George Frideric Handel HWV Catalogue - Wikipedia

List of compositions by George Frideric Handel - Wikipedia
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List of compositions by George Frideric Handel

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George Frideric Handel (23 February 1685 – 14 April 1759) was a German–English
Contents Baroque composer who is famous for his operas, oratorios, organ concertos and
Featured content concerti grossi. Handel's compositions include 42 operas; 25 oratorios; more than 120
Current events cantatas, trios and duets; numerous arias; chamber music; a large number of
Random article ecclesiastical pieces; odes and serenatas; 18 concerti grossi; and 12 organ concertos.
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His oratorio Messiah, with its "Hallelujah" chorus, is among the most famous Baroque
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works and is a popular choice for performances during the Christmas season. Among
Interaction Handel's best-known instrumental works are the Concerti grossi Opus 3 and Opus 6
Help and the Organ concertos Opus 4 and Opus 7; "The Cuckoo and the Nightingale", in
About Wikipedia which birds are heard calling during passages played in different keys representing the
Community portal vocal ranges of two birds; and his 16 keyboard suites, especially The Harmonious
Recent changes Blacksmith.[citation needed]
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Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Portrait of George Frideric Handel
Tools Hallische Händel-Ausgabe (HHA), however the more recent Händel-Werke- by Thomas Hudson.
What links here Verzeichnis (HWV) publication is now commonly used to number his works. For
Related changes 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
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based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.
Special pages
Permanent link Contents []
Page information
1 Operas
Wikidata item
2 Incidental music
Cite this page
3 Oratorios
In other projects 4 Odes and masques
Wikimedia Commons 5 Cantatas
6 Italian duets
Print/export 7 Italian trios
Download as PDF 8 Hymns
Printable version 9 Italian arias
10 English songs
Languages
11 German church cantatas
Español
12 Italian sacred cantatas
Français
13 Latin church music
한국어
14 Anthems
Italiano
Bahasa Melayu
15 Canticles
日本語 16 Concertos
Polski 17 Concerti grossi
Português 18 Orchestral works
Svenska 19 Solo sonatas
5 more 20 Trio sonatas
Edit links
21 Wind ensemble works
22 Keyboard works
23 Arrangements by/of other composers
24 HWV missing
25 Previously attributed
26 See also
27 References
28 External links
Operas [ edit ]
Main article: List of operas by George Frideric Handel
All works are opera seria in three acts, unless otherwise stated.
https://en.wikipedia.org/wiki/List_of_compositions_by_George_Frideric_Handel[28/03/2020 09:22:18 p. m.]

HWV Title Premiere Venue Libretto Notes

Oper am
Friedrich Christian Feustking, after
1 Almira 8 January 1705 Gänsemarkt, Singspiel
G. Pancieri
Hamburg
Oper am
2 Nero 25 February 1705 Gänsemarkt, Friedrich Christian Feustking Music lost
Hamburg
Oper am Only a copy of the libretto
3 Florindo 1708 Gänsemarkt, Hinrich Hinsch and fragments of the
Hamburg music survive
Oper am
4 Daphne 1708 Gänsemarkt, Hinrich Hinsch Music lost
Hamburg
5 Rodrigo 1707 Florence after F. Salvani
Teatro San
Late 1709 / Giovanni
6 Agrippina Vincenzo Grimani
Early 1710 Grisostomo,
Venice
Queen's Giacomo Rossi/Aaron Hill, after
7a/b Rinaldo 24 February 1711 Theatre, Torquato Tasso, La Gerusalemme
London liberata
The 1712 version is 8a.
The 1734 revised versions
Queen's
Il pastor are designated 8c. The
8a/b/c 22 November 1712 Theatre, Giacomo Rossi, after Guarini
fido prologue Terpsicore
London
added to the final version
is 8b.
Queen's
Nicola Francesco Haym, after
9 Teseo 10 January 1713 Theatre, 5 acts
Philippe Quinault
London
10 Silla June 1713? London? Giacomo Rossi, after Plutarch Music reused in Amadigi
King's
Amadigi di Rossi or Haym (?), after A.H. de la
11 25 May 1715 Theatre,
Gaula Motte, 1699
London
King’s
12a/b Radamisto 27 April 1720 Theatre, Haym (?), after D. Lalli
London
King’s
Muzio Paolo Antonio Rolli, after Silvio
13 15 April 1721 Theatre, only Act 3 by Handel
Scevola Stampiglia
London
King’s
Rolli, after Francesco Silvani La
14 Floridante 9 December 1721 Theatre,
costanza in trionfo
London
King’s
15 Ottone 12 January 1723 Theatre, Haym, after S B Pallavicino
London
King’s
16 Flavio 14 May 1723 Theatre, Haym, after M Norris
London
King’s
Giulio
17 20 February 1724 Theatre, Haym
Cesare
London
King’s
Haym, after Agostin Piovene and
18 Tamerlano 31 October 1724 Theatre,
Nicholas Pradon
London
King’s

