List of compositions by George Frideric Handel

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Portrait of George Frideric Handel
by Thomas Hudson.

George Frideric Handel (23 February 1685 – 14 April 1759) was a German–English Baroque composer who is famous for his operas, oratorios and concerti grossi. Handel's compositions include 42 operas; 29 oratorios; more than 120 cantatas, trios and duets; numerous arias; chamber music; a large number of ecclesiastical pieces; odes and serenatas; and 16 organ concerti. His oratorio Messiah, with its "Hallelujah" chorus, is among the most famous Baroque works and is a popular choice for performances during the Christmas season. Among Handel's best-known instrumental works are the Concerti Grossi Opus 3 and 6; "The Cuckoo and the Nightingale", in which birds are heard calling during passages played in different keys representing the vocal ranges of two birds; and his 16 keyboard suites, especially The Harmonious Blacksmith.

Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), however the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56.[1] Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

Operas[edit]

All works are opera seria in three acts, unless otherwise stated.

HWV Title Premiere Venue Libretto Notes
1 Almira 8 January 1705 Oper am Gänsemarkt, Hamburg Friedrich Christian Feustking, after G. Pancieri Singspiel
2 Nero 25 February 1705 Oper am Gänsemarkt, Hamburg Friedrich Christian Feustking Music lost
3 Florindo 1708 Oper am Gänsemarkt, Hamburg Hinrich Hinsch Only a copy of the libretto and fragments of the music survive
4 Daphne 1708 Oper am Gänsemarkt, Hamburg Hinrich Hinsch Music lost
5 Rodrigo 1707 Florence after F. Salvani
6 Agrippina Late 1709 / Early 1710 Teatro San Giovanni Grisostomo, Venice Vincenzo Grimani
7a/b Rinaldo 24 February 1711 Queen's Theatre, London Giacomo Rossi/Aaron Hill, after Torquato Tasso, La Gerusalemme liberata
8a/b/c Il pastor fido 22 November 1712 Queen's Theatre, London Giacomo Rossi, after Guarini The 1712 version is 8a. The 1734 revised versions are designated 8c. The prologue Terpsicore added to the final version is 8b.
9 Teseo 10 January 1713 Queen's Theatre, London Nicola Francesco Haym, after Philippe Quinault 5 acts
10 Silla June 1713? London? Giacomo Rossi, after Plutarch Music reused in Amadigi
11 Amadigi di Gaula 25 May 1715 King's Theatre, London Rossi or Haym (?), after A.H. de la Motte, 1699
12a/b Radamisto 27 April 1720 King’s Theatre, London Haym (?), after D. Lalli
13 Muzio Scevola 15 April 1721 King’s Theatre, London Paolo Antonio Rolli, after Silvio Stampiglia only Act 3 by Handel
14 Floridante 9 December 1721 King’s Theatre, London Rolli, after Francesco Silvani La costanza in trionfo
15 Ottone 12 January 1723 King’s Theatre, London Haym, after S B Pallavicino
16 Flavio 14 May 1723 King’s Theatre, London Haym, after M Norris
17 Giulio Cesare 20 February 1724 King’s Theatre, London Haym
18 Tamerlano 31 October 1724 King’s Theatre, London Haym, after Agostin Piovene and Nicholas Pradon
19 Rodelinda 13 February 1725 King’s Theatre, London Haym, after Antonio Salvi, after Pierre Corneille
20 Scipione 12 March 1726 King’s Theatre, London Rolli
21 Alessandro 5 May 1726 King’s Theatre, London O Mauro
22 Admeto 31 January 1727 King’s Theatre, London Haym
23 Riccardo Primo 11 November 1727 King’s Theatre, London Rolli, after Francesco Briani
A2 Genserico (or Olibrio) After N. Beregan Drafted early 1728. Only part of Act I. Music mostly used in Siroe and Tolomeo.
24 Siroe 17 February 1728 King’s Theatre, London Haym, after Metastasio
25 Tolomeo 30 April 1728 King’s Theatre, London Haym, adapted from Carlo Sigismondo Capece
26 Lotario 2 December 1729 King’s Theatre, London After Antonio Salvi
27 Partenope 24 February 1730 King’s Theatre, London After Silvio Stampiglia
28 Poro 2 February 1731 King’s Theatre, London After Metastasio
A5 Titus l'Empereur After J. Racine: Bérénice Only one act (first three scenes) with some music used in Ezio. Composed late 1731.
29 Ezio 15 January 1732 King’s Theatre, London Metastasio
30 Sosarme 15 February 1732 King’s Theatre, London After Salvi
31 Orlando 27 January 1733 King’s Theatre, London After Capece, after Ludovico Ariosto's Orlando furioso
32 Arianna in Creta 26 January 1734 King’s Theatre, London After Pietro Pariati
A11 Oreste 18 December 1734 Covent Garden Theatre, London Adapted from G.G. Barlocci Pasticcio, composed in 1734. Music entirely by Handel. Overture published in HG volume 48 (p. 102).
33 Ariodante 8 January 1735 Covent Garden Theatre, London After Salvi, after Ariosto's Orlando Furioso
34 Alcina 16 April 1735 Covent Garden Theatre, London After Ariosto's Orlando Furioso
35 Atalanta 12 May 1736 Covent Garden Theatre, London After Belisario Valeriani
36 Arminio 12 January 1737 Covent Garden Theatre, London After Salvi
37 Giustino 16 February 1737 Covent Garden Theatre, London Adapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino
38 Berenice 18 May 1737 Covent Garden Theatre, London After Salvi
39 Faramondo 3 January 1738 King’s Theatre, London Adapted from Apostolo Zeno's Faramondo
A13 Alessandro Severo 25 February 1738 King’s Theatre, London Adapted from Zeno Pasticcio, composed in 1738. Music entirely by Handel. Overture published in HG volume 48 (page 104).
40 Serse (Xerxes) 15 April 1738 King’s Theatre, London After Stampiglia
A14 Giove in Argo 1 May 1739 King’s Theatre, London Adapted from A.M. Lucchini Pasticcio, composed in April 1739. Music entirely by Handel. Semi-staged.
41 Imeneo 22 November 1740 Theatre in Lincoln's Inn Fields, London After Stampiglia's Imeneo
42 Deidamia 10 January 1741 Theatre in Lincoln's Inn Fields, London Rolli

Incidental music[edit]

HWV Title Premiere Venue Notes
43 The Alchemist 14 January 1710 Queen's Theatre, London Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo.
44 Comus June 1745 Ludlow Castle, Shropshire Three songs and a trio written as part of a private arrangement of John Milton's masque Comus.[2]
45 Alceste Not performed A masque which was written for an unproduced play by Tobias Smollett. Music composed between December 1749 and January 1750.
218 Love's but the frailty of the mind 17 March 1740 Drury Lane Theatre, London Sung by Mrs. Kitty Clive at her benefit performance of William Congreve's The Way of the World (Act III). Music composed in London, 1740

Oratorios[edit]

HWV Title Premiere Venue Libretto Text Notes
46a Il trionfo del Tempo e del Disinganno June 1707 Rome Benedetto Pamphili
46b Il trionfo del Tempo e della Verità 23 March 1737 London Benedetto Pamphili
47 La resurrezione 8 April 1708 Rome Carlo Sigismondo Capece
48 Brockes Passion 23 March or 3 April 1719 Hamburg Cathedral (possibly) Barthold Heinrich Brockes
50a Esther ?1718 probably Cannons John Arbuthnot IMSLP. Based on Alexander Pope's work. Originally a masque.
50b Esther 1 May 1732 King's Theatre, London John Arbuthnot IMSLP. Based on Alexander Pope's work. Contains additions by S. Humphreys
51 Deborah 21 February 1733 King's Theatre, London Samuel Humphreys Stanford
52 Athalia 10 July 1733 Sheldonian Theatre, Oxford Jean Racine? Stanford
53 Saul 16 January 1739 King's Theatre, London Charles Jennens Stanford
54 Israel in Egypt 4 April 1739 King's Theatre, London Charles Jennens? Stanford
55 L'Allegro, il Penseroso ed il Moderato 27 February 1740 Theatre in Lincoln's Inn Fields, London Charles Jennens Stanford. Based on John Milton's work.
56 Messiah 13 April 1742 New Music Hall, Dublin Charles Jennens Stanford
57 Samson 18 February 1743 Covent Garden Theatre, London Newburgh Hamilton Stanford
58 Semele 10 February 1744 Covent Garden Theatre, London William Congreve Stanford An opera catalogued as an oratorio
59 Joseph and his Brethren 2 March 1744 Covent Garden Theatre, London James Miller Stanford
60 Hercules 5 January 1745 King's Theatre, London Thomas Broughton Stanford
61 Belshazzar 27 March 1745 King's Theatre, London Charles Jennens Stanford
62 Occasional Oratorio 14 February 1746 Covent Garden Theatre, London Newburgh Hamilton Stanford
63 Judas Maccabaeus 1 April 1747 Covent Garden Theatre, London Thomas Morell Stanford
64 Joshua 9 March 1748 Covent Garden Theatre, London Thomas Morell Stanford
65 Alexander Balus 23 March 1748 Covent Garden Theatre, London Thomas Morell Stanford
66 Susanna 10 February 1749 Covent Garden Theatre, London Newburgh Hamilton? Stanford
67 Solomon 17 March 1749 Covent Garden Theatre, London Newburgh Hamilton? Stanford
68 Theodora 16 March 1750 Covent Garden Theatre, London Thomas Morell Stanford
69 The Choice of Hercules 1 March 1751 Covent Garden Theatre, London Thomas Morell? Stanford
70 Jephtha 26 February 1752 Covent Garden Theatre, London Thomas Morell Stanford
71 The Triumph of Time and Truth 11 March 1757 Covent Garden Theatre, London Thomas Morell? Stanford

