Francesco Geminiani (1687-1762), son of the violinist Giuliano Geminiani. After a season at the Teatro dei Fiorentini in Naples and a two-year engagement at the Cappella Palatina in Lucca, Francesco left his homeland for good in 1714 to pursue a career in London, Dublin and Paris. The flourishing concert life and ideal publishing conditions in London attracted numerous Italian musicians who were revered by English audiences and achieved cult status - above all Arcangelo Corelli.

As a pupil of Corelli, Geminiani inherited this legacy and at the same time promoted the independent development of violin playing. Geminiani not only skilfully used the Corelli cult and his own privileged position as an Italian musician to promote himself; he also cultivated close contacts with influential patrons, made a name for himself as an organizer and painting dealer and published several treatises. One of his groundbreaking works was "The Art of Violin Playing", which he published at his own expense in 1751.

He was responding to a strong culture of violin lovers, whose great demand in England led to a large number of amateur schools and basic music compendiums. Geminiani's treatise, however, was one of the first in Europe to meet professional standards. It differs considerably in scope and conception from other treatises from the mid-18th century from German-speaking countries and focuses intensively on the search for the true nature of musical expression as the highest purpose of music. This is also reflected in the term "ornaments of expression" coined by Geminiani to describe ornaments.

He lists a rich selection of ornaments in another method, the "Treatise of Good Taste in the Art of Music", published in 1749, which is intended to help musicians practise the art of ornamentation and variation. This treatise and his "Rules for Playing with True Taste", published in 1746, contain arrangements and variations of well-known Scottish melodies. The tradition of choosing simple folk songs as the basis for compositions was also adopted by other Italian composers in order to meet the needs and preferences of the English public.

Geminiani's variations uniquely combine the Italian art of variation, inspired by the example of Arcangelo Corelli, with the simple grace of Scottish folk songs and ornamental techniques that he developed under the influence of his many years in Paris. The compositions in Geminiani's treatises go far beyond purely didactic use. His skillful, idiosyncratic use of harmony, rhythm and ornamentation tells the story of a highly skilled, experimental and unconventional artist who moved between nations and compositional styles.

Further information: - Recorded in April 2021 at the Gartensaal, Germany
- Bilingual booklet in English and German with liner notes and profiles of the musicians

- Francesco Saverio Geminiani was born in Lucca. He began his studies at an early age with his father, but he received his most important lessons during his years with the great Roman master Arcangelo Corelli. Composition lessons with Alessandro Scarlatti inspired and consolidated his craft. in 1714, Geminiani settled in London, where he quickly gained fame as an ensemble player, concert violinist and teacher. Here he became friends with Handel and conducted the orchestra in many joint performances. Geminiani enjoyed great success not only in London, but also in Ireland, where he spent much of his time, and settled in Dublin in 1760.

- Geminiani's playing was characterized by great expressiveness, a wealth of dynamic colors, extraordinary liveliness and a strong temperament. Tartini called Geminiani "il furibondo" - the furious one!

- One of Geminiani's most enduring works is his treatise "The Art of Violin Playing", published in 1751. This influential work is one of the earliest comprehensive textbooks on violin technique and interpretation. In contrast to earlier violin courses, which often focused on basic fingerings and bowing, Geminiani's treatise offered detailed insights into expressive playing, ornamentation and the subtleties of articulation. It reflects the development of violin playing in the 18th century and emphasizes musicality over pure technical competence. She covers topics such as bowing technique, left hand positioning and vibrato, and offers exercises to develop precision and expressiveness. Geminiani also emphasizes the importance of dynamic contrast and phrasing, essential elements of Baroque performance practice.

- Played on period instruments by Anna Kaiser (violin), Johannes Berger (cello) and Sólrún Franzdóttir Wechner (harpsichord).