Before attempting this piece, it is highly recommended to listen to the original: Benedetto Marcello: 12 Concerti grossi, Op. 1 | No. 2 | 1708. This is the original version of the work. As some may have noticed, in this Adagio, from the beginning up to bar 9, the second beat in the score is marked with a quarter rest, indicating silence. Playing this literally on the piano would result in a remarkably dry and uninspired performance.

However, listening to the original orchestral version reveals that the strings' strong forte on the first beat creates a lingering resonance that extends into the second beat. While undoubtedly influenced by the hall's acoustics, the composer evidently calculated this effect, ensuring that even with a rest on the second beat, the resonance persists, allowing for a seamless transition to the piano on the third beat.

This lingering resonance is precisely the desired effect. Yet, achieving this on the piano proves challenging (unless one performs in a hall with exceptionally favorable acoustics, among other considerations).

One proposed solution is to intentionally disregard the rest on the second beat. Instead, the sound of the first beat should be sustained with the pedal. On the second beat, although the hands lift from the keyboard, the sound itself continues to be prolonged by the pedal, transitioning on the third beat.

Naturally, this approach sacrifices the literal observance of the rest. However, it allows for a far more musical progression than interrupting the flow at each measure. In subsequent similar passages, this technique should be applied consistently.