Odes and masques[edit]

HWV Title Premiere Venue Text
72 Aci, Galatea e Polifemo 19 July 1708 Naples
49a Acis and Galatea (masque) probably 1718 Cannons, near London
49b Acis and Galatea (serenata) 10 June 1732 King's Theatre, London Stanford
73 Parnasso in Festa 13 March 1734 King's Theatre, London
74 Ode for the Birthday of Queen Anne 6 February 1713 Royal Palace in London
75 Alexander's Feast 19 February 1736 King's Theatre, London Stanford
76 Ode for St. Cecilia's Day 22 November 1739 Theatre in Lincoln's Inn Fields, London Stanford

Cantatas[edit]

HWV Title Composed Premiere Venue Notes Text
77 Ah che pur troppo è vero Florence, c. 1707
78 Ah! crudel, nel pianto mio Rome, August 1708 2 September 1708 Palazzo Bonelli, Rome
79 Diana cacciatrice or Alla caccia Rome, May 1707 May – June 1707 Vignanello Copied for Francesco Ruspoli, 1707
80 Allor ch'io dissi addio Rome, 1707–08
81 Alpestre monte Florence, c. 1707
82 Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso Rome, August 1708 Probably 28 October 1708 Copied for Ruspoli, 1708
83 Aminta e Fillide or Arresta il passo Early 1708 14 July 1708 Rome Copied for Ruspoli, 1708. The section, "Chi ben ama" printed separately in HG 52b
84 Aure soavi e lieti Rome, May 1707 Copied for Ruspoli, 1707
85 Venus and Adonis or Behold where weeping Venus stands London, c. 1711 No autograph, authenticity uncertain
86 Bella ma ritrosetta London, c. 1717–18
87 Carco sempre di gloria London, 1737 16 March 1737 London Variant insertion in "Cecilia, volgi un sguardo" (89), for performances of Alexander's Feast (HWV 75), 1737, including music for the castrato Domenico Annibali
88 Care selve, aure grate Rome, 1707–08
89 Cecilia, volgi un sguardo London, January 1736 19 or 25 (?) February 1736 Covent Garden Theatre, London Played between the two parts of Alexander's Feast (HWV 75).
90 Chi rapì la pace al core Florence, c. 1706–07 Copied for Ruspoli, 1709
91a Clori, degli occhi miei Florence, late 1707
91b Clori, degli occhi miei London, after 1710
92 Clori, mia bella Clori Rome, 1707–08
93 Clori, ove sei? Italy, 1707–08
94 Clori, si, ch'io t'adoro No autograph, earliest source c. 1738–40
95 Clori, vezzosa Clori Rome, July/August 1708 Copied for Ruspoli, 1708
96 Clori, Tirsi e Fileno or Cor fedele in vano speri Rome, July/September 1707 Copied for Ruspoli, 14 October 1707.
97 Crudel tiranno Amor London, June 1721 Probably 5 July 1721 King's Theatre, Haymarket, London Performed at the benefit concert for Margherita Durastanti.
98 Cuopre tal volta il cielo Italy, 1708
99 Il delirio amoroso or Da quel giorno fatale Rome, on or before 14 January 1707. May 1707 Cardinal Pamphili's palazzo
100 Da sete ardente afflitto Italy, 1708–09 Copied for Ruspoli, 1709. (HWV 101a & 101b: Dal fatale momento. Spurious, by F. Mancini).
102a Dalla guerra amorosa Italy, 1708–09 Version for bass. Copied for Ruspoli, 1709
102b Dalla guerra amorosa Italy, 1708–09 Version for soprano. Copied for Ruspoli, 1709
103 Deh! lasciate e vita e volo London, c. 1722–25 Libretto text by Paolo Antonio Rolli
104 Del bell'idolo mio Rome, 1707–09 Copied for Ruspoli in 1709, but possibly written as early as 1707.
105 Armida abbandonata or Dietro l'orme fuggaci Rome, June 1707 Possibly 26 June 1707 Palazzo Bonelli, Rome Copied for Ruspoli, 1707, 1709.
106 Dimmi, o mio cor Italy, 1707–09 See note for HWV 132
107 Ditemi, o piante Rome, July/August 1708 Copied for Ruspoli, 1708
108 Dolce mio ben, s'io taccio No autograph. No source attributed to Handel.
109a Dolc' è pur d'amor l'affanno London, c. 1717–18 Libretto ?Text by Paolo Antonio Rolli
109b Dolc' è pur d'amor l'affanno London, ?after 1718 Libretto: ?Text by Paolo Antonio Rolli
110 Agrippina condotta a morire or Dunque sarà pur vero Italy, 1707–08 Early in 1708 First performed by the castrato soprano, Pasqualino Tiepoli Libretto: Anonymous
111a E partirai, mia vita? Italy, 1707–09
111b E partirai, mia vita? London, c. 1725–28
112 Figli del mesto cor Probably Italy, 1707–09 No autograph or Italian-period copies
113 Figlio d'alte speranze Florence, 1706–07
114 Filli adorata e cara Rome, 1707–08 Copied for Ruspoli, 1709
115 Fra pensieri quel pensiero Italy, 1707–08
116 Fra tante pene Florence, 1706–07 Copied for Ruspoli, 1709
117 Hendel, non può mia musa July/August 1708 Copied for Ruspoli, 1708, 1709 Libretto by Cardinal Benedetto Pamphili
118 Ho fuggito Amore anch'io London, c. 1722–23 Printed without final aria in HG. Libretto by Paolo Antonio Rolli
119 Echeggiate, festeggiate, numi eterni or Io languisco fra le gioie London, c. 1710–12 Partly lost. Fragments printed in wrong order in HG.
120a Irene, idolo mio Italy, 1707–09 No autographs or Italian-period copies.
120b Irene, idolo mio England, after 1710 No autographs or Italian-period copies.
121a La Solitudine or L'aure grate, il fresco rio London, c. 1722–23 fragment
121b La Solitudine or L'aure grate, il fresco rio London, before 1718
122 Apollo e Dafne or La terra è liberata Hanover, 1710 Probably begun Venice, 1709
123 Languia di bocca lusinghiera Possibly composed in Hanover, 1710 ?fragment
124 Look down, harmonious saint c. 1736 February 1736 Covent Garden Theatre, London Recitative and aria; probably a discarded fragment for "Alexander's Feast" (HWV 75), 1736. It appeared in the cantata HWV 89 Libretto by Newburgh Hamilton, from Cecilian Ode 1720.
125a Lungi da me, pensier tiranno Italy, July – September 1708[3] 1st version; no autographs or Italian-period copies; one version copied for Francesco Ruspoli, 1708.
125b Lungi da me, pensier tiranno London, after 1710 Second version; no autographs.
126a Lungi da voi, che siete poli Rome, July/August 1708
126b Lungi da voi, che siete poli Rome, 1708
126c Lungi da voi, che siete poli Probably London, after 1710.
127a Lungi dal mio bel nume Rome, 3 March 1708
127b Lungi dal mio bel nume ?London, after 1710
127c Lungi dal mio bel nume London, c. 1725–28
128 Lungi n'andò Fileno Rome, August 1708 Copied for Ruspoli, 1708
129 Manca pur quanto sai Rome, July/August 1708 Copied for Ruspoli, 1708
130 Mentre il tutto è in furore Rome, August 1708 Copied for Ruspoli, 1708
131 Menzognere speranze Rome, September 1707 Copied for Ruspoli, 1707
132a Mi palpita il cor ?London, after 1710 Borrowings: Version of "Dimmi, o mio cor" (HWV 106) with new opening.
132b Mi palpita il cor ?London, after 1718
132c Mi palpita il cor ?London, after 1710
132d Mi palpita il cor ?London, c. 1711–12
133 Ne' tuoi lumi, o bella Clori Rome, September 1707 Copied for Ruspoli, 1707, 1709
134 Pensieri notturni di Filli or Nel dolce dell'oblio Rome, 1707–08. Completed 1709
135a Nel dolce tempo Probably Naples, June/July 1708
135b Nel dolce tempo London, after 1710 No autographs, and no early Italian-period copies.
136a Nell' Africane selve Naples, June/July 1708
136b Nell' Africane selve London, after 1710
137 Nella stagion che di viole e rose Rome, April/May 1707 Copied for Ruspoli, 1707, 1709. Probably composed for the soprano, Margherita Durastanti.
138 Nice, che fa? che pensa? ?Hanover, 1710
139a Ninfe e pastori Rome, 1707–09 Copied for Ruspoli, 1709
139b Ninfe e pastori Probably London, after 1710
139c Ninfe e pastori London, c. 1725–28
140 Nò se emenderá jamás Rome, September 1707 Copied for Ruspoli, 1707
141 Non sospirar, non piangere Florence, Fall 1707
142 Notte placida e cheta Rome, 1707–08 Libretto anonymous
143 Olinto pastore, Tebro fiume, Gloria or O come chiare e belle Rome, August/September 1708 9 September 1708 Marquis Ruspoli's Palazzo Bonelli ?Copied for Ruspoli, 1708. First performed by the soprano Anna Marie di Piedz
144 O lucenti, o sereni occhi Rome, 1707
145 La Lucrezia or Oh numi eterni August 1708 Copied for Ruspoli, 1709. Probably composed for the soprano, Margherita Durastanti. Libretto by Cardinal Benedetto Pamphili
146 Occhi miei che faceste? Rome, 1707–08 Copied for Ruspoli, 1709
147 Partì, l'idolo mio London, after 1710 No autograph or early Italian copies.
148 Poichè giuraro amore Rome, early 1707 Copied for Ruspoli, 1707, 1709
149 Qual sento io non conosciuto Only source c. 1738–40
150 Ero e Leandro or Qual ti riveggio, oh Dio Rome, 1707 Derived from the story of Hero and Leander Libretto ?Cardinal Pietro Ottoboni.
151 Qualor crudele, sì ma vaga Dori London, after 1710 No autograph or early Italian-period copies
152 Qualor l'egre pupille Rome, September 1707 Copied for Ruspoli, 1707
153 Quando sperasti, o core Probably Naples, June/July 1708 Copied for Ruspoli, 1708
154 Quel fior che all'alba ride London, c. 1738–40 Published in Handel (ed. Burrows), "Songs and Cantatas for Soprano."
155 Sans y penser Rome, September 1707 Composed in Italy. Copied for Ruspoli, 1707, 1709.
156 Sarai contenta un di Florence, 1706–07
157 Sarei troppo felice Rome, September 1707 Copied for Ruspoli, 1707, 1708 (incomplete) Libretto by B. Pamphili.
158a Se pari è la tua fè Rome, 1708 Copied for Ruspoli, 1708, 1709.
158b Se pari è la tua fè Probably London, after 1710
158c Se pari è la tua fè London, c. 1725–28
159 Se per fatal destino Rome, early 1707 Copied for Ruspoli, 1707, 1709
160a La bianca rosa or Sei pur bella, pur vezzosa Rome, early 1707 Copied for Ruspoli, 1707, 1709
160b La bianca rosa or Sei pur bella, pur vezzosa London, c. 1725–28
160c La bianca rosa or Sei pur bella, pur vezzosa London, c. 1738–41
161a Sento là che ristretto Rome, 1708–09
161b Sento là che ristretto
161c Sento là che ristretto London, c. 1725–28
162 Siete rose ruggiadose London, c. 1711–12. Composed with variant
163 Solitudini care, amata libertà London, after 1710 No autographs or early Italian-period copies
164a Il Gelsomino or Son Gelsomino London, c. 1725–28
164b Il Gelsomino or Son Gelsomino London, c. 1717–18
165 Spande ancor a mio dispetto Italy, 1707–08
166 Splenda l'alba in oriente London, c. 1711–12 Survives only in fragmentary form.
167a Stanco di più soffrire Italy, 1707–08
167b Stanco di più soffrire Rome, July/August 1708
168 Partenza di G. B. or Stelle, perfide stelle Rome, 1707
169 Torna il core al suo diletto Probably Rome, 1707–08
170 Tra le fiamme (Il consiglio) Rome, 1707 Libretto by Cardinal Benedetto Pamphili
171 Tu fedel? Tu costante? Florence/Rome, 1706–07 Copied for Ruspoli, 1707, 1708
172 Udite il mio consiglio Florence, 1706–07 Copied for Ruspoli, 1707
173 Un' alma innamorata Rome, May 1707 June 1707 Probably Vignanello Copied for Ruspoli, 1707
174 Un sospir a chi si muore Florence, Fall 1707
175 Vedendo Amor Rome, 1707–08
176 Amore uccellatore or Venne voglia ad Amore Rome, 1707–08
177 Zeffiretto, arresta il volo Italy, 1707–09 ?Copied for Ruspoli, 1709

