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Francesco Geminiani was considered something of a musical god, deemed to be the equal of Handel and Corelli, a master without parallel in the art of composition in 18th century London - Donald Macleod traces the life and music of this now largely forgotten composer.

Geminiani's music was wildly popular, and performed all over England in both concert halls, and also in the theatre between the acts of stage works. One work likely to be picked out for such performances, would have been the Concerto grosso in G minor op.3 no.2, as the opus 3 set were his biggest hit. It is this association with the theatre, which is the focus for Donald Macleod in today's programme.

With the opera houses closed during the Jacobite rebellion, Geminiani decided to cash in on the situation by delving into the world of the theatre. The mysterious Count de Saint Germain, who was rumoured to be 2000 years old, was to be Geminiani's chief collaborator in presenting the opera L'Incostanza Delusa. The opera was not a success, and although Geminiani composed no specific music for this work, it was likely that between the acts he performed some of his new compositions including his Concerto grosso in D minor op.7 no.4.

The Opus 7 were published in the Hague, but did not go down well with the London public. However, Geminiani's music was still hugely popular in France, frequently performed at the Concert Spirituel series. Geminiani, at the age of 66, returned to France and embarked upon the writing of music for a pantomime called Le Forêt Enchantée - The Enchanted Forest. The work was performed at the famous Salle des Machines in the Tuileries Palace, in collaboration with one of the most famous and innovative stage designers of his day, Giovanni Servandoni. But the music, dance, miming actors and magical transformations occurring on stage, were not appreciated by the Parisians. The pantomime flopped, so Geminiani returned to London, and presented The Enchanted Forest as a concert version.