If Vivaldi’s greatest hits is the poster on your wall, 8+ is the album you’ve been missing 🫶 Out today, the second half of Vivaldi’s Op. 8 brings you music from the 1725 Amsterdam publication that isn’t The Four Seasons.

Hang on… something doesn’t look quite right here… 🤔 Adrian seems to be playing an awful lot of notes, but Vivaldi’s page shows long ones. 💡 It’s shorthand!

Gosh, it’s been a busy few weeks performing & recording with Raffaele la Ragione. A huge thank you to everyone who joined us. If you didn’t, the recording is in the bag for a future release 💪 We thought we’d have a quiet one this week… well, almost. Just the new album out on Friday 14 November...

In the middle of Vivaldi’s third movement, someone else’s third movement makes an appearance… In the finale of RV 332 (Op. 8 No. 8, G minor) Vivaldi gives a sly nod to Johann Paul von Westhoff and his Imitatione delle campane (“Imitation of bells”). By “sly nod” we mean he lifts about eleven bars…

One of the best parts of our concerts (sorry, Ade!) is chatting to our wonderful audience 🥰 As the person often at the CD table, the question I get most is: “Have you got this on CD?” For those of you who came to our recent concerts with @RaffaelelaRagione and asked when we’d be recording…

Can you hear the bells? 🔔 Vivaldi loved recycling his own ideas and dressing them up in new concertos, but this time he does something different. In the finale of RV 332 (Op. 8 No. 8, G minor) he nods to Johann Paul von Westhoff’s Imitatione delle campane (“Imitation of bells”)…

Mid-chase, the violin solo takes off as if it’s the deer itself, fleeing the rest of the band… 😆 This snippet from Vivaldi’s “La caccia” (Op. 8 No. 10, RV 362: I. Allegro) overlays Vivaldi’s own manuscript from Turin, so you can see how many notes he squeezes into such a small space 🎻

Ever wondered what a Baroque hunt sounds like? 🤔 Vivaldi’s La caccia (“The Hunt”) from Op. 8 is full of musical secrets: horn calls, “barking” dogs, fleeing deer, and even the moment the wounded beast falls. What’s fascinating? Among concertos 7–12, titles are rare — La caccia stands out.

A huge thank you to everyone who joined us in London and Liverpool this week ❤️ It was wonderful to meet so many of you and hear how much you enjoyed the music — and a bonus that Ade was able to play too 😉

We had a great time playing at St Martin-In-The-Fields last night! Thanks to all who joined us ❤️ And isn’t it lovely to see Ade with a violin again? He’s still recovering from his shoulder injury, but last night he was able to play in public for the first time since July 🥳🎉

Here's Ade with bit of background to Vivaldi's Solo Mandolin Concerto, speaking at our recent concert at @turnersims.bsky.social, Southampton. We're really looking forward to reuniting with Raffaele La Ragione for more mandolin music very soon ⬇️

When you think of “the hunt”, what comes to mind? Horns? Guns? Dogs? The drumming of horses’ hooves? A deer fleeing? 🦌 You should hear all of these in our new single, out today: Vivaldi's “La caccia”, Op. 8, No. 10, RV 362: I. Allegro.

Look at that tidy print 😍 This comes from the 1st printed edition of Vivaldi’s Op. 8, published in Amsterdam, 1725 by Michel-Charles Le Cène as part of Il cimento dell’armonia e dell’invenzione (“The Contest between Harmony & Invention”). This is the third movement of the eleventh concerto and...

One concerto; two quite different versions. Adrian is back to talk about Vivaldi’s love of recycling: not only reusing great melodies in different works, but sometimes replacing huge chunks of a piece with new ideas.

Enjoying the first single from our upcoming 8+? Or were you one of the lucky ones who picked up a copy at the weekend & enjoying the whole thing? 😉 Here’s Ade to talk about his favourite concerto from Op. 8 - No. 11. It is actually much harder than The Four Seasons… but let’s keep that between us.