Italian duets[edit]

HWV Title Composed Notes Text
178 A mirarvi io son intento ?Hanover, c. 1711 First movement reappeared 2 years later in the Utrecht Jubilate (HWV 279) as "Be ye sure that Lord he is God.". Slow middle section formed the basis for the final chorus of "Alcina" (HWV 34) in 1735.
179 Ahi, nelle sorti umane London, 31 August 1745
180 Amor, gioje mi porge Italy, c. 1707–09
181 Beato in ver chi pùo London, 31 October 1742 Italian version of Horace, "Beatus ille"
182a Caro autor di mia doglia Probably Italy, c. 1707–09
182b Caro autor di mia doglia London, c. 1742
183 Caro autor di mia doglia Hanover, c. 1710–12 Spurious, by Reinhard Keiser.
184 Che via pensando, folle pensier Italy, c. 1707–09
185 Conservate, raddoppiate ?Hanover, c. 1711 The 2nd movement, "Nodi voi" can be found later in the Opus 1 sonatas and also in the concerti grossi as well as various operas and oratorios.
186 Fronda leggiera e mobile London, c. 1745 The opening theme also appears in "Belshazzar" (HWV 61) as well as the Concerto a due cori No. 1 (HWV 332)
187 Giù nei Tartarei regni Composed: Italy, c. 1707
188 Langue, geme, e sospira London, c. 1722 Theme of the 2nd movement later appeared as "Thou hast prevented him" in the Coronation Anthem, "The King shall rejoice" (HWV 260) Libretto by G.D. de Totis (from opera, "La caduta del regno dell' Amazzoni"; 1690)
189 Nò, di voi non vo' fidarmi London, 3 July 1741 Thematic ideas from 2 movements used in "Messiah" (HWV 56)
190 Nò, di voi non vo' fidarmi London, 2 November 1742
191 Quando in calma ride il mare Italy or Hanover, c. 1707–11
192 Quel fior che all'alba ride London, 1 July 1741 3rd movement uses theme from, "Quel fior che all'alba ride," (HWV 154). Thematic ideas from 2 movements used in "Messiah" (HWV 56)
193 Se tu non lasci amore London, c. 1722 (?1711) Thematic idea from 1st movement used in "Messiah" (HWV 56) as the duet, "Oh death, where is thy sting." Sections of the concluding movement use in Esther (HWV 50a), 1718, and there's the hint of the famous Air from the "Water Music."
194 Sono liete, fortunate ?Hanover, c. 1710–11 The final movement was later used in the overture to "Judas Maccabeus" (HWV 63).
195 Spero indarno London, c. 1730–40 Single movement, known only from copies. Authenticity uncertain.
196 Tacete, ohimè, tacete Italy, c. 1707–09 Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse."
197 Tanti strali al sen mi scocchi ?Hanover, c. 1711 Fugal movement later used in "Solomon" (HWV 67) for "Take him all."
198 Troppo cruda, troppo fiera ?Hanover, c. 1711 Autograph lost.
199 Va', speme infida ?Hanover, c. 1711 Autograph lost.

Italian trios[edit]

HWV Title Composed Notes Text
200 Quel fior che all'alba ride ?Italy, c. 1707–09 Two versions, slightly different texts.
201a Se tu non lasci amore Naples, 12 July 1708
201b Se tu non lasci amore 1708 First movement longer in Naples autograph than in most copies.

Hymns[edit]

HWV Title Voice Composed Notes Text
202 Künft'ger Zeiten eitler Kummer Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
203 Das zitternde Glänzen der spielenden Wellen Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
204 Süsser Blumen Ambraflocken Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
205 Süsse Stille, sanfte Quelle ruhiger Gelassenheit Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
206 Singe, Seele, Gott zum Preise Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
207 Meine Seele hört im Sehen Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
208 Die ihr aus dunkeln Grüften Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
209 In den angenehmen Büschen Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
210 Flammende Rose, Zierde der Erden Soprano London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
284 Sinners obey the Gospel word (The Invitation) Soprano c. 1747 Probably at the request of Priscilla Rich. by Charles Wesley.
285 O Love divine, how sweet thou art (Desiring to Love) Soprano c. 1747 Probably at the request of Priscilla Rich. by Charles Wesley.
286 Rejoice, the Lord is King (On the Resurrection) Soprano c. 1747 Probably at the request of Priscilla Rich. by Charles Wesley.

Italian arias[edit]

HWV Title Voice Composed Text
211 Aure dolci, deh, spirate Alto London, c. 1722–26
212 Con doppia gloria mia Soprano London, c. 1722–26
213 Con lacrime si belle Alto London, c. 1717–18
214 Dell'onda instabile Alto London, c. 1749
215 Col valor del vostro brando Soprano London, c. 1711–13
216 Impari del mio core Soprano London, c. 1749
217 L'odio, sì, ma poi ritrovò Alto London, c. 1722–26
219 Non so se avrai mai bene Soprano London, c. 1710–18
220 Per dar pace al mio tormento Soprano London, c. 1749
221 Quant'invidio tua fortuna Soprano London, c. 1749
222 Quanto più amara fu sorte crudele Soprano London, c. 1721–23
223 S'un di m'appaga, la mia crudele Soprano London, c. 1738–41
224 Si, crudel, tornerà Soprano London, c. 1738–41
225 Spera chi sa perchè la sorte Alto London, c. 1717–18
227 Vo' cercando tra fiori Soprano London, c. 1726

English songs[edit]