Haym, after Antonio Salvi, after

19 Rodelinda 13 February 1725 Theatre,
Pierre Corneille
London
King’s
20 Scipione 12 March 1726 Theatre, Rolli
London
King’s
21 Alessandro 5 May 1726 Theatre, O Mauro
London
King’s
22 Admeto 31 January 1727 Theatre, Haym
London
King’s
Riccardo
23 11 November 1727 Theatre, Rolli, after Francesco Briani
Primo
London
Drafted early 1728. Only
Genserico part of Act I. Music mostly
A2 After N. Beregan
(or Olibrio) used in Siroe and
Tolomeo.
King’s
24 Siroe 17 February 1728 Theatre, Haym, after Metastasio
London
King’s
Haym, adapted from Carlo
25 Tolomeo 30 April 1728 Theatre,
Sigismondo Capece
London
King’s
26 Lotario 2 December 1729 Theatre, After Antonio Salvi
London
King’s
27 Partenope 24 February 1730 Theatre, After Silvio Stampiglia
London
King’s
28 Poro 2 February 1731 Theatre, After Metastasio
London
Only one act (first three
Titus scenes) with some music
A5 After J. Racine: Bérénice
l'Empereur used in Ezio. Composed
late 1731.
King’s
29 Ezio 15 January 1732 Theatre, Metastasio
London
King’s
30 Sosarme 15 February 1732 Theatre, After Salvi
London
King’s
After Capece, after Ludovico
31 Orlando 27 January 1733 Theatre,
Ariosto's Orlando furioso
London
King’s
Arianna in
32 26 January 1734 Theatre, After Pietro Pariati
Creta
London
Pasticcio, composed in
Covent
1734. Music entirely by
Garden
A11 Oreste 18 December 1734 Adapted from G.G. Barlocci Handel. Overture
Theatre,
published in HG volume
London
48 (p. 102).
Covent
Garden After Salvi, after Ariosto's Orlando

33 Ariodante 8 January 1735

Theatre, Furioso
London
Covent
Garden
34 Alcina 16 April 1735 After Ariosto's Orlando Furioso
Theatre,
London
Covent
Garden
35 Atalanta 12 May 1736 After Belisario Valeriani
Theatre,
London
Covent
Garden
36 Arminio 12 January 1737 After Salvi
Theatre,
London
Covent
Garden Adapted from Pariati's Giustino,
37 Giustino 16 February 1737
Theatre, after Nicolo Beregan's Il Giustino
London
Covent
Garden
38 Berenice 18 May 1737 After Salvi
Theatre,
London
King’s
Adapted from Apostolo Zeno's
39 Faramondo 3 January 1738 Theatre,
Faramondo
London
Pasticcio, composed in
King’s 1738. Music entirely by
Alessandro
A13 25 February 1738 Theatre, Adapted from Zeno Handel. Overture
Severo
London published in HG volume
48 (page 104).
King’s
Serse
40 15 April 1738 Theatre, After Stampiglia
(Xerxes)
London
King’s Pasticcio, composed in
Giove in
A14 1 May 1739 Theatre, Adapted from A.M. Lucchini April 1739. Music entirely
Argo
London by Handel. Semi-staged.
Theatre in
Lincoln's Inn
41 Imeneo 22 November 1740 After Stampiglia's Imeneo
Fields,
London
Theatre in
Lincoln's Inn
42 Deidamia 10 January 1741 Rolli
Fields,
London
Incidental music [ edit ]
HWV Title Premiere Venue Notes

Queen's Instrumental music for the revival of Ben Jonson's play
43 The Alchemist 14 January 1710 Theatre, The Alchemist. An arrangement, by an anonymous
London composer, of music from Handel's opera Rodrigo.
Ludlow
Three songs and a trio written as part of a private
44 Comus June 1745 Castle,
arrangement of John Milton's masque Comus.[2]
Shropshire
A masque which was written for an unproduced play
45 Alceste Not performed by Tobias Smollett. Music composed between

December 1749 and January 1750.

