Editing Tomaso Albinoni (section)

==Music and influence==
{{further|List of compositions by Tomaso Albinoni}}
[[File:Albinoni - Egizio - Colla by Pietro Bettelini.png|thumb|Engraving of Italian composers Tomaso Albinoni, [[Domenico Gizzi]] (Egizio) and Giuseppe Colla by [[Pietro Bettelini]], after a drawing by Luigi Scotti]]

Most of his operatic works have been lost - either because they never got published or because they were destroyed. However, nine collections of instrumental works were published. These met with considerable success and consequent reprints. He is therefore known more as a composer of instrumental music (99 sonatas, 59 concerti and 9 sinfonie) today. In his lifetime these works were compared favourably with those of [[Arcangelo Corelli]] and [[Antonio Vivaldi]]. His nine collections published in Italy, Amsterdam, and London were either dedicated to or sponsored by an impressive list of southern European nobility. Albinoni wrote at least fifty operas, of which twenty-eight were produced in Venice between 1723 and 1740. Albinoni himself claimed 81 operas (naming his second-to-last opera, in the libretto, as his 80th).<ref name="Grove1">.Michael Talbot, "Tomaso Albinoni", Grove Music On-line. Oxford Music On-line, http://www.oxfordmusiconline.com/subscriber/article/grove/music/00461 (accessed 30 December 2011).</ref><ref name="baroquemusic.org">{{cite web| url = http://www.baroquemusic.org/bqxalb.html| title = Baroque Composers and Musicians: Tomaso Albinoni}}</ref> In spite of his enormous operatic output, today he is most noted for his instrumental music, especially his oboe concerti (from ''12 Concerti a cinque'' op. 7 and, most famously, ''[[12 Concerti a cinque (Albinoni)|12 Concerti a cinque]]'' op. 9). He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his op. 7) and publish such works,<ref>George J. Buelow, [https://books.google.com/books?id=aw1TTtpp4FwC&pg=PA467 ''A history of baroque music''], Indiana University Press, 2004, p. 467.</ref> although earlier concerti featuring solo oboe were probably written by German composers such as [[Telemann]] or [[Handel|Händel]].<ref name="baroquemusic.org"/> In Italy, [[Alessandro Marcello]] published his well-known oboe concerto in D minor a little later, in 1717. Albinoni also employed the instrument often in his [[Chamber music|chamber works]] and operas.

His instrumental music attracted great attention from [[Johann Sebastian Bach]], who never visited Italy but had access to Italian music, particularly when working in [[Weimar]] for the ducal court. Bach wrote [[List of fugal works by Johann Sebastian Bach#Fugues and fughettas (BWV 944–962)|at least two fugues on Albinoni's themes]] (''Fugue in A major on a theme by Tomaso Albinoni,'' [[Bach-Werke-Verzeichnis|BWV]] 950, and ''Fugue in B minor on a theme by Tomaso Albinoni'', BWV 951) and frequently used his [[Bass (sound)|basses]] for harmonic exercises for his pupils. 

The famous ''Adagio in G minor'', the subject of many modern recordings, is thought by some to be a [[musical hoax]] composed by [[Remo Giazotto]]. However, a discovery by musicologist Muska Mangano, Giazotto's last assistant before his death, has cast some doubt on that belief. Among Giazotto's papers, Mangano discovered a modern but independent manuscript transcription of the [[figured bass]] portion, and six fragmentary bars of the first violin, "bearing in the top right-hand corner a stamp stating unequivocally the [[Dresden]] provenance of the original from which it was taken". This provides support for Giazotto's account that he did base his composition on an earlier source.<ref>Nicola Schneider, "La tradizione delle opere di Tomaso Albinoni a Dresda", tesi di laurea specialistica (Cremona: Facoltà di musicologia dell'Università degli studi di Pavia, 2007): pp. 181–86.</ref>