HWV Title Voice Composed Notes Text
226 Hunting Song or The morning is charming Tenor 1743 Voice in treble clef. Autograph, which survives, presented to Legh in 1751 by Charles Legh. Composed in London
228-1 The unhappy Lovers: As Celia's fatal arrows flew Soprano c. 1730
228-2 Charming Cloris: Ask not the cause / The poor Shepherd: The Sun was sunk beneath the Hills Soprano c. 1730
228-3 As on a Sunshine Summer's Day Soprano c. 1729
228-4 Bacchus Speech in Praise of Wine: Bacchus one day gayly striding Soprano c. 1730
228-5 The Polish Minuet or Miss Kitty Grevil's Delight: Charming is your shape and air Soprano c. 1720
228-6 The Sailor's Complaint: Come and listen to my ditty / Hosier's Ghost: As near Portobello lying Soprano c. 1735
228-7 Di godere ha speranza il mio core / Oh my dearest, my lovely creature Soprano c. 1719
228-8 The forsaken Maid's Complaint: Faithless ungrateful / The slighted Swain: Cloe proves false Soprano c. 1720
228-9 From scourging rebellion or A Song on the Victory obtained over the Rebels by His Royal Highness the Duke of Cumberland Tenor 1746 First performance: Sung by Thomas Lowe at Vauxhall Gardens, 15 May 1746. Composed to celebrate the Duke of Cumberland's defeat of the Jacobite forces at Culloden on 16 April 1746
228-10 The forsaken Nymph: Guardian Angels now protect me Soprano c. 1735
228-11 I like the am'rous Youth that's free Soprano 1737 First performance: 28 February 1737: London, Drury Lane Theatre. Published: 1741. Sung by Catherine ("Kitty") Clive in James Miller's comedy, "The Universal Passions" (Act II)
228-12 Phillis: My fair, ye Swains, is gone astray Soprano c. 1725
228-13 Not, Cloe, that I better am Soprano c. 1730
228-14 Strephon's Complaint of Love: Oh cruel Tyrant Love Soprano c. 1730
228-15 The Satyr's Advice to a Stock-Jobber: On the shore of a low ebbing sea / Ye Swains that are courting a Maid / Molly Mogg: Says my uncle, I pray you discover Soprano c. 1730
228-16 Phillis be kind and hear Soprano c. 1730
228-17 Phillis advised: Phillis the lovely Soprano c. 1739
228-18 Stand round, my brave boys or Song made for the Gentlemen Volunteers of the City of London Tenor 1745 First performance : Sung by Thomas Lowe in "The Relapse or Virtue in Danger" by John Vanbrugh, at Drury Lane Theatre, London: 14 November 1745. Published: 1745. Published as "A Song made for the Gentlemen Volunteers of the City of London" (1745)
228-19 The faithful Maid / The Melancholy Nymph: 'Twas when the seas were roaring Soprano 1715 First performance: 23 February 1715: London, Drury Lane Theatre. Incidental music; sung in Gay's "The Beggar's Opera" - Lucy's song XXVIII "How Cruel are the Traytors," probably sung in John Gay's "Comic Tragick Pastoral Farce" or "What D'ye Call it," (Act II)
228-20 The Rapture / Matchless Clarinda: When I survey Clarinda's charms / Venus now leaves Soprano c. 1725
228-21 The Death of the Stag: When Phoebus the tops of the Hills does adorn Soprano c. 1740
228-22 Who to win a Woman's favour Soprano c. 1746
228-23 An Answer to Collin's Complaint: Ye winds to whome Collin complains Soprano c. 1716
228-24 Yes, I'm in love Soprano c. 1740

German church cantatas[edit]

HWV Title Composed notes
229-1 Das gantze Haupt ist krank à 8 Halle, c. 1700–03 music lost
229-2 Es ist der alte Bund, Mensch à 12 Halle, c. 1700–03 music lost
229-3 Führwahr, er trug unsere Krankheit à 15 Halle, c. 1700–03 music lost
229-4 Thue Rechnung von deinem Haußhalten à 13 Halle, c. 1700–03 music lost
229-5 Victoria. Der Tod ist verschlungen à 14 Halle, c. 1700–03 music lost
229-6 Was werden wir essen à 10/12 Halle, c. 1700–03 music lost
229-7 Wer ist der, so von Edom kömmt à 12 Halle, c. 1700–03 music lost

Italian sacred cantatas[edit]

HWV Title Voice Composed Notes
230 Ah! che troppo ineguali or O del ciel! Maria regina Soprano ?Rome 1707–08 Recitative and aria.
233 Donna, che in ciel Soprano First performance: ?2 February 1708, Rome on the "anniversary of the deliverance of Rome from the earthquake on the feast of the Purification of the Virgin."
234 Il pianto di Maria or Giunta l'ora fatal Soprano Spurious. Misattributed to Handel; composed by Giovanni Battista Ferrandini (1710–91).

Latin church music[edit]

Handel wrote the following Latin church music (including motets, Psalm settings, and antiphons):[4]

HWV Type Title Voice Key Composed Premiere Venue Notes Text
231 Motet Coelestis dum spirat aura Soprano D major/G major ?Rome, 1707 13 June 1707 Vignanello Motet for the Feast of St. Anthony of Padua
232 Psalm setting Dixit Dominus Soprano, Alto, Tenor, Bass Chorus G minor Rome, April 1707 Dixit Dominus represents Handel's earliest dated autograph, and it is the earliest surviving autograph from his large-scale compositions. Psalm 110
(Vulgate 109)
235 Antiphon Haec est Regina virginum Soprano G major ?Rome, 1707 ?15/16 July 1707 Rome Probably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Madonna del Carmine".
236 Psalm setting Laudate pueri dominum Soprano F major ?Hamburg, c. 1706 Laudate pueri dominum in F major is Handel's earliest surviving autograph. Might have been composed in Halle, 1701-2. Psalm 113
(Vulgate 112)
237 Psalm setting Laudate pueri dominum Soprano, Chorus D major Rome, 8 July 1707 Psalm 113
(Vulgate 112)
238 Psalm setting Nisi Dominus Alto, Tenor, Bass, Chorus G major Rome, 13 July 1707 ?16 July 1707 Rome Probably written for a grand Vespers service held at the church of S. Maria di Monte Santo in Rome, the feast day of "Our Lady of Mount Carmel". Psalm 127
(Vulgate 126)
239 Motet O qualis de coelo sonus Soprano G major ?Rome, May – June 1707 12 June 1707 Vignanello For Pentecost
240 Motet Saeviat tellus inter rigores Soprano D major ?Rome, 1707 ?16 July 1707 Rome Motet for the Feast of Madonna del Carmine
241 Antiphon Salve Regina Soprano G minor ?Rome, 1707 ?19 June 1707 Vignanello Probably first performed on Trinity Sunday at Francesco Ruspoli's private chapel.
242 Motet Silete venti Soprano B-flat major London, c. 1723-25
243 Antiphon Te decus virgineum Alto G minor Rome, 1707 ?15/16 July 1707 Rome Probably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Our Lady of Mount Carmel".
244 Cantata Kyrie eleison Chorus Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel c. 1749.
245 Cantata Gloria in excelsis deo Chorus Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel c. 1749.
269 Amen...alleluja Soprano, Bass D minor 1735-46 Probably intended as a vocal study.
270 Amen Soprano, Bass F major 1735-46 Probably intended as a vocal study.
271 Amen...alleluja Soprano, Bass G minor 1735-46 Probably intended as a vocal study.
272 Alleluja...amen Soprano, Bass D minor 1735-46 Probably intended as a vocal study.
273 Alleluja...amen Soprano, Bass G major 1735-46 Probably intended as a vocal study.
274 Alleluja...amen Soprano, Bass A minor 1735-46 Probably intended as a vocal study.
276 Amen...hallelujah Soprano, Bass F major 1744-47 Probably intended as a vocal study.
277 Hallelujah...amen Soprano, Bass F major 1744-47 Probably intended as a vocal study.

Anthems[edit]

