While it seems a bit unlikely for performances of Italian Baroque music, pizza delivery has been a saviour to Edinburgh's Georgian Concert Society (although who knows how 18th-century takeaways worked?). Just like everyone else, musicians need to be fed and when Covid-safe practice means rehearsing for two concerts instead of one, sustenance is all. Having postponed its 2020/21 season, the Society rescheduled all of the Early Music groups which were due to take part with a series of monthly shortened concerts, some of which are performed twice on the same date. Hence the pizza.

'All of the artists have been very patient,' says Georgian Concert Society administrator David Todd. 'We are incredibly lucky how things have worked out.' In returning to their regular Edinburgh venues of St Cecilia's Hall and St Andrew's & St George's West Church, the Society has found that audiences are responding well to its socially distanced measures. First off came Concerto Caledonia in October with Italian music by Corelli and his contemporaries, while next up is La Serenissima who focus on a lesser-known composer, the Venetian Giuseppe Tartini, marking what is now the 251st anniversary of his death.

'He's vastly under-rated,' says the ensemble's artistic director and violinist, Adrian Chandler. 'But, to be honest, if you look at the Italian Baroque music that's being performed today, we're not even scratching the surface. Vivaldi is a solitary beacon of light and a household name with his Four Seasons. People think other composers of the time must be rubbish, but that's totally untrue. It's a tragedy really.'

Putting things to rights with Tartini, La Serenissima's virtuoso line-up of Chandler plus Vladimir Waltham on cello, Lynda Sayce on theorbo and harpsichordist Robin Bigwood, present a programme focussing on his violin sonatas. 'Tartini is responsible for the very important developments in the way that the violin is played,' explains Chandler. 'If it wasn't for Tartini we wouldn't have had Paganini.'

Among the sonatas is the fiendishly difficult 'Devil's Trill', full of technically demanding double-stop trills, which haven't got any easier between the 1700s and today. 'Apparently Tartini had a dream that the devil was playing violin at the foot of his bed,' says Chandler. 'He found it completely astonishing and had to write it down, saying that although this piece of music is the best that I've written, the devil's is much better.'

The Georgian Concert Society season continues with La Serenissima, St Andrew's & St George's West Church, Edinburgh, Saturday 27 November.