If you missed our concerts at the weekend… this is what you missed 😍 The beautiful 2nd movement from Bigaglia’s Concerto for Mandolin. It’s really for oboe, but there isn’t much surviving mandolin rep so we’ve pinched it and the mandolin sounds lush. ❤️

Look who’s back in town! 🥳 We’re in rehearsal today ahead of our first autumn concert with Raffaele la Ragione (no mandolin emoji… an oversight, surely 🤔). If you haven’t got tickets for @turnersims.bsky.social, Southampton, we’d love to see you tomorrow, Saturday 4 October at 7.30pm.

Celebrating the start of Autumn 🍂 with... the start of Autumn 🎶 Happy Autumn Equinox! 🎻 Adrian Chandler and La Serenissima

Have you had a chance to catch up with our latest news yet?  August's (belated!) newsletter included a message from Ade explaining all about his recent injury and recovery. 📩 Head to your inbox to read the rest... Not a subscriber yet? Sign up here: https://www.laserenissima.co.uk/

Happy birthday to the composer of this piece, Zavateri! 🥳 🎂 Born on this day in Bologna, Lorenzo Gaetano Zavateri (8 September 1690 – 1764) was an Italian baroque violinist and composer. 🎻 This is the opening of his Introducione in G Major, recorded for our album 'Forza Azzurri!'

Those of you with tickets (or planning to book) for our autumn concerts in London, Liverpool, Southampton, East Sussex or Cambridge — fear not! Although Ade is temporarily out of action, we’re still delighted to be bringing the wonderful Raffaele La Ragione to the UK for this series.

So, whilst Ade was suffering in the immediate aftermath of his little trip over the stile, he still had to somehow take part in a concert. Not just any concert, but a Music in Country Churches concert in the presence of His Majesty the King.

"Concerto for 2 Horns, Strings and continuo in F RV 539" by Antonio Vivaldi / @laserenissimauk.bsky.social, conducted by Adrian Chandler, soloists @annekescott.bsky.social, Jocelyn Lightfoot, horn / @avierecords.bsky.social sp. 2392

"Violin Concerto "Alla Rustica" in G RV 151" by Antonio Vivaldi / @laserenissimauk.bsky.social, conducted by Adrian Chandler / @avierecords.bsky.social sp. 2371

Those of you who came to our last concert in July (or who watch our videos right to the end) might be wondering how Adrian’s arm is doing... If you weren’t there, here’s the story: after a bit of a trip over a stile in the Brecon Beacons, he severed two tendons in his bowing arm.

We're back with a bit more of Vivaldi's Summer - and a challenge for you! 🤔 What bird is being imitated in this section of the concerto? 🦅🦆🦜🐥🦢🦤🦩🐓 Let us know in the comments ⬇️

Well, hello there 😍 👀 Here’s a sneak peek of the album cover for our next disc, Vivaldi Opus 8 Vol. 2, due to be released this Autumn. We can't wait to share it with you - watch this space for more about the release! 🎉

We've been really feeling the heat this week! ☀️ So, we decided it's time for a throwback to performing 'Summer' from Vivaldi's Four Seasons at St Martin-In-The-Fields in June 2023 ⏮️ 🎥 A recording of the rest of this movement is on our YouTube Channel: https://www.youtube.com/watch?v=ve3LDTlNR6E

Two slow movements, one concerto. Which would you keep? 🤔 Can you see that? 🔍 On the third line, where it switches to those tiny notes in the recorder part? That’s where Adrian steps in 😏 Vivaldi wrote the whole first half then crossed it out and started something totally different.

I mean, we’ve seen the manuscripts 👀

Grab yourself a cuppa & settle in, it's a long one this evening! Since moving to Gloucester, Adrian’s been exploring the city’s musical scene (spoiler: the Cathedral choirs are fab), & it’s sparked a bit of a deep dive into some very old & intriguing manuscripts.

What would you do with a single page of Vivaldi manuscript? 🤔 Written in his own hand. Crossed out. Abandoned. Something completely different starts on the next page 😞 Well, if you're Adrian Chandler... you complete it, of course 💡 And honestly, there isn’t anyone better than our Ade for the job.

The final movement from Vivaldi’s RV 442 to round off the week! Vivaldi helped shape the 3 movement concerto. Fast, slow, fast. This one, surviving in his own hand & now kept in Turin, is lively & clear, full of those trademark rhythmic sparks and tight little phrases. A perfect closing movement.

