In 1958, the Italian musicologist Remo Giazotto (1910-1998) published Adagio in G minor, supposedly an elaboration from a fragment of a trio sonata by Venetian composer Tomaso Albinoni (1671-1751). According to Giazotto, the manuscript contained the bass line and six bars from the first violin part. Scholars mostly agree that the existence of the Albinoni manuscript is a hoax and that Giazotto wrote the piece himself. It is nevertheless one of the most beautiful and best-loved pieces of 20th century music.

The original work is scored for strings and organ. I’ve made three arrangements of the Adagio for cello. All retain the original key.

Albinoni (attr.) Adagio in G minor for Cello and Piano

Arranger: Adrian Bell	Cello with Piano accompaniment	Tempo: Slow	Duration: 8 minutes approx.
Key: G minor	Intermediate	neo-Baroque	Year: 1949

Albinoni (attr.) Adagio in G minor for Cello Duet

Arranger: Adrian Bell	Two cellos	Tempo: Slow	Duration: 8 minutes approx.
Key: G minor	Intermediate	neo-Baroque	Year: 1949

Albinoni (attr.) Adagio in G minor for Cello Solo

Arranger: Adrian Bell	Cello solo	Tempo: Slow	Duration: 8 minutes approx.
Key: G minor	Advanced	neo-Baroque	Year: 1949

As a work for unaccompanied cello, the Adagio in G minor represents a challenge for any player. Despite many chords and double stops, often involving the thumb, the sound needs to remain sensitive and controlled. The descending bass asks for clear articulation with a slight sense of detachment, yet the upper part is demanding a sostenuto that can only be suggested. Nevertheless, a solo instrument brings the piece intimacy, inwardness and vulnerability that make for a unique interpretation.

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