“by far the most convincing of transcriptions that abduct the variations from a harpsichord with two manuals to an ensemble that simply can’t resist Bach’s imagination and genius.”

“counterpoint that delightfully blooms into a garden of musical colours”

“Splendid, luminous music […]. Besson’s flute was all delicacy […] as was Creac’h, with brilliance, agility and sensitivity in the most moderate dynamics. The continuo was superb, with Pharo owning the springs of rubato and Rondeau making the silences sing.”

“In Sydney on their first national tour for Musica Viva Australia, the group certainly didn’t disappoint, delivering stylish, refined performances of music by Marais, Couperin and Telemann – as well as lesser known composers Quentin and Guillemain – with easy panache and formidable technique.

The musicians whet the audience’s appetite with four movements from the fourth suite in Marin Marais’ 1692 Pièces en trio, showing off a polished, complex sound, limned at the upper end by the sweetness of Besson’s baroque flute and the darker, penetrating sound of Louis Creac’h’s violin. Lean viola da gamba lines from Robin Pharo offset rolling flourishes from Jean Rondeau in the lyrical La Marianne while the almost agonisingly drawn out Plainte once more highlighted the rich, floral sound of the ensemble.

The ornate filigree of François Couperin’s L’Espagnole suite from the 1726 Les Nations ramped up the intensity, the group’s ensemble work impeccable (and beautifully balanced) across tripping and lilting dance movements, the musicians dextrous in the fast passagework. A moment in the final Passacaille when the continuo of harpsichord and viola da gamba suddenly dropped away to reveal exquisitely duetting flute and violin was simply breath-taking.”

“Nevermind, remember that name, they are an ensemble of exquisite, artistic beauty”

“Thank you to Nevermind for all the emotions shared through their music with such sincerity and generosity”