Drury
Sung by Mrs. Kitty Clive at her benefit performance of
Love's but the frailty of Lane
218 17 March 1740 William Congreve's The Way of the World (Act III).
the mind Theatre,
Music composed in London, 1740
London
Oratorios [ edit ]
HWV Title Premiere Venue Libretto Text Notes

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

Covent Garden Thomas

64 Joshua 9 March 1748 Stanford
Theatre, London Morell
65 Alexander Balus 23 March 1748 Stanford
66 Susanna 10 February 1749 Stanford
Theatre, London Hamilton?
67 Solomon 17 March 1749 Stanford
Theatre, London Hamilton?
68 Theodora 16 March 1750 Stanford
The Choice of Covent Garden Thomas
Hercules Theatre, London Morell?
70 Jephtha 26 February 1752 Stanford
The Triumph of Covent Garden Thomas
Time and Truth Theatre, London Morell?
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

Ah che pur
77 Florence, c. 1707
troppo è vero
Palazzo
Ah! crudel, nel Rome, August
78 2 September 1708 Bonelli,
pianto mio 1708
Rome
Diana
Copied for Francesco
79 cacciatrice or Rome, May 1707 May – June 1707 Vignanello
Ruspoli, 1707
Alla caccia
Allor ch'io
80 Rome, 1707–08
dissi addio
Alpestre
81 Florence, c. 1707
monte
Amarilli
vezzosa or
Daliso ed Rome, August Probably 28
82 Copied for Ruspoli, 1708
Amarilli or Il 1708 October 1708
duello
amoroso
Aminta e
Copied for Ruspoli, 1708.
Fillide or
83 Early 1708 14 July 1708 Rome The section, "Chi ben ama"
Arresta il
printed separately in HG 52b
passo
Aure soavi e
84 Rome, May 1707 Copied for Ruspoli, 1707
lieti

Venus and
Adonis or
No autograph, authenticity
85 Behold where London, c. 1711
uncertain
weeping
Venus stands
Bella ma London, c. 1717–
86
ritrosetta 18
Variant insertion in "Cecilia,
volgi un sguardo" (89), for
Carco sempre performances of Alexander's
87 London, 1737 16 March 1737 London
di gloria Feast (HWV 75), 1737,
including music for the
castrato Domenico Annibali
Care selve,
88 Rome, 1707–08
aure grate
Covent
Played between the two
Cecilia, volgi London, January 19 or 25 (?) Garden
89 parts of Alexander's Feast
un sguardo 1736 February 1736 Theatre,
(HWV 75).
London
Chi rapì la Florence, c. 1706–
pace al core 07
Clori, degli Florence, late
91a
occhi miei 1707
Clori, degli London, after
91b
occhi miei 1710
Clori, mia
92 Rome, 1707–08
bella Clori
93 Clori, ove sei? Italy, 1707–08
Clori, si, ch'io No autograph, earliest
94
t'adoro source c. 1738–40
Clori, vezzosa Rome,
Clori July/August 1708
Clori, Tirsi e
Rome,
Fileno or Cor Copied for Ruspoli, 14
96 July/September
fedele in vano October 1707.
1707
speri
King's
Performed at the benefit
Crudel tiranno London, June Probably 5 July Theatre,
97 concert for Margherita
Amor 1721 1721 Haymarket,
Durastanti.
London
Cuopre tal
98 Italy, 1708
volta il cielo
Il delirio
Rome, on or Cardinal
amoroso or
99 before 14 January May 1707 Pamphili's
Da quel giorno
1707. palazzo
fatale
Copied for Ruspoli, 1709.
Da sete (HWV 101a & 101b: Dal
100 Italy, 1708–09
ardente afflitto fatale momento. Spurious,
by F. Mancini).
Dalla guerra Version for bass. Copied for
102a Italy, 1708–09
amorosa Ruspoli, 1709
Dalla guerra Version for soprano. Copied
102b Italy, 1708–09
amorosa for Ruspoli, 1709
Libretto text
Deh! lasciate London, c. 1722– by Paolo

