N� � Hamburg en 1699, Johann Adolf Hasse, surnomm� � il Sassone � �tudie aupr�s de son p�re, organiste de Bergedorf, puis � Naples aupr�s de Porpora et se lie d?amiti� avec Alessandro Scarlatti, Farinelli, Galuppi, Jommelli, Haydn et m�me Jean Sebastien Bach, qu?il rencontre en 1731. D�s son premier op�ra, Antigonus, Hasse connait le succ�s et commence alors une carri�re de compositeur, musicien et chef d?orchestre qui le fera voyager dans toute l?Europe avant de s?installer � Venise. Auteur de 58 op�ras, oratorios, cantates, concertos et sonates en toute genre, la quasi totalit� de son ?uvre est d�truite par l?incendie du si�ge de Dresde par les Prussiens en 1760. Malgr� la stabilit� de ses principaux traits, le style de Hasse, nettement pr�classique, connait de l�g�res �volutions au cours de sa carri�re mais il reste un compositeur au go�t prononc� pour le lyrisme, y compris dans son �criture instrumentale, comme le d�montre le largo de son Concerto in sol Maggiore per Mandolino e cordi. De facture Vivaldienne, cette oeuvre date tr�s certainement de la p�riode napolitaine de Hasse et il y d�veloppe une �criture fluide et virtuose pour le petit luth, alors tr�s en vogue dans les cours et les salons princiers de ce XVIIIe si�cle florissant. Le choix de la tonalit�, le discours rythmique et l?orchestration l�g�re, constitue la preuve que le compositeur connaissait parfaitement les possibilit�s de la mandoline pour lequel il a sans doute compos� d?autres oeuvres, malheureusement disparues aujourd?hui. Born in Hamburg in 1699, Johann Adolf Hasse, nicknamed "il Sassone", studied with his father, organist from Bergedorf, then in Naples with Porpora and became friends with Alessandro Scarlatti, Farinelli, Galuppi, Jommelli, Haydn and even Jean Sebastian Bach, whom he met in 1731. From his first opera, Antigonus, Hasse enjoyed success and began a career as a composer, musician and conductor which would take him throughout Europe before settling in Venice. Author of 58 operas, oratorios, cantatas, concertos and sonatas of all kinds, almost all of his work was destroyed by the fire of the siege of Dresden by the Prussians in 1760. Despite the stability of its main features, Hasse's style, clearly preclassical, underwent slight evolutions during his career but he remained a composer with a pronounced taste for lyricism, including in his instrumental writing, as demonstrated by the largo of his Concerto in sol Maggiore per Mandolino e cordi. Vivaldian in style, this work most certainly dates from Hasse's Neapolitan period and he developed a fluid and virtuoso writing for the small lute, then very fashionable in the courts and princely salons of this flourishing 18th century. The choice of tonality, the rhythmic discourse and the light orchestration constitute proof that the composer perfectly knew the possibilities of the mandolin for which he undoubtedly composed other works, unfortunately lost today.