“As classical musicians, we’ve all attended solo concerts to listen to the Goldberg Variations and to be honest, hearing it for the first time on harpsichord can be quite challenging to follow. But I truly believe these variations are among the most joyful music Johann Sebastian Bach ever composed. Some themes are incredibly calming, others deeply moving – even heartbreaking. This music shines and spreads light wherever it’s played,” says Robin Pharo, founding member of Ensemble Nevermind, in an interview for our online magazine. The ensemble will perform as part of the Košice Music Spring Festival.
Your ensemble focuses on early music. In addition to being musicians, are you also connected by friendship? Do you think it’s important for an ensemble to share a bond of friendship and good personal relationships?
We all met when we were young people, and yes, we’ve built a strong friendship among the four of us. We believe that chamber music is very difficult to play well without good communication. The music becomes more powerful when you can play in harmony – not only musically, but also personally. Friendship brings peace and connection, which translates into the music.
Baroque music is particularly interesting today, especially from the perspective of national styles. Is Ensemble Nevermind also focused on discovering forgotten composers or presenting works in new contexts? For example, you have chosen French Baroque through two long-forgotten composers: Jean-Baptiste Quentin and Louis-Gabriel Guillemain. Do you believe their music was unfairly neglected?
For our first album, we rediscovered pieces by Jean-Baptiste Quentin and Louis-Gabriel Guillemain that had never been recorded before. We love exploring lesser-known works and even contemporary creations. In fact, our arrangement of the Goldberg Variations feels like a new piece because it had never been performed this way before – using instruments that Johann Sebastian Bach himself knew.
You have performed throughout France and other European countries, as well as in the United States, Canada, Iceland, and Russia. Can you compare experiences from different continents? What were they like? Why do you think people still love early music today?
Of course, every audience is different! But for us, the most important thing isn’t to focus on differences between countries – it’s about sharing our passion at every concert. There’s something beautiful and poetic about being able to connect with people in so many places through music. That shows us that music is truly universal.
We’re witnessing a renaissance of early music today, even as Europe and the world face crises – from pandemics to war. Why do you think the arts continue to matter during difficult times?
History has shown that while art can be silenced during conflict, it can also be revived. Think of the English Civil War — for nearly 15 years, theatres were completely shut down in one of Europe’s most artistically vibrant countries. That’s a frightening thought. And yet, just a few years later, Henry Purcell was born. As long as people are alive, we have hope – art can accompany our lives, especially in times of grief. We need it to help us to heal the society.
How do these two composers reflect different national styles? We know Louis-Gabriel Guillemain studied in Italy before joining the court at Versailles, and Quentin, held a position at the Académie Royale de Musique. Why is the Italian influence so dominant in their compositions?
I wouldn’t say the Italian style is dominant in Quentin’s and Guillemain’s music. For example, the first movement of the concerto we recorded reminds us of the older French style from the 17th century, with its strong use of counterpoint. It’s true that their chamber music shows Italian violin influences, but we can also draw comparisons to Telemann’s Quatuors Parisiens, which were heavily inspired by French music and French soloists. There’s a real blending of national styles in their work.
Nevermind consists of four young musicians and friends. Your shared passion is early music, but I’ve read that you also love jazz. Do you see similarities between jazz and Baroque music?
Definitely. Some aspects of jazz are quite close to the concept of basso continuo, which emerged in the late 16th century and gave performers freedom to improvise while accompanying. Of course, the musical languages of these genres are different, but both traditions value spontaneity and personal interpretation.
In just a few days, you’ll be in Slovakia to perform at the Košice Music Spring Festival. The program BACH IN THE SYNAGOGUE has already attracted many fans — especially since you’ll perform the Goldberg Variations. This piece has a magical reputation in the early music world. What do you think makes it so special?
I was honestly surprised by this piece when we began transcribing it. As classical musicians, we’ve all attended solo concerts to hear the Goldberg Variations — and to be honest, hearing it for the first time on harpsichord can be quite challenging to follow. But I truly believe these variations are among the most joyful music Johann Sebastian Bach ever composed. Some themes are incredibly calming, others deeply moving – even heartbreaking, but most of the time, they bring tears of joy. This music shines and spreads light wherever it’s played.
The Goldberg Variations continue to inspire musicians. Did you aim to bring something fresh and new with your transcription of this iconic composition?
Yes, we wanted to offer a new perspective through our transcription. With the addition of basso continuo, the beauty of Bach’s harmonies becomes even more striking. And with the variety of colours – from the violin, viola da gamba (which is closer to the lute than the cello), flute, and organ — we have a richer sound palette than ever before to express this masterpiece.
Bach’s music is often considered “untouchable”. Yet your arrangement of the Goldberg Variations feels both respectful and innovative in sound and texture. How do you approach such a revered work in a way that respect to the composer while offering something new?
Our transcription is actually the first to be performed using instruments that Bach knew intimately: the flute, violin, viola da gamba, and basso continuo. We tried to base our work on models from the 17th and 18th centuries, staying close to historical practice. And we must remember – Bach himself often transcribed his own music. So we can’t really say his work is “untouchable.” In fact, the essence of music is to be “touched” — it must pass through us. No one can claim to know exactly what Bach would have wanted. That’s impossible.
Arranging the work gives it new soul, but interpretation is another level. What was your goal in terms of interpretation?
To be honest, we focused more on the arrangement than on planning a specific interpretation. As always, we followed our instincts. The arrangement gave us the freedom to express our personalities without being overly concerned about “getting it right.”
And the sound – it’s beautiful. Did you aim to preserve purity of sound? Did you explore the acoustics and resonance of the venues where you performed or recorded?
Sound is one of the most instinctive aspects of music-making. Because we’ve played together for so many years, we don’t have to think too much about it anymore – it just happens naturally. We started working together nearly 15 years ago. Our sound reflects the strength and endurance of our collaboration. When a group manages to stay together over time, the sound deepens and becomes more unified.
And finally, this will be your premiere performance in Slovakia. Are you excited to perform in a new country? What kind of experience does that bring you?
It’s a huge honour for us to perform in Slovakia for the first time. We’re really looking forward to sharing our passion with a new audience. It’s always exciting to see how people respond to our projects in different countries. As musicians, we’re privileged to discover so many cultures through our work. We already feel very lucky — and we’re truly grateful to the Slovak State Philharmonic Košice for inviting us!
Zuzana Vachová
Photo credit: Clément Vayssières