103
e vita e volo 25 Antonio
Rolli
Copied for Ruspoli in 1709,
Del bell'idolo
104 Rome, 1707–09 but possibly written as early
mio
as 1707.
Armida
Palazzo
abbandonata Possibly 26 June Copied for Ruspoli, 1707,
105 Rome, June 1707 Bonelli,
or Dietro 1707 1709.
Rome
l'orme fuggaci
Dimmi, o mio
106 Italy, 1707–09 See note for HWV 132
cor
Ditemi, o Rome,
piante July/August 1708
Dolce mio
No autograph. No source
108 ben, s'io
attributed to Handel.
taccio
Libretto ?
Dolc' è pur Text by
London, c. 1717–
109a d'amor Paolo
18
l'affanno Antonio
Rolli
Libretto: ?
Dolc' è pur Text by
London, ?after
109b d'amor Paolo
1718
l'affanno Antonio
Rolli
Agrippina
condotta a First performed by the
Libretto:
110 morire or Italy, 1707–08 Early in 1708 castrato soprano,
Anonymous
Dunque sarà Pasqualino Tiepoli
pur vero
E partirai, mia
111a Italy, 1707–09
vita?
E partirai, mia London, c. 1725–
111b
vita? 28
Figli del mesto Probably Italy, No autograph or Italian-
112
cor 1707–09 period copies
Figlio d'alte Florence, 1706–
113
speranze 07
Filli adorata e
114 Rome, 1707–08 Copied for Ruspoli, 1709
cara
Fra pensieri
115 Italy, 1707–08
quel pensiero
Florence, 1706–
116 Fra tante pene Copied for Ruspoli, 1709
07
Libretto by
Hendel, non Copied for Ruspoli, 1708, Cardinal
117 July/August 1708
può mia musa 1709 Benedetto
Pamphili
Libretto by
Ho fuggito London, c. 1722– Printed without final aria in Paolo
118
Amore anch'io 23 HG. Antonio
Rolli
Echeggiate,
festeggiate, Partly lost. Fragments
London, c. 1710–
119 numi eterni or printed in wrong order in

12
Io languisco HG.
fra le gioie
Irene, idolo No autographs or Italian-
120a Italy, 1707–09
mio period copies.
Irene, idolo England, after No autographs or Italian-
120b
mio 1710 period copies.
La Solitudine
or L'aure London, c. 1722–
121a fragment
grate, il fresco 23
rio
La Solitudine
or L'aure London, before
121b
grate, il fresco 1718
rio
Apollo e Dafne
Probably begun Venice,
122 or La terra è Hanover, 1710
1709
liberata
Languia di Possibly
123 bocca composed in ?fragment
lusinghiera Hanover, 1710
Libretto by
Recitative and aria; probably
Covent Newburgh
Look down, a discarded fragment for
Garden Hamilton,
124 harmonious c. 1736 February 1736 "Alexander's Feast" (HWV
Theatre, from
saint 75), 1736. It appeared in the
London Cecilian
cantata HWV 89
Ode 1720.
1st version; no autographs
Lungi da me,
Italy, July – or Italian-period copies; one
125a pensier
September 1708[3] version copied for
tiranno
Francesco Ruspoli, 1708.
Lungi da me,
London, after Second version; no
125b pensier
1710 autographs.
tiranno
Lungi da voi, Rome,
126a
che siete poli July/August 1708
Lungi da voi,
126b Rome, 1708
che siete poli
Lungi da voi, Probably London,
126c
che siete poli after 1710.
Lungi dal mio Rome, 3 March
127a
bel nume 1708
Lungi dal mio ?London, after
127b
bel nume 1710
Lungi dal mio London, c. 1725–
127c
bel nume 28
Lungi n'andò Rome, August
Fileno 1708
Manca pur Rome,
quanto sai July/August 1708
Mentre il tutto Rome, August
è in furore 1708
Menzognere Rome, September
speranze 1707
Borrowings: Version of
Mi palpita il ?London, after
132a "Dimmi, o mio cor" (HWV
cor 1710

106) with new opening.

