Our brand new recording of the complete Opus 12 Quartets by Louis-Gabriel Guillemain has just been released! For this world premier recording, Fantasticus enlisted the services of world renowned traverso flute player, Wilbert Hazelzet. The six sonatas show a unique compositional language from the once famous and now forgotten violin-virtuoso Guillemain. Comparable to the well known and much loved “Paris Quartets” of Telemann, these pieces show a development towards the galant style, reflected in the title-page on the publication itself: Conversations Galantes.
Following several exciting and critically acclaimed albums as a Baroque trio, the Amsterdam-based group Fantasticus are now augmented to become a chamber orchestra for the first time – Fantasticus XL.
Their debut recording as an expanded group features three diverse early concerti that charts the differing forms of French and German forms of this evolving genre.
The album consists of one concerto for each original member of the trio of Rie Kimura (Baroque violin – Jean-Marie Leclair), Robert Smith (viola da gamba – Johann Gottlieb Graun) and Guillermo Brachetta (harpsichord – Wilhelm Freidemann Bach).
‘As with all their previous discs, the playing is accomplished and virtuosic, but without letting the difficulty ever take centre stage – demanding the three works may be, but each of the three stars still manage to produce ravishing sounds from their instruments.’
Early Music Review
‘[…] conceptually right on the money [… Robert Smith’s] solo lines smoothly elegant but also projecting a huge sense of fun and spirit […] the strikingly sweet, sonorous beauty Guillermo Brachetta extracts from his instrument’
Gramophone
‘Soloist Robert Smith combines agility with grace in a vivacious performance […] bravura and eloquence – qualities which Rie Kimura conveys with discrete style […] W.F. Bach puts the harpsichord soloist through his paces with athletic passagework and intricate figurations, all of which Guillermo Brachetta handles with prowess and fitting gallantry.’
BBC Music Magazine
‘An interesting assemblage of 18th Century instrumental music written for courtly patrons. Using authentic instruments this ensemble transport the listener to a different age and culture in committed performances of these three concerti.’
Lark Reviews
‘ll three members of the original Fantasticus take solo roles in the featured concertos – and what fascinating pieces they are. One of the joys of this recording is that all three pieces are little-known, but well worth discovering.’
Andrew Benson-Wilson (andrewbensonwilson.org)
Fantasticus – Rie Kimura (violin), Robert Smith (viola da gamba) & Guillermo Brachetta (harpsichord)
Amsterdam-based Baroque trio, Fantasticus, return to the Resonus label, following a number of highly-acclaimed releases, with this scintillating and inspiring survey of works from the German stylus fantasticus period.
Charting the rise of the Baroque era, Fantasticus explore the extravagance that flourished when composers and instrumentalists dared to traverse the established limits of the usual.
Among the composers represented are Dieterich Buxtehude, Philipp Heinrich Erlebach, Johann Philipp Krieger, Johann Jacob Walther and August Kühnel in a scintillating combination of works for trio and solo.
‘If Rie Kimura’s violin was in the spotlight last time, here she must share it with both her colleagues and all three (of course!) shine. As I posibly wrote at the end of my previous review of this group, I cannot wait to hear what they turn their hands to next – they make me smile.’
Early Music Review
‘[…] this Dutch-based trio is well schooled, as its name implies, in formal gestures and flair. The players respond keenly to the gestural extroversion of two sonatas by Philipp Erlebach and a teasing, passacaglia-like Capriccio by Johann Jacob Walther’
The Strad
‘The three players of Fantasticus are […] all excelling in the interpretations and technical prowess’
Andrew Benson-Wilson
‘The music of the German Stylus Fanasticus period was highly inventive and experimental and whilst the shock value has diminished over the centuries this is music that still has charm and holds the attention.’
Lark Reviews
Founder member of the acclaimed Baroque trio Fantasticus, and celebrated up-and-coming violinist, Rie Kimura, makes a sensational solo debut with this thrilling selection of four virtuosic violin sonatas.
Joined by Baroque cellist Robert Smith and harpsichordist Guillermo Brachetta from Fantasticus, Kimura presents scintillating works by Italian eighteenth-century luminaries Giuseppe Tartini (including his famous Devil’s Trill sonata) and Francesco Maria Veracini.
‘This is an utterly enchanting recording from beginning to end […] Rie Kimura draws the listener into her intimate sound world, with gently caressing bow strokes, neatly shaping the most virtuosic passages with effortless ease.’
Early Music Review
‘These are delightfully clean performances of some exemplary repertoire for violin. […] Keep an eye out for them, as they are hot as loaves straight from your local forno a legna.’
MusicWeb International
‘ […] she characterises each movement carefully, highlighting Veracini’s harmonic, contrapuntal and expressive detail, and revelling in the elastic bowing of the Allegro assai. The resonant recording is exemplary.’
