What first intrigued me about Geminiani as a musical figure was his propensity for unpredictable, asymmetrical and improvisatory style—both as a composer and as a performer. If his tempo rubato was apparently too wild for the Neapolitan musicians, his performances were greatly admired for their elegance and taste in England. My everlasting fascination with tempo rubato and the art of “reading between the lines” in terms of tempo, flexibility and rhythmic variations have led me to approach Geminiani’s music with this angle in mind. Moreover, during the recording sessions, many musical aspects—such as ornamentation, continuo realization, and dynamics—were intentionally left to the musicians’ extemporaneous decisions. We used the diversity of colors found in the various instruments forming the continuo group (harpsichord, cello, cello piccolo, violone, theorbo) to create different textures for each movement. Almost like in jazz, each instrument is given its moment to come to the foreground and emerge from the sound of the group.