132b
cor 1718
132c
cor 1710
Mi palpita il ?London, c. 1711–
132d
cor 12
Ne' tuoi lumi, Rome, September Copied for Ruspoli, 1707,
133
o bella Clori 1707 1709
Pensieri
notturni di Filli Rome, 1707–08.
134
or Nel dolce Completed 1709
dell'oblio
Nel dolce Probably Naples,
135a
tempo June/July 1708
Nel dolce London, after No autographs, and no early
135b
tempo 1710 Italian-period copies.
Nell' Africane Naples, June/July
136a
selve 1708
Nell' Africane London, after
136b
selve 1710
Copied for Ruspoli, 1707,
Nella stagion
Rome, April/May 1709. Probably composed
137 che di viole e
1707 for the soprano, Margherita
rose
Durastanti.
Nice, che fa?
138 ?Hanover, 1710
che pensa?
139a Ninfe e pastori Rome, 1707–09 Copied for Ruspoli, 1709
Probably London,
139b Ninfe e pastori
after 1710
London, c. 1725–
139c Ninfe e pastori
28
Nò se
Rome, September
140 emenderá Copied for Ruspoli, 1707
1707
jamás
Non sospirar, Florence, Fall
141
non piangere 1707
Notte placida Libretto
142 Rome, 1707–08
e cheta anonymous
Olinto pastore,
Marquis ?Copied for Ruspoli, 1708.
Tebro fiume, Rome,
Ruspoli's First performed by the
143 Gloria or O August/September 9 September 1708
Palazzo soprano Anna Marie di
come chiare e 1708
Bonelli Piedz
belle
O lucenti, o
144 Rome, 1707
sereni occhi
Copied for Ruspoli, 1709. Libretto by
La Lucrezia or Probably composed for the Cardinal
145 August 1708
Oh numi eterni soprano, Margherita Benedetto
Durastanti. Pamphili
Occhi miei che
146 Rome, 1707–08 Copied for Ruspoli, 1709
faceste?
Partì, l'idolo London, after No autograph or early Italian
147
mio 1710 copies.
Poichè giuraro Copied for Ruspoli, 1707,

148 Rome, early 1707

amore 1709
Qual sento io
149 non Only source c. 1738–40
conosciuto
Ero e Leandro Libretto ?
or Qual ti Derived from the story of Cardinal
150 Rome, 1707
riveggio, oh Hero and Leander Pietro
Dio Ottoboni.
Qualor
London, after No autograph or early
151 crudele, sì ma
1710 Italian-period copies
vaga Dori
Qualor l'egre Rome, September
pupille 1707
Quando
Probably Naples,
153 sperasti, o Copied for Ruspoli, 1708
June/July 1708
core
Published in Handel (ed.
Quel fior che London, c. 1738–
154 Burrows), "Songs and
all'alba ride 40
Cantatas for Soprano."
Rome, September Composed in Italy. Copied
155 Sans y penser
1707 for Ruspoli, 1707, 1709.
Sarai contenta Florence, 1706–
156
un di 07
Libretto by
Sarei troppo Rome, September Copied for Ruspoli, 1707,
157 B.
felice 1707 1708 (incomplete)
Pamphili.
Se pari è la Copied for Ruspoli, 1708,
158a Rome, 1708
tua fè 1709.
Se pari è la Probably London,
158b
tua fè after 1710
Se pari è la London, c. 1725–
158c
tua fè 28
Se per fatal Copied for Ruspoli, 1707,
159 Rome, early 1707
destino 1709
La bianca rosa
or Sei pur Copied for Ruspoli, 1707,
160a Rome, early 1707
bella, pur 1709
vezzosa
La bianca rosa
or Sei pur London, c. 1725–
160b
bella, pur 28
vezzosa
La bianca rosa
or Sei pur London, c. 1738–
160c
bella, pur 41
vezzosa
Sento là che
161a Rome, 1708–09
ristretto
Sento là che
161b
ristretto
Sento là che London, c. 1725–
161c
ristretto 28
Siete rose London, c. 1711–
162 Composed with variant
ruggiadose 12.
Solitudini care, London, after No autographs or early

163
amata libertà 1710 Italian-period copies
Il Gelsomino
London, c. 1725–
164a or Son
28
Gelsomino
Il Gelsomino
London, c. 1717–
164b or Son
18
Gelsomino
Spande ancor
165 Italy, 1707–08
a mio dispetto
Splenda l'alba London, c. 1711– Survives only in fragmentary
166
in oriente 12 form.
Stanco di più
167a Italy, 1707–08
soffrire
Stanco di più Rome,
167b
soffrire July/August 1708
Partenza di G.
168 B. or Stelle, Rome, 1707
perfide stelle
Torna il core Probably Rome,
169
al suo diletto 1707–08
Libretto by
Tra le fiamme Cardinal
170 Rome, 1707
(Il consiglio) Benedetto
Pamphili
Tu fedel? Tu Florence/Rome, Copied for Ruspoli, 1707,
171
costante? 1706–07 1708
Udite il mio Florence, 1706–
consiglio 07
Un' alma Probably
173 Rome, May 1707 June 1707 Copied for Ruspoli, 1707
innamorata Vignanello
Un sospir a Florence, Fall
174
chi si muore 1707
Vedendo
175 Rome, 1707–08
Amor
Amore
uccellatore or
176 Rome, 1707–08
Venne voglia
ad Amore
Zeffiretto,
177 Italy, 1707–09 ?Copied for Ruspoli, 1709
arresta il volo
Italian duets [ edit ]
HWV Title Composed Notes Text