HWV Title Composed Premiere Venue Notes Text
246 O be joyful in the Lord Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 1 or Jubilate ('Cannons') in D major. Also considered a Canticle. Psalm 100 (the Jubilate).
247 In the Lord put I my trust Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 2. Transcribed for orchestra by Edward Elgar in 1923 as the Overture in D minor, and by Stokowski in 1924 Psalm 9, 11, 12, & 13 from Tate and Brady's New Version of the Psalms of David.
248 Have mercy upon me Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 3. Psalm 51 (the Miserere).
249a O come, let us sing unto the Lord 1714 ?26 September 1714 Chapel Royal, St. James's Palace, London. Psalm 96
249b O come, let us sing unto the Lord Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 4. Partly based on "O sing unto the Lord a new song" (HWV 249a). The overture was later reused in Handel's oboe concerto No. 2. "Prayer Book" version of Psalms 93 & 96.
250a I will magnify thee Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 5. Two movements added later. The overture was later reused in Handel's oboe concerto No. 2. Psalms 144 & 145
250b I will magnify thee 1724 ?5 January 1724 Chapel Royal, St. James's Palace, London Psalms 89, 96, 145
251a As pants the hart c. December 1712 to May 1713 1713 King's Chapel Royal Scored for organ and basso continuo alone. Psalm 42
251b As pants the hart Cannons, 1717–18 1718 St. Lawrence, Whitchurch, London Chandos Anthem No. 6 (although believed to be one of the first Chandos Anthems composed). Orchestrated version of HWV 251a. Psalm 42
251c As pants the hart c. 1722 ?7 October 1722 Chapel Royal, St. James's Palace, London Orchestrated version of HWV 251d. Psalm 42
251d As pants the hart c. 1722 Scored for organ and basso continuo alone. There is no evidence that the work was performed during Handel's lifetime. Psalm 42
251e As pants the hart 1738 28 March 1738[5] King’s Theatre, Haymarket Written for a benefit evening Psalm 42
252 My song shall be alway Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 7. Partly derived from the "Te Deum in D" (HWV 280). The trio "Thou rulest the raging sea" performed at Cannons but probably spurious; possibly composed by Johann Christoph Pepusch or Nicola Francesco Haym instead. Psalm 89
253 O come, let us sing unto the Lord Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 8. "Prayer Book" psalms 95 (the venite), 96, 97, 99, 103
254 O praise the Lord with one consent Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 9. Psalms 117, 135, 148 in metrical versions of Nahum Tate and Nicolas Brady's "New Version of the Psalms" (1696).
255 The Lord is my light Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 10. Psalms 18, 20, 27–30, 34, 45
256a Let God arise Cannons, 1717–18 St. Lawrence, Whitchurch, London Chandos Anthem No. 11. 1st movement of 'symphony' added later. Psalms 68 & 76
256b Let God arise 1726 ?16 January 1726 Chapel Royal, St. James's Palace, London Psalm 58
257 O praise the Lord, ye angels of his Spurious. Misattributed to Handel in Arnold's edition and in HG 36. By Maurice Greene, before 1728.
258 Zadok the Priest ?9 September 1727 – 11 October 1727 11 October 1727 Westminster Abbey Coronation Anthem No. 1. For the Coronation of King George II and Queen Caroline. Performed at the Anointing. English version of antiphon "Unxerunt Salomonem Sadoc sacerdos," after I Kings 1, 39–48.
259 Let Thy Hand Be Strengthened ?9 September 1727 – 11 October 1727 11 October 1727 Westminster Abbey Coronation Anthem No. 2. For the Coronation of King George II and Queen Caroline. Sung at the Recognition (the King being presented to the people). Psalm 89: 13–14.
260 The King Shall Rejoice ?9 September 1727 – October 1727 11 October 1727 Westminster Abbey Coronation Anthem No. 3. For the Coronation of King George II and Queen Caroline. Should have been sung at the Recognition, but instead it was performed at the Crowning. Psalm 21: 1,2,3,5
261 My Heart is Inditing ?9 September 1727 – 11 October 1727 11 October 1727 Westminster Abbey Coronation Anthem No. 4. For the Coronation of King George II and Queen Caroline. Performed during the coronation of the Queen. After Psalm 45: 1, 10, 12 and Isaiah 49:23.
262 This is the day which the Lord hath made or Anthem for Wedding of Princess Anne 1734 14 March 1734 French Chapel, St. James's Palace Performed during the wedding of William, Prince of Orange, and Anne, Princess Royal. Psalms 45, 118, Proverbs, Ecclesiasticus
263 Sing unto God or Anthem for Wedding of Prince Frederick 1736 27 April 1736 German Chapel, St. James's Palace, London For the wedding of Frederick, Prince of Wales, and Princess Augusta of Saxe-Coburg. Revised for the wedding of Princess Mary. Psalms 68, 106, 128
264 The ways of Zion do mourn or Funeral Anthem for Queen Caroline 5(?) – 12 December 1737 17 December 1737 King Henry VII's Chapel, Westminster Abbey Probably first performed fully choral without solo movements. The Sinfonia was not performed at the funeral and was probably added later. From Lamentations, Samuel, Job, Ecclesiasticus, Philippians, Wisdom, and Psalms 103, 112.
265 Dettingen Anthem ("The King Shall Rejoice") 30 July – 3 August 1743 27 November 1743 Chapel Royal, St. James's Palace, London Performed during a service in King George II's presence to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. Entirely different setting of the text than "The King Shall Rejoice" from the Coronation Anthems of 1727. Psalms 20, 21
266 How beautiful are the feet of them or His Anthem on the Peace or Peace Anthem 1749 25 April 1749 Chapel Royal, St. James's Palace, London To celebrate the peace of Aix-la-Chapelle (Aachen). Performed with the "Queen Caroline" Te Deum (HWV 280). Isaish, Psalms 29, 96, Revelation
267 (?) First draft of the "Peace Anthem" (See HWV 266) Probably early 1749 A 209-measure composition of which the last 19 measures are incomplete.
268 Blessed are they that considereth the poor or Foundling Hospital Anthem 1749 27 May 1749 Foundling Hospital Chapel, London First performance probably in fully choral version. The solo movements were probably added c. 1751. Psalms 8, 41, 72, 112, Daniel, Revelation

Canticles[edit]

HWV Title Key Composed Premiere Venue Notes Text
278 Utrecht Te Deum D major 14 January 1713 7 July 1713 St Paul's Cathedral, London "We praise thee, O God" (Ambrosian hymn)
279 Utrecht Jubilate D major ?January – February 1713. 7 July 1713 St Paul's Cathedral, London "O be joyful in the Lord" (Psalm 100)
280 Te Deum ("Queen Caroline") D major 1714 ?26 September 1714 Chapel Royal, St. James's Palace, London "We praise thee, O God" (Ambrosian hymn)
281 Te Deum ("Chandos" or "Cannons") B-flat major c. 1717–18 c. 1717–18 St. Lawrence, Whitchurch, London Composed by Handel during his stay with the Duke of Chandos at Cannons. "We praise thee, O God" (Ambrosian hymn)
282 Te Deum A major 1726 ?16 January 1726 Chapel Royal, St. James's Palace, London "We praise thee, O God" (Ambrosian hymn)
283 Te Deum ("Dettingen") D major 17 July – c. 29 July 1743 27 November 1743 Chapel Royal, St. James's Palace, London Performed during a service, in King George II's presence, to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. "We praise thee, O God" (Ambrosian hymn)

Concertos[edit]

HWV Instrument Key Composed Premiere Venue Published Opus Notes
287 Oboe G minor ?Hamburg
?c.1704–05
1863 "Oboe concerto No. 3"
288 Violin B-flat major Italy, c. 1707 “Sonata a 5”. Possibly for

Corelli in Rome

289 Organ G minor 1735–36 19 February 1736 London, Covent Garden Theatre 1738 Opus 4 No. 1 First performed with "Alexander's Feast" (HWV 75)
290 Organ B-flat major 1735 5 March 1735 London, Covent Garden Theatre 1738 Opus 4 No. 2 First performed with the oratorio "Esther" (HWV 50b)
291 Organ G minor 1735 5 March 1735 London, Covent Garden Theatre 1738 Opus 4 No. 3 Variant versions of last movement. First performed with the oratorio "Esther" (HWV 50b)
292 Organ F major 25 March 1735 1 April 1735 London, Covent Garden Theatre 1738 Opus 4 No. 4 Originally concluded with 'Alleluja' chorus (HG 20, p. 161), short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" (HWV 52)
293 Organ F major ?26 March 1735 London, Covent Garden Theatre 1738 Opus 4 No. 5 Performed with revival of "Deborah" (HWV 51).
294 Organ B-flat major 1736 19 February 1736 London, Covent Garden Theatre 1738 Opus 4 No. 6 Originally composed for the harp, but later rearranged for the organ
295 Organ F major 2 April 1739 4 April 1739 London, King's Theatre, Haymarket 1740 "2nd Set" No. 1 Referred to as Organ Concerto "No. 13". The bird-song motives of the 2nd movement earned the concerto the nickname, "The Cuckoo and the Nightingale"
296a Organ A major 1739 20 March 1739 London, King's Theatre, Haymarket 1740 "2nd Set" No. 2 Referred to as organ concerto "No. 14"
296b Organ A major c. 1743–46 Pasticcio. Arranged by Handel
297 Organ D minor 1740 "2nd Set" No. 3 Referred to as organ concerto "No. 15". Arranged from Concerto Grosso Op.6 No.10 (HWV 328).
298 Organ G major 1740 "2nd Set" No. 4 Referred to as organ concerto "No. 16". Arranged from Concerto Grosso Op.6 No.1 (HWV 319).
299 Organ D major 1740 "2nd Set" No. 5 Referred to as organ concerto "No. 17". Arranged from Concerto Grosso Op.6 No.5 (HWV 323).
300 Organ G minor 1740 "2nd Set" No. 6 Referred to as organ concerto "No. 18". Arranged from Concerto Grosso in G minor Op.6 No.6 (HWV 324).
301 Oboe B-flat major 1740 "Oboe concerto No. 1"
302a Oboe B-flat major 1740 "Oboe concerto No. 2"
303 Organ D minor c. 1738 An adagio for two organs. Ending adapted by Handel to lead into another movement. Later published as the first movement of Organ Concerto in D minor, Op 7 No 4 (HWV 309)
304 Organ D minor c. 1746 ?14 February 1746 1797 Sometimes referred to as organ concerto "No. 15". First performed with the premiere of The Occasional Oratorio (HWV 62).
305 Organ F major c. 1747–48 Sometimes referred to as organ concerto "No. 16". Arranged by Handel from the Concerto a due cori in F major (HWV 334) (3 movements) and Marche in F.
306 Organ B-flat major 17 February 1740 27 February 1740 London, Lincoln's Inn Fields Theatre 1761 Opus 7 No. 1 First movement includes an independent pedal part
307 Organ A major 5 February 1743 18 February 1743 London, Covent Garden Theatre 1761 Opus 7 No. 2 Performed with the oratorio Samson (HWV 57)
308 Organ B-flat major 1–4 January 1751 1 March 1751 London, Covent Garden Theatre 1761 Opus 7 No. 3 Two variant autographs of 1st movement. Handel's last orchestral work
309 Organ D minor ?c. 1744 ?14 February 1746 1761 Opus 7 No. 4 ?Performed with premiere of "The Occasional Oratorio" (HWV 62)
310 Organ G minor 31 January 1750 16 March 1750 London, Covent Garden Theatre 1761 Opus 7 No. 5 Performed with "Theodora" (HWV 68). Final gavotte in published version probably added later by Smith Jr.
311 Organ B-flat major c. 1748–49 1761 1749 Opus 7 No. 6 Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication
343 Organ G major c. 1738–39 Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto

Concerti grossi[edit]

HWV Key Composed Premiere Venue Published Opus Notes
312 B-flat major ?Hanover, c. 1710 1734 Opus 3 No. 1 No Handel autograph. Earliest surviving manuscript score from c. 1724. Probably the earliest concerto in the Op. 3 set
313 B-flat major c. 1715–1718 1734 Opus 3 No. 2
314 G major c. 1717–1718 c. 1717–1718 1734 Opus 3 No. 3 Arranged (? by Walsh)
315 F major 1716 20 June 1716 London, King's Theatre, Haymarket Opus 3 No. 4a Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi"
316 D minor 1717–1718 1734 Opus 3 No. 5 In Walsh's 2nd edition of the Op. 3 concertos, the 3rd, 4th, & 5th movements were added
317 D major (?) 1733–1734 1734 Opus 3 No. 6 Published by Walsh in 1734 as an organ concerto
318 C major 25 January 1736 February 1736 1740 First performance between the acts of the oratorio, Alexander's Feast (HWV 75)
319 G major 29 September 1739 1740 Opus 6 No. 1
320 F major 4 October 1739 1740 Opus 6 No. 2
321 E minor 6 October 1739 1740 Opus 6 No. 3
322 A minor 8 October 1739 1740 Opus 6 No. 4
323 D major 10 October 1739 1740 Opus 6 No. 5 Known as the "St. Cecilia's Concerto," as the first two movements and the last use thematic material from the overture to the Ode for St. Cecilia's Day (HWV 76)
324 G minor 15 October 1739 1740 Opus 6 No. 6
325 B-flat major 12 October 1739 1740 Opus 6 No. 7
326 C minor 18 October 1739 1740 Opus 6 No. 8
327 F major Probably between 10–11 October 1739 1740 Opus 6 No. 9 The second two movements were borrowed from the Organ Concerto in F major, HWV 295, and the minuet and allegro fugue from the overture to Imeneo. The newly composed Gigue was originally intended for the Concerto Grosso in F major (HWV 320)
328 D minor 22 October 1739 1740 Opus 6 No. 10 The gavotte-like last movement was originally intended by Handel for the Concerto Grosso in B minor (HWV 330)
329 A major 30 October 1739 1740 Opus 6 No. 11 A reworking of the Organ Concerto in A major, HWV 296.
330 B minor 20 October 1739 1740 Opus 6 No. 12
331 F major 20 March 1723 London, Drury Lane Theatre Two movements, thematically related to the Water Music Suite in F major (HWV 348)
331-1 F major Water Music, Suite Variant No 1. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348)
331-2 F major Water Music, Suite Variant No 2. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348)
332 B-flat major 1747–1748 (?) 9 March 1748 London, Covent Garden Theatre Concerto a due cori in B-flat major, No. 1. Composed for performances with oratorios; probably performed during Joshua (HWV 64)
333 F major 1747–1748 (?) 23 March 1748 London, Covent Garden Theatre Concerto a due cori in F major, No. 2. Composed for performances with oratorios; probably performed during Alexander Balus (HWV 65)
334 F major 1747–1748 (?) 1 April 1748 London, Covent Garden Theatre Concerto a due cori in F major, No. 3. Composed for performances with oratorios; probably performed during Judas Maccabaeus (HWV 63)
335a D major c. 1746 Version of the overture to the Fireworks music.
335b F major c. 1746 Version of the overture to the Fireworks music.

Orchestral works[edit]

HWV Type Key Composed Premiere Published Notes
302b Largo F major c. 1738 Autograph headed "Suite de pieces" (presumably this was the opening movement)
336 Overture B-flat major Autograph lost. Probably completed in Germany or Italy
337 Overture D major c. 1722–1725 Probably intended as an introductory movement. Possibly intended to be coupled with the concerto grosso in D major Op. 3 No. 6 (HWV 317) as the adagio movement.
338 Adagio/Allegro B minor/D major 1722 Originally, with the 1st movement of the Organ Concerto, Allegro in D minor (HWV 317), a 3-movement orchestral concerto. The 1st movement was used as the sinfonia in Ottone (HWV 15); and the theme of the last movement was reworked for the overture of Ottone
339 Sinfonia B-flat major c. 1706–1707 1979 No autograph. First published in 1979 in the Halle Edition (IV/15) and is known only from a copy by Christopher Graupner (1683–1760). Probably completed in Hamburg or Italy
340 Allegro G major ?c. 1710–1715 No autograph
341 Suite D major 1733 Almost certainly spurious
342 Overture F major c. 1736
344 Chorus and Minuet B-flat major 1708 No autograph. Apparently movements from the Hamburg opera Florindo (HWV 3) (See HWV 354)
345 March D major before 1738 No autograph
347 Sinfonia B-flat major c. 1747
348 Suite. Water Music suite No. 1 F major 1717 17 July 1717 1788 Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
349 Suite. Water Music suite No. 2 D major 1717 17 July 1717 1788 Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
350 Suite. Water Music suite No. 3 G major 1717 17 July 1717 1788 Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
351 Suite. Music for the Royal Fireworks D major 1749 27 April 1749 Composed for the celebration of Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian succession. First performed in Green Park, London
352 Suite B-flat major 1706 No autograph
353 Suite G major 1706 No autograph
354 Suite B-flat major 1708 No autograph
355 Hornpipe aria C minor ?c. 1710–1715 No autograph
356 Hornpipe D major 1740 No autograph. Composed for Vauxhall Gardens
413 Gigue B-flat major 1736

Solo sonatas[edit]

The following table details the sonatas for various solo instruments (with keyboard accompaniment):

HWV Instrument Key Composed Published Opus Notes
357 Oboe B-flat major c. 1707–10 One of Handel's earliest extant compositions. Probably written during his years in Italy
358 Unspecified G major c. 1707–10 A "Fitzwilliam" sonata. The autographed manuscript, located in the Fitzwilliam Museum, does not mention instrumentation, nor are there tempo markings for the movements. It is tentatively assigned to the violin in the HHA, however the recorder is also a possibility.
359a Violin D minor c. 1724 The D minor sonata, headed "Sonata 2", follows the G major sonata (HWV 358) in the Fitzwilliam Museum autograph. Originally written for violin and published in two different E minor versions for the flute. See flute sonata in E minor (HWV 359b)
359b Flute E minor c. 1724 1732 Opus 1 No. 1b Of the two sonatas published by Chrysander as Opus 1 Sonata I, this one (Sonata Ib) is the one in Walsh's original edition (where it is called Sonata I).
360 Recorder G minor c. 1712 1732 Opus 1 No. 2
361 Violin A major c. 1725–26 1732 Opus 1 No. 3 The only violin sonata to have been published exactly as written by Handel.
362 Recorder A minor c. 1712 1732 Opus 1 No. 4
363a Oboe F major c. 1711–16
363b Flute G major c. 1711–16 1732 Opus 1 No. 5
364a Violin G minor c. 1722–24 1732 Opus 1 No. 6 Both Walsh and Chrysander published the work as an oboe sonata.
364b Viola da gamba G minor c. 1724 A transcription of HWV 364a—as suggested by Handel on the manuscript.
365 Recorder C major c. 1712 Opus 1 No. 7
366 Oboe C minor c. 1711–12 1732 Opus 1 No. 8
367a Recorder D minor c. 1712 Opus 1 No. 9a Movements 1–5 constitute the "Fitzwilliam Sonata III" in Thurston Dart's arrangement. Originally published Flute Sonata in B minor, Op 1 No 9b (HWV 367b). The contemporary edition of Handel attributes it to the transverse flute, but the autograph manuscript is clearly for the recorder.
367b Flute B minor c. 1725–26 1732 Opus 1 No. 9b In the 'Aylesford' collection the Alla breve appears with the title of FUGE
368 Violin G minor 1732 Opus 1 No. 10 Probably spurious
369 Recorder F major c. 1712 1732 Opus 1 No. 11
370 Violin F major 1732 Opus 1 No. 12 Probably spurious
371 Violin D major c. 1749-50 Opus 1 No. 13 This sonata represents Handel's last piece of chamber music. The piece was not published by Walsh; the designation Op 1 No.13 is Chrysander's
372 Violin A major 1732 Opus 1 No. 14 Probably spurious. The piece was published by Walsh as Op 1 No. 10 in the original edition that had a faked title page naming Roger as the publisher; the designation Op 1 No.14 is Chrysander's
373 Violin E major 1732 Opus 1 No. 15 Probably spurious. The piece was published by Walsh as Op 1 No. 12 in the original edition that had a faked title page naming Roger as the publisher; the designation Op 1 No.15 is Chrysander's
374 Flute A minor 1730 "Halle sonata No. 1". Authenticity uncertain
375 Flute E minor 1730 "Halle sonata No. 2". Authenticity uncertain. The first two movements are identical to those of HWV 366, and the last also appears (out of context) at the end of Walsh's printing of HWV 434
376 Flute B minor 1730 "Halle sonata No. 3". Authenticity uncertain
377 Recorder B-flat major c. 1712 All three movements appear as parts of other works
378 Flute D major c. 1707? 1979 No autograph, but now considered authentic. It appears in an important manuscript of 18th century solo sonatas in the Brussels Royal Conservatory, and is there attributed to 'Sr Weisse'
379 Flute E minor c. 1727–28 1879 Opus 1 No. 1a The work's authenticity is unquestioned, but the sonata is not part of Handel's Opus 1 as published by Walsh—having been added by Chrysander.
406 Violin A major c. 1751 Adagio and Allegro. Three–part accompaniment (? orchestral short score)
407 Violin G major c. 1738 Allegro
408 Violin C minor c. 1725–29 Allegro. It may be the only surviving fragment of a completed sonata in C minor. Used as the finale to the Recorder sonata in A minor (HWV 362).
409 Recorder D minor c. 1712 Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a)
412 Violin A minor c. 1725–26 Andante
419-1 c. 1710–20 HWV 419 1-6 are six marches. They are known only from printed sources; were published as separate treble and bass parts; with instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work.
419-2 G major c. 1710–20
419-3 G major c. 1710–20
419-4 F major c. 1710–20
419-5 C major c. 1710–20
419-6 C major c. 1710–20
420 D major c. 1743–44 Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work
421 D major c. 1743–44 Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work