A big thank you to Charlotte Gardner for such a lovely review of our latest album 'Crossing Borders' in this month's @GramophoneMagazine 🌟 Have you had a chance to listen yet? It's out now on all streaming platforms! 🎶

Tonight 🤩 We’re in Wiveton with Crossing Borders 2 — our brand new programme 🚗🎶 If you’re thinking, “Hang on… didn’t you just release an album called Crossing Borders?” — you’re not wrong 😂 This is the next instalment: more musical adventures from our favourite European composers.

"Concerto for 2 Oboes in F Op 9/3" by Tomaso Albinoni / @laserenissimauk.bsky.social, conducted by Adrian Chandler, soloists Gail Hennessy, oboe, Rachel Chaplin, oboe / Avie records sp. 2371

Sometimes less really is more. This slow movement from RV 442 says everything it needs to with the lightest of touches. It opens with full strings – then suddenly thins to just recorder & violin, floating gently in dialogue. There’s nothing complicated about it. But the effect is quietly magical.

Even we needed a map for this one 😆 Telemann’s final movement doesn’t exactly unfold in a straight line. You might have to listen a few times to work out which bit comes where. But once you’re in the zone, it’s full of sparkle & wit. We love the playful back-and-forth between flute & violin.

Ahead of our sold out concert in Norfolk (sorry if you aren't able to join us!), Adrian’s been digging into one of Vivaldi’s lesser known gems, a piece packed with familiar themes, curious cross references, and a few “which came first?” musical puzzles.

A beautiful Largo to round off your week – courtesy of flautist Katy Bircher, and Georg Philipp Telemann. It might be slow, but it’s far from plain. This movement is full of neat little turns and elegant ornaments – all delivered with poise, precision, and a touch of courtly charm.

Diaries at the ready, we've got some dates for you! 📆 🎻 Hear La Serenissima perform live over the next few months at one (or more!) of the gigs in this thread! And keep your eyes peeled for further announcements... 👀 Let us know if you've got tickets, we can't wait to see you there 👋

First impressions matter – and Telemann gets it just right. The opening of his Flute Concerto in D major is poised, spacious, and quietly elegant. No fireworks, no fuss – just music that immediately puts you at ease. It’s the first thing you hear on Crossing Borders, and honestly?

Thank you ❤️ To everyone who joined us at @wigmore-hall.org.uk earlier in the week, and to all of you who’ve come along to our A–Z of the Italian Baroque concerts this season, thank you for helping us celebrate 30 years of La Serenissima. If you missed it, here’s another snippet from the rehearsal.

Warming up for tonight’s concert at @wigmore-hall.org.uk 🎵 This one’s a bit of a niche pick – so if you’re worried you won’t know what’s going on, don’t panic. You can read Ade’s programme notes and the full translation of the text over on the Wigmore Hall website.

What’s this all about then? 🤔 A monk-turned-composer. A biblical siege. A top-tier cast of soloists. And a very dramatic oratorio you’ve (probably) never heard of.

Attilio Ariosti? Sounds pretty Italian, right? 🇮🇹 Although Ariosti was born in Bologna, Italy, he made London his home later in life, sharing the directorship of the Royal Academy of Music (the opera company, not the conservatoire!) with Handel and Bononcini from its beginnings in 1719.

Friday the 13th? Unlucky for some. But not for Crossing Borders — released on the 13th, charting at No.13 today. Let us know your favourite track... We’re quite partial to No.13 (this one) ourselves 👀

Do you know any music by Attilio Ariosti? 🎶 🎻 This Baroque composer is a real hidden gem, and we're looking forward to bringing his rarely-performed oratorio 'La Profezia d'Eliseo' to @Wigmore_Hall next week!

Last Friday, Ade was a guest on BBC Radio 3's In Tune, chatting about the launch of our new album, Crossing Borders 📀 He also spoke to host Katie Derham about the rarely performed composer Ariosti, and the hidden gem oratorio we'll be bringing to the stage of Wigmore Hall next week.

"Few other composers so successfully drew on such a broad diversity of national styles as Georg Philipp Telemann, and although he was at one stage rather sniffy about the Italianate concerto style, he came to change his mind." – from Europadisc’s review of Crossing Borders.