsky: Divertimento - 3. Scherzo

play Stravinsky: Divertimento - 4a. Pas De Deux: Adagio

play Stravinsky: Divertimento - 4b. Pas De Deux: Variation

play Stravinsky: Divertimento - 4c. Pas De Deux: Coda

play Stravinsky: Danse Russe

play Stravinsky/Dushkin: Tango

play Stravinsky: Ballade

play Stravinsky: Suite Italienne - 5. Scherzino

play Rouget De Lisle/Stravinsky: La Marseillaise

17th January 2010	“Pulcinella, The Nightingale, The Firebird and Petrushka take on fresher, lighter, more subtle colours and timbres, all exquisitely revealed in this masterly recording.”
30th January 2010 ****	“Athletic, sparky, rhythmically alert: nothing could be more invigorating than Stravinsky’s music for violin and piano...Anthony Marwood’s violin finds infinite subtleties in the music’s dance, while at the piano Thomas Adès is forceful without being domineering.”
31st January 2010 ***	“Marwood and Adès do the music every justice, bringing to their playing a sharp sense of rhythm and attack.”
5th February 2010 *****	“This fabulous two-CD set offers so many pleasures it’s hard to know where to begin…the performances have a wonderful lived-in quality...[Ades] has exactly the right incisive, luminous and chaste sound. Marwood, too, has that springy balletic quality always needed in Stravinsky...In all, it’s a marvel.”
March 2010	“There are old friends. Three numbers from The Firebird, with a mesmeric Berceuse; the exhilarating Danse Russe from Petrushka stunningly delivered; and a reworked aria from the chamber opera Mavra. The only original work here is the Duo concertant, vintage neo-classical Stravinsky with styles ranging from coolly lyrical to busy. All these demands are superbly met by Marwood and Adès with immaculate rhythmic precision.”
March 2010 ****	“Adès's touch with the piano parts is at once live-wire and beautifully stylish, with Marwood matching this flair for deftly characterised light and shade. The Pulcinella suite and Divertimento from The Fairy's Kiss both scintillate from start to finish. The recorded sound, too, has marvellous presence.”
Andrew McGregor 25th March 2010	“Marwood and Adès are a great fit: the intensely musical fiddle player at home in new concertos or classical chamber music, and Adès the uncompromising composer-pianist...The Duo concertant is a highlight; Marwood immaculately in tune whatever double stops, twists and turns Stravinsky throws at him, while Adès’s care with the separate strands of the piano part pay dividends”