Chamber Ensemble

"Phantasm's control is absolute. The playing is remarkable, and technically flawless"

The Guardian

"Phantasm’s playing brims with imaginative fantasy and dance-like momentum"


"they maintain that quality of conversation among friends that I believe to be the essence of consort music"

American Record Guide

"The performances are elegant, rich-textured and beautifully phrased. Affecting"

The Times

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Laurence Dreyfus - treble viol, director
Emilia Benjamin - treble and tenor viols
Jonathan Manson - tenor viol
Heidi Gröger - tenor and bass viols
Markku Luolajan-Mikkola - bass viol

Phantasm, an award-winning consort of viols, was founded in 1994 by Laurence Dreyfus and has become recognised as the most exciting viol consort active on the world scene today, with the intensity and technical perfection of its interpretation setting new standards internationally in the realm of consort music.

The ensemble catapulted into international prominence when its debut CD of works by Henry Purcell won a Gramophone Award for the Best Baroque Instrumental Recording of 1997. Since then, the consort has travelled the world over, performing in festivals and on concert series in cities such as London, Prague, Tokyo, Istanbul, Helsinki, New York, and Washington DC. Recent engagements have included the Trigonale Festival (Austria), Heinrich Schütz Festival in Dresden, Musikfestspielen Sanssouci Potsdam, the Lufthansa Early Music Festival in London, the Misteria Paschalia Festival in Cracow, the Stockholm Early Music Festival, Brussels’ Palais des Beaux Arts and Ghent’s De Bijloke hall along with a concert tour of New Zealand – appearances routinely described by critics as ‘the real highlight of the festival’ by ‘the best viol consort in the world’.

Phantasm’s repertoire lays emphasis on the English music of the Renaissance and the Baroque – by composers such as Purcell, Byrd, Gibbons, Dowland, Locke and Lawers – though French and Italian music also appears on Phantasm’s programmes as well as J.S. Bach’s Art of Fugue and Mozart’s arrangements of Bach fugues from the Well-Tempered Clavier.

Phantasm’s 20 recordings have won consistent praise from the critics and the general public. Their CD of Orlando Gibbons (2004) won the Gramophone Award for Early Music and was a Finalist for Gramophone Recording of the Year. Their recording of Lawes‘s Royal Consort not only became the CD of the week in various broadcast stations all over Europe and in the US, but also ranked high on the UK specialist Classical Charts for several months before winning the 2016 Chamber Music Prize from Limelight Magazine (Australia). Their recording of John Dowland’s Lachrimae not only won the 2017 Gramophone Award for Early Music but was also crowned with the prestigious 2017 Diapason d’or de l’année.

From 2005 until 2015, Phantasm was based at the University of Oxford and Magdalen College as their Consort-in-Residence. Since then, Phantasm has made a new home in Berlin, where its members from the UK, Finland, and Germany assemble to rehearse and record new repertoire

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Matthew Locke: For Lovers of Consort Music

Linn Records CKD594

In knotty times Locke wrote knotty music, with jagged edges and angular harmonies. The Birtwistle of his time? Not quite, for there's always some lurking sweetness too, reflected in the golden tones of Dreyfus's team, superbly recorded by Philip Hobbs. This week, then, we have seven string players exerting their differences while being joined at the hip.

Geoff Brown, The Times

So alive not just for the lightness of the dance movements but also the extraordinary harmonic twists and turns of Locke's fantazie movements where he seems to delight in emphasising the unexpected - celebrating the grit in the oyster. The playing is everything we've come to expect from Phantasm and if you've enjoyed their recordings of William Lawes this should be next

Andrew McGregor, BBC Radio 3 'Record Review'

Pearls of Polyphony

Chamber Music New Zealand Tour (May 2018)

How many, like me, were drawn into the lilting rhythms and criss-crossing lines as if we were part of the group? How many experienced goosebumps and shivers, caught up in the volatile flow between major and minor, or held the breath when pianissimo chords seemed to float in their own radiant firmament above us?

William Dart, NZ Herald

Phantasm is a group of musicians from the very top drawer, and the music-making was breathtakingly fine. The Elizabethan period was highlighted by William Byrd, but the absolute highlight, for me, were the four Fantazias of 1680 by Henry Purcell - some of the last music written for the viol. The concert ended with music that was not written for viol, but fascinating nonetheless; the music of J.S. Bach. First we heard three fugues from the Well Tempered Clavier arranged for quartet by Mozart, and, finally, four pieces from his Art of Fugue. Then an encore - an atypical piece from Domenico Scarlatti. All in all, the finest viol playing I have ever heard in concert.

John Button, Dominion Post

Dowland's Lachrimae

Misteria Paschalia Festival (April 2018)

The British but now Berlin-based viol consort Phantasm, joined by lutenist Elizabeth Kenny, gave a stirring performance of Dowland's Lachrimae, with every note at once clear and crisp yet beautifully rounded...The lush dissonances teased out during the pavans were deliciously wistful and the rhythmic interplay displayed in the dance movements gave an infectious, impish quality with a real swing.

Miranda Heggie, The Arts Desk

Christopher Tye: Complete Consort Music

Linn Records CKD571

Their playing is technically unimpeachable, and their warm tone is beautifully recorded here with every part distinctly audible. What I find most admirable is their keen sense of forward movement and phrase trajectory. At the same time they maintain that quality of conversation among friends that I believe to be the essence of consort music.

William J Gatens, American Record Guide

Phantasm is an inspired fir for this repertoire. The musicians' distinctive sound - immediately warm but spiced with an edgy kick - is as assured as ever, ideal for Tye's oft-madcap In nomines...Phantasm delight in the eccentricities of his writing

Hannah French, BBC Music Magazine

Sometimes plangent, often ebulliently uplifting, these are ever unpredictable pieces, which can switch from high mood to low, content to unease, on a sixpence. All are exquisitely played by Phantasm, directed by Laurence Dreyfus.

Richard Fairman, Financial Times

what strikes me about this recording is its suaveness, its evenness, its consistent beauty. Phantasm ride the impish contours of Tye's imagination with unbending calm. Even in a stunning "free" composition such as the three-part Sit Fast - which breaks out of its lamentations into sudden squalls of dance, like someone who forgets they are at a funeral and goes a bit disco - Phantasm's control is absolute. The playing is remarkable, and technically flawless.

Kate Molleson, The Guardian

The World of Byrd

Wigmore Hall (February 2018)

But if the composer is great, as Byrd undoubtedly was, an evening-long immersion is bound to reveal all kinds of things lurking under an apparently unvaried surface. That was the case with this superb concert from Phantasm, one of the best viol consorts around. These players know how to aerate Byrd's smooth weave of independent lines, by slipping in telling pauses. They enliven the dances by pointing up the ingenious way Byrd makes the melodies skip across the regular underlying tread. Viol consorts often play with a perfectly smooth reedy sound, but these players - above all the founder and treble violist Laurence Dreyfus - weren't afraid to warm the sound with a touch of vibrato.

Ivan Hewett, The Telegraph

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