First movement reappeared 2 years later in the Utrecht
A mirarvi io ?Hanover, c. Jubilate (HWV 279) as "Be ye sure that Lord he is God.". Slow
178
son intento 1711 middle section formed the basis for the final chorus of "Alcina"
(HWV 34) in 1735.
Ahi, nelle London, 31
179
sorti umane August 1745
Amor, gioje Italy, c. 1707–
180
mi porge 09
Beato in ver London, 31
181 Italian version of Horace, "Beatus ille"
chi pùo October 1742
Caro autor

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

Italian trios [ edit ]
HWV Title Composed Notes Text

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

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

by Charles
Hunting Song or The morning is Voice in treble clef. Autograph, which Legh.
226 Tenor 1743
charming survives, presented to Legh in 1751 Composed
in London
The unhappy Lovers: As Celia's
228-1 Soprano c. 1730
fatal arrows flew
Charming Cloris: Ask not the
228-2 cause / The poor Shepherd: The Soprano c. 1730
Sun was sunk beneath the Hills
As on a Sunshine Summer's
228-3 Soprano c. 1729
Day
Bacchus Speech in Praise of
228-4 Wine: Bacchus one day gayly Soprano c. 1730
striding
The Polish Minuet or Miss Kitty
228-5 Grevil's Delight: Charming is Soprano c. 1720
your shape and air
The Sailor's Complaint: Come
228-6 and listen to my ditty / Hosier's Soprano c. 1735
Ghost: As near Portobello lying
Di godere ha speranza il mio
228-7 core / Oh my dearest, my lovely Soprano c. 1719
creature
The forsaken Maid's Complaint:
Faithless ungrateful / The
228-8 Soprano c. 1720
slighted Swain: Cloe proves
false
From scourging rebellion or A First performance: Sung by Thomas
Song on the Victory obtained Lowe at Vauxhall Gardens, 15 May
228-9 over the Rebels by His Royal Tenor 1746 1746. Composed to celebrate the Duke
Highness the Duke of of Cumberland's defeat of the Jacobite
Cumberland forces at Culloden on 16 April 1746
The forsaken Nymph: Guardian
228-10 Soprano c. 1735
Angels now protect me
First performance: 28 February 1737:
London, Drury Lane Theatre.
I like the am'rous Youth that's
228-11 Soprano 1737 Published: 1741. Sung by Catherine
free

("Kitty") Clive in James Miller's comedy,

"The Universal Passions" (Act II)
Phillis: My fair, ye Swains, is
228-12 Soprano c. 1725
gone astray
228-13 Not, Cloe, that I better am Soprano c. 1730
Strephon's Complaint of Love:
228-14 Soprano c. 1730
Oh cruel Tyrant Love
The Satyr's Advice to a Stock-
Jobber: On the shore of a low
ebbing sea / Ye Swains that are
228-15 Soprano c. 1730
courting a Maid / Molly Mogg:
Says my uncle, I pray you
discover
228-16 Phillis be kind and hear Soprano c. 1730
228-17 Phillis advised: Phillis the lovely Soprano c. 1739
First performance : Sung by Thomas
Lowe in "The Relapse or Virtue in
Danger" by John Vanbrugh, at Drury
Stand round, my brave boys or
Lane Theatre, London: 14 November
228-18 Song made for the Gentlemen Tenor 1745
1745. Published: 1745. Published as "A
Volunteers of the City of London
Song made for the Gentlemen
Volunteers of the City of London"
(1745)
First performance: 23 February 1715:
London, Drury Lane Theatre. Incidental
The faithful Maid / The music; sung in Gay's "The Beggar's
228-19 Melancholy Nymph: 'Twas when Soprano 1715 Opera" - Lucy's song XXVIII "How
the seas were roaring Cruel are the Traytors," probably sung
in John Gay's "Comic Tragick Pastoral
Farce" or "What D'ye Call it," (Act II)
The Rapture / Matchless
Clarinda: When I survey
228-20 Soprano c. 1725
Clarinda's charms / Venus now
leaves
The Death of the Stag: When
228-21 Phoebus the tops of the