A genuine masterpiece inspires musicians to adopt, adapt, or transcribe it without losing any of its greatness. Nevermind's four baroque aces, Anna Besson, Louis Creac'h, Robin Pharo and Jean Rondeau, have taken a creative look at Bach's famous Goldberg Variations and have made their own stylishly insightful 'variations' on the work. As they themselves explain: 'We needed only an informal rehearsal to grasp the incredible potential of a transcription for our ensemble. There have been other arrangements, but nobody has ever attempted this one before now, even though our instruments are among those most typically used in J.S. Bach's chamber music, in his many solo sonatas for flute, violin or gamba with bass continuo and obbligato harpsichord - and they also frequently feature in the arias of his cantatas and Passions.'

01 Aria

02 Var. I a 1 Clav.

03 Var. II a 1 Clav.

04 Var. III Canone all’Unisuono. a 1 Clav.

05 Var. IV a 1 Clav.

06 Var. V a 1 ô vero 2 Clav.

07 Var. VI Canone alla Seconda. a 1 Clav.

08 Var. VII a 1 ô vero 2 Clav. al tempo di Giga

09 Var. VIII a 2 Clav.

10 Var. IX Canone alla Terza. a 1 Clav.

11 Var. X. Fughetta. a 1 Clav.

12 Var. XI a 2 Clav.

13 Var. XII a 1 Clav. Canone alla Quarta. a 1 Clav. in moto contrario

14 Var. XIII a 2 Clav.

15 Var. XIV a 2 Clav.

16 Var. XV Canone alla Quinta. a 1 Clav.: Andante

17 Var. XVI Ouverture. a 1 Clav.

18 Var. XVII a 2 Clav.

19 Var. XVIII Canone alla Sesta. a 1 Clav.

20 Var. XIX a 1 Clav.

21 Var. XX a 2 Clav.

22 Var. XXI Canone alla Settima. a 1 Clav.

23 Var. XXII a 1 Clav. alla breve

24 Var. XXIII a 2 Clav.

25 Var. XXIV Canone all’Ottava. a 1 Clav.

26 Var. XXV a 2 Clav.: Adagio

27 Var. XXVI a 2 Clav.

28 Var. XXVII Canone alla Nona. a 2 Clav.

29 Var. XVIII a 2 Clav.

30 Var. XXIX a 1 ô vero 2 Clav.

31 Var. XXX Quodlibet. a 1 Clav.

32 Aria da Capo

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