Trio sonatas[edit]

HWV Key Composed Published Opus Notes
380 B-flat major Authenticity doubtful
381 D minor Authenticity doubtful
382 E-flat major Authenticity doubtful
383 F major Authenticity doubtful
384 G major Authenticity doubtful
385 D major Authenticity doubtful
386a C minor c. 1717–1719 1879 In Chrysander's "G. F. Handel's Werke" (1879) this piece was referred to as Op. 2 No. 1a; Variant form of Op. 2 No 1, not published by Walsh, but found in manuscripts
386b B minor before 1727 1733 Opus 2 No. 1 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 1b
387 G minor ?1699 1733 Opus 2 No. 2 Handel's earliest datable composition. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 2
388 B-flat major c. 1717–1718 1733 Opus 2 No. 3 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 4. The finale appears in the overture to Athalia (HWV 52)
389 F major c. 1718–1722 1733 Opus 2 No. 4 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 5. The Larghetto appears in the overture to Esther (HWV 50a)
390a G minor c. 1717–1722 1733 Opus 2 No. 5 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 6
390b G minor Published in HG volume 48. Unlikely to be Handel's work
391 G minor c. 1707 1733 Opus 2 No. 6 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 7
392 F major c. 1706–1707 In Chrysander's "G. F. Handel's Werke" (1879) this composition referred to as Op. 2 No 3. One of the "Dresden" sonatas. No autograph
393 G minor probably c. 1719 Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 8
394 E major Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 9
395 E minor Authenticity uncertain. Probably composed by Johann Adolph Hasse (1699–1783)
396 A major 1739 Opus 5 No. 1
397 D major 1739 Opus 5 No. 2
398 E minor 1739 Opus 5 No. 3
399 G major 1739 Opus 5 No. 4
400 G minor 1739 Opus 5 No. 5
401 F major 1739 Opus 5 No. 6
402 B-flat major 1739 Opus 5 No. 7
403 C major c. 1738
404 G minor No autograph
405 F major c. 1707–1710

Wind ensemble works[edit]

HWV Type Key Composed Notes
346 March F major ?before 1729
410 Aria F major c. 1725
411 Aria F major c. 1725
414 March for Fife C major c. 1747
415 March for Fife D major c. 1747
416 March D major c. 1734
417 March D major c. 1746–1747 May have originated as a keyboard work as a two-stave version of the march exists
418 March G major ?c. 1741
422 Minuet G major c. 1746–1747
423 Minuet G major c. 1746–1747
424 Overture D major c. 1741 'Fitzwilliam' Overture

Keyboard works[edit]

HWV Type Key Composed Published Notes
305b Arrangement F minor c. 1747 Used as an overture. Solo keyboard arrangement of the Organ Concerto in F major (HWV 305)
425 Air (Saraband) E major An individual movement. Composed by Handel at St. Giles extempore. Autograph c. 1740–50 includes Handel's transcription of opening melody
426 Suite de pièce Vol. 1 No. 1 A major prior to 1720 1720
427 Suite de pièce Vol. 1 No. 2 F major prior to 1720 1720 I. Adagio (2:45):
II. Allegro (1:53):
III. Adagio (1:55):
IV. Allegro (2:04):
428 Suite de pièce Vol. 1 No. 3 D minor prior to 1720 1720
429 Suite de pièce Vol. 1 No. 4 E minor prior to 1720 1720
430 Suite de pièce Vol. 1 No. 5 E major prior to 1720 1720 The Harmonious Blacksmith” or “Air and Variations in E major”. Also found in early manuscript scores as a "Chaconne" in G major (at least 2 variant forms)
431 Suite de pièce Vol. 1 No. 6 F-sharp minor prior to 1720 1720
432 Suite de pièce Vol. 1 No. 7 G minor prior to 1720 1720
433 Suite de pièce Vol. 1 No. 8 F minor prior to 1720 1720
434 Suite de pièce Vol. 2 No. 1 B-flat major ?1710–1717 1733 434-4: minuet in G minor which is also used in the flute sonata in E minor (HWV 375). Not part of the Suite de piece in B-flat major. 434-3 has the theme used by Johannes Brahms for his Handel Variations.
435 Suite de pièce Vol. 2 No. 2 G major ?1705–1717 1733 21 variations. A chaconne. The Ritornello in G major (HWV 343) was added to this composition
436 Suite de pièce Vol. 2 No. 3 D minor Nowrap|c. 1721–1726 1733
437 Suite de pièce Vol. 2 No. 4 D minor c. 1703–1706 1733
438 Suite de pièce Vol. 2 No. 5 E minor c. 1710–1717 1733
439 Suite de pièce Vol. 2 No. 6 G minor c. 1703–1706 1733
440 Suite de pièce Vol. 2 No. 7 B-flat major c. 1703–1706 1733 revised 1717-18
441 Suite de pièce Vol. 2 No. 8 G major c. 1703–1706 1733
442 Suite de piece Vol. 2 No. 9 G major c. 1703–1706 1733 62 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh)
443 Suite C major 1700–1703 Includes Chaconne (of which there are 26 variations)
444 Partita C minor c. 1705–1706
445 Suite C minor 1705–1706
446 Suite C minor c. 1703–1706 Composed for two harpsichords, but the music for only one harpsichord survives
447 Suite D minor c. 1738–1739 Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452)
448 Suite D minor c. 1705–1706
449 Suite D minor c. 1705
450 Partita G major c. 1700–1705
451 Suite G minor c. 1703–1706 Allemande and Courante only
452 Suite G minor c. 1738–1739 Written for Princess Louisa. Companion piece to the Suite in D minor (HWV 447)
453 Suite G minor c. 1705–1706
454 Partita A major c. 1703–1706
455 Suite B-flat major c. 1705 Keyboard version of the overture in B-flat major (HWV 336) and the suite in B-flat major (HWV 354)
456-1 Arrangement c. 1720–1727 Arrangement of the overture to the Italian opera “Il pastor fido"
456-2 Arrangement c. 1720–1727 Arrangement of the overture to the Italian opera "Amadigi"
456-3 Arrangement c. 1720–1727 Arrangement of the overture to the Italian opera "Flavio"
456-4 Arrangement c. 1720–1727 Arrangement of the overture to the Italian opera "Rodelinda"
456-5 Arrangement c. 1720–1727 Arrangement of the overture to the Italian opera "Riccardo Primo"
457 Air C major c. 1720–1721
458 Air C minor ?c. 1710–1720 Authenticity uncertain
459 Air C minor ?c. 1710–1720 Authenticity uncertain
460 Air (March) D major c. 1720–1721
461 Air (Hornpipe) D minor c. 1717–1718
462 Air and minuet D minor c. 1724–1726
463 Air F major c. 1707–1709
464 Air F major c. 1724–1726 A version of the air from the "Water Music" (HWV 348–350)
465 Air and two Doubles F major c. 1710–1720
466 Air G minor c. 1710–1720 For two-manual harpsichord (or possibly organ)
467 Air Lentement G minor c. 1710–1720
468 Air A major c. 1727–1728
469 Air B-flat major c. 1738–1739 Re-used in orchestral form in the Sinfonia in B-flat major (HWV 347) and the Organ Concerto in B-flat major (HWV 311)
470 Air B-flat major c. 1710–1720 For two-manual harpsichord (or possibly organ)
471 Air B-flat major c. 1710–1720
472 Allegro C major c. 1705
473 Allegro C major 25 August 1738 Clock-Organ
474 Air G major c. 1736–1738 Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ
475 Allegro D minor c. 1710–1720
476 Allemande F major c. 1730–1735
477 Allemande A major c. 1724–1726
478 Allemande A minor c. 1705
479 Allemande B minor c. 1721–1722
480 Chorale G minor c. 1736–1740 Chorale melody "Jesu, meine Freude" in the middle part. Possibly for organ. A two-bar epilogue may represent a planned variation
481 Capriccio F major c. 1703–1706
482-1 Arrangement c. 1720–1725 Arrangement of the overture to the Italian opera 'Rinaldo'
482-2 Arrangement c. 1720–1725 Arrangement of the overture to the Italian opera 'Floridante'
482-3 Arrangement c. 1720–1725 Arrangement of the overture to the Italian opera 'Radamisto'
482-4 Arrangement c. 1720–1725 Arrangement of the overture to the Italian opera 'Muzio Scevola'
483 Capriccio G minor c. 1720–1721
484 Chaconne with 49 variations C major c. 1700–1705 Version of the Chaconne in Suite HWV 443
485 Chaconne F major c. 1705 For a two-manual harpsichord
486 Chaconne G minor c. 1705
487 Concerto G major c. 1710–1720 Two movements
488 Allegro (Courante) F major c. 1717–1718 In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442)
489 Courante B minor c. 1722
490 Fantasie pour le clavecin, C major c. 1703–1706
491 Gavotte G major c. 1705
492 Gigue F major c. 1726–1727
493 Gigue G minor c. 1704–1705 Two versions
494 Impertinence (Bourée) G minor c. 1705
495 Lesson D minor c. 1705–1710 Early form (two variants) of the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428), movement six
496 Lesson A minor c. 1715–1720
497 to 558 62 Minuets Various Two-stave pieces, probably for keyboard. Some related to minuets in other works
559 Passepied C major c. 1721–1722
560 Passepied A major c. 1705
561 Prelude D minor c. 1705–1706 Version of the prelude to the Suite de pièce in D minor, Vol. 2 No. 4 (HWV 437)
562 Prelude (Harpeggio) D minor c. 1711–1712
563 Prelude D minor c. 1700–1703
564 Prelude D minor c. 1705
565 Prelude D minor c. 1710–1720 An early version of the Prelude to the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428)
566 Prelude E major c. 1710–1720 Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)
567 Preludium F major c. 1710–1720
568 Preludium F minor c. 1710–1720 Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)
569 Preludium F minor ?c. 1710–1720 Arpeggio del Cook. Authorship uncertain
570 Prelude (Harpeggio) F-sharp minor c. 1717–1718 Originally associated with the Suite de pièce in F-sharp minor, Vol. 1 No. 6 (HWV 431)
571 Prelude and Capriccio G major c. 1703–1706 Two movements
572 Prelude G minor c. 1710–1717 Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432)
573 Prelude (Harpeggio) G minor c. 1705
574 Prelude and Allegro (Sonata) G minor c. 1705 Two movements
575 Prelude (Harpeggio) A minor c. 1717–1718 Coupled with the "Lesson in A minor"; HWV 496
576 Prelude and Allegro A minor c. 1705–1706 Two movements
577 Sonata (Fantasia) pour le clavecin, C major c. 1703–1705
578 Sonata C major c. 1750 Clock-Organ. Music related to a setting of 'Amen' (HWV 277), the Concerto Grosso in C major for "Alexander's Feast" (HWV 318), and the "Air Lentement in G minor" (HWV 467)
579 Sonata (Fantasia) G major ?c. 1707–1710 For a two-manual harpsichord (or possibly organ)
580 Sonata (Larghetto) G minor ?c. 1707–1710 One movement
581 Sonatina D minor c. 1705 One movement
582 Sonatina (Fugue) G major c. 1721–1722 One movement
583 Sonatina G minor ?c. 1721–1722 One movement
584 Sonatina A minor c. 1706–1708 One movement. Authenticity uncertain
585 Sonatina B-flat major c. 1721–1722 One movement
586 Toccata G minor c. 1710–1720
587 to 597 Eleven pieces C, F, and G c. 1735–1740 "10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). Includes arrangements of opera arias
598 to 604 Seven pieces C major, A minor c. 1730–1740 Clock-Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels."
605 Fugue G minor c. 1711–1718 1735 No 1 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
606 Fugue G major c. 1711–1718 1735 No 2 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
607 Fugue B-flat major c. 1711–1718 1735 No 3 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
608 Fugue B minor c. 1711–1718 1735 No 4 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
609 Fugue A minor c. 1711–1718 1735 No 5 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
610 Fugue C minor c. 1711–1718 1735 No 6 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
611 Fugue F major c. 1705 No autograph
612 Fugue E major No autograph. Single source is from a manuscript of organ voluntaries; probably authentic, though the text of final bars is defective. The fugue subject is related to the "Water Music" overture
A15
1 – 37
Minuets Various Arranged from music of opera arias

Arrangements by/of other composers[edit]

Handel's music was arranged by other composers. The arrangements included pasticcio, adaptations, and the inclusion of the work of other composers.[2]

HWV Genre Name Composed Premiere Venue Libretto Notes
A1 Opera (pasticcio) L'Elpidia, overo Li rivali generosi 1725 11 May 1725 London, King's Theatre, Haymarket (10 performances to 19 June) ?Nicola Haym, after A. Zeno, 1697 Revival on 30 November 1725: London, King's Theatre, Haymarket (4 performances to 11 December)
A3 Opera (pasticcio) Ormisda 1730 4 April 1730 London, King's Theatre, Haymarket (13 performances to 14 May; also 9 June) ?Rossi, after Zeno, 1722 12 songs changed at 21 April 1730 performance, for Strada's benefit. Revival on 28 November 1730: London, King's Theatre, Haymarket (5 performances to 8 December).
A4 Opera (pasticcio) Venceslao 1731 11 January 1731 London, King's Theatre, Haymarket (4 performances to 23 January) ?Rossi, after Zeno, 1724
A6 Opera (pasticcio) Lucio Papirio dittatore 1732 23 May 1732 London, King's Theatre, Haymarket (4 performances to 6 June) After Zeno/C.I. Frugoni, 1729
A7 Opera (pasticcio) Catone 1732 4 November 1732 London, King's Theatre, Haymarket After Metastasio, 1728/9
A8 Opera (pasticcio) Semiramide or Semiramis riconosciuta 1733 30 October 1733 London, King's Theatre, Haymarket After Metastasio, 1729
A9 Opera (pasticcio) Caio Fabricio 1733 4 December 1733 London, King's Theatre, Haymarket After Zeno, 1732
A10 Opera (pasticcio) Arbace 1734 5 January 1734 London, King's Theatre, Haymarket After Metastasio, 1730
A12 Opera (pasticcio) Didone 1737 13 April 1737 London, Covent Garden Theatre After Metastasio, 1726 Pasticcio by Händel using Leonardo Vinci's Didone abbandonata[6]

HWV missing[edit]

Handel's compositions that are not included in the HWV Catalogue include:

Genre Name Composed Premiere Venue Notes
Aria The Beauteous Cloe or 'Cloe, you're witty' A recycling of the aria 'S'io dir potessi' from Ottone (HWV 15), possibly by Handel himself.
Aria Dicente mis ojos Reworked version of the final aria of the Spanish cantata Nò se emenderá jamás (HWV 140)
The Dream or 'Beneath a shady willow' Based on the middle section of the opening chorus of Acis and Galatea (HWV 49a)
Latin sacred cantata Gloria ?1703–1709 3 June 2001 The International Händel Göttingen Festival For soprano, two-part violins, basso continuo. Identified in the year 2001 at the Royal Academy of Music's library (London). The manuscript is not in Handel's hand.
Italian Aria Lusinga questo cor c. 1712–1717 For soprano. Probably completed in London
Orchestral March in 'Judas Maccabaeus' in F major c. 1747–1748 As addition to oratorio "Judas Maccabaeus" (HWV 63) or to Concerto a due cori in F major (HWV 334)
Wind ensemble Marche in G major c. 1746–1747 Independent wind version of the oratorio, "Judas Maccabeus" march (HWV 63, no. 32a)
Wind ensemble Marche lentement in C major c. 1741 Wind version of the oratorio, Samson's (HWV 57) "Dead March"
Italian Aria No Kossi presto nò For soprano. Text apparently macaronic Italian-German
Aria Der Mund spricht zwar Reworked version of the aria from the opera Almira (HWV 1)
Opera (pasticcio) Lucio Vero 1745 November 1745 King's Theatre, London A pasticcio opera containing music by Handel and performed by the "Middlesex" opera company (named after Lord Middlesex)
Oratorio (pasticcio) 1738 28 March 1738 King's Theatre, Haymarket, London Handel's benefit performance. Bilingual pasticcio, including much music from "Deborah" (HWV 51), "As pants the hart" (Chandos Anthem No. 6; HWV 251b), a Coronation Anthem, and organ concertos
Oratorio (pasticcio) Nabal 16 March 1764 Covent Garden Theatre, London
Oratorio (pasticcio) Rebecca
Oratorio (pasticcio) Gideon 10 February 1769 Covent Garden Theatre, London
Aria Quand on suit l'amoureuse loi A short da capo aria in the style of a gavotte
Opera Rossane 1743 November 1743 King's Theatre, London Revived 24 February 1747 and 20 February 1748 at the King’s Theatre, Haymarket, London. Lampugnani arranged music from Handel's "Alessandro" (HWV 21), which was subsequently performed by the "Middlesex" opera company
French song Sans y penser Another version of the French song (HWV 155) in a lower key and a simpler bass line
Italian Aria Sa perchè pena il cor c. 1712–1717 For alto
Orchestral Suite Water Music chamber suite Nine movements. The arrangement is contemporary, but the authenticity is uncertain. Published by Burrows in 1991

Previously attributed[edit]

The following works are no longer thought to have been composed by Handel:

  • The Passion nach dem Evang. Johannes (the Passion according to the evangelist John). The work was published in volume nine of the Händel-Gesellschaft (1860), but is now thought to have been composed by the German composer Georg Böhm.

See also[edit]

References[edit]

  1. ^ Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 785. 
  2. ^ a b Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 783. 
  3. ^ Stiftung Händel-Haus Halle (Händel-Haus Halle Foundation)
  4. ^ Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 786. 
  5. ^ Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 787. 
  6. ^ Roberts, John H. (1 January 1987). "Handel and Vinci's 'Didone Abbandonata': Revisions and Borrowings". Music & Letters. 68 (2): 141–150. doi:10.2307/737061 (inactive 2018-09-11). JSTOR 737061. 

External links[edit]