The Strad
‘[…] the ‘devilish’ finale possesses rhythmic momentum, expressive subtlety and expressions of great virtuosity; elsewhere she also shows an endearing sense of musical joy with which she fascinates and entertains the listener’
‘Musicalifeiten
‘Rie Kimura is a most impressive violinist, with a keen insight into the musical and emotional structure of the music’
Andrew Benson-Wilson
Following on from the critical success of their debut recording (RES10112), Fantasticus release their second album for Resonus Classics with a selection of French Baroque chamber works.
Here, the trio – Rie Kimura (baroque violin), Robert Smith (viola da gamba) and Guillermo Brachetta (harpsichord) – perform an exquisite programme of French Baroque chamber works focusing on a theme of ‘musical portraits’. The recording includes popular and lesser-known works by composers such as Jean-Philippe Rameau, Marin Marais, François Francoeur, Jean-Marie Leclair, Jacques Duphly and Louis-Antoine Dornel.
‘Fantasticus are a white-hot addition to the early music scene’
BBC Music Magazine (5 stars, performance & sound)
‘[…] Fantasticus have established themselves as a white-hot addition to the early music scene. Fantasticus by name, fantastic by nature!’
BBC Music Magazine (Chamber Choice; 5 stars, performance & sound)
‘The performances of Fantasticus are confident, stylish, beautifully articulated and convey a sense of genuine rapport – a most delightful recital of early-18th-century French Baroque chamber music.’
Gramophone (Gramophone Choice)
‘They combine discrete, soloistic virtuosity with a keen mutual rapport, conversing sensitively and adding complementary embellishment’
The Strad
‘The programme is an uncommonly interesting one, and these versatile performers do it full justice. Fantasticus bring to life each item’s distinctive character and emotional scope with unfailing perception.’
Classical Ear
‘[…] a very enjoyable follow-up’
MusicWeb International
‘A fascinating journey, fully documented throughout’
Lark Reviews
The talented Baroque trio, Fantasticus, here make their debut recording with an album including works by Dieterich Buxtehude, Antonio Bertali, John Jenkins, Giovanni Antonio Pandolfi Mealli, Augustinus Kertzinger, Georg Muffat, Alessandro Stradella and Johann Heinrich Schmelzer.
Based in Amsterdam, Fantasticus features Rie Kimura (Baroque violin), Robert Smith (viola da gamba and Baroque cello) and Guillermo Brachetta (harpsichord) and is inspired by the gloriously virtuosic music from the end of the 17th century, from which the name Stylus Fantasticus was coined. The aim of the ensemble is to recreate repertoire from the early seicento until the late Baroque searching and exploring the extravagance that flourished when composers and instrumentalists dared to traverse the established limits of the usual. Fantasticus prides itself on the fact that it makes no compromises with regard to authentic performance, fearlessly trespassing on the borders of correctness.
‘Fantasticus makes an impressive recording debut with this programme […] Its vigorous, dramatic and highly extrovert readings make for compelling listening, demonstrating not only versatility and flexibility but also intimacy and incisiveness.
The Strad (‘The Strad Recommends’)
‘Fantasticus makes an impressive recording debut with this programme […] Its vigorous, dramatic and highly extrovert readings make for compelling listening, demonstrating not only versatility and flexibility but also intimacy and incisiveness.
The Strad (‘The Strad Recommends’)
‘Ensemble is laser sharp and the music-making oozes insight and vitality […] sheer freshness and joie de vivre‘
BBC Music Magazine (5 stars, performance & sound)
‘Altogether it is a beautiful bouquet of exciting music’ (‘Bij elkaar is het een mooi boeket van enerverende muziek geworden’)
Luister Magazine
‘This is music-making of maturity, its evident free spirit and exuberance of line allied to control and expressed in impeccable ensemble-playing. […] A striking and enjoyable debut’
Gramophone
‘[…] more impressive than its sheer fantasy is the careful consideration in its delivery […] a most impressive debut from a group well worth following.’
International Record Review
‘The performances are superlative – consistently energetic, vibrant, communicative and full of stimulating detail. Each of the three musicians is excellent in technique […] This is, quite simply, a release not to be missed’
Classical Ear
‘This is an absolutely outstanding recording […] Throughout the recital, the playing is top notch – the individual musicians are superb and they blend so naturally in consort’
Early Music Review
‘Lovers of baroque instrumental music are well served and others may well start here […] The performances are assured, matching the style of the music and the recording is excellent’
MusicWeb International
‘A pleasant collection of works’
Lark Reviews
‘This group, which trained in Amsterdam, concentrates on the extravagant style of chamber music playing in the late 17th Century. Improvisation around given notation is axiomatic and provides many moments to relish. The recording (engineered by Adam Binks at Bunnik, Holland in April 2012) is of the highest standard.’
Musical Pointers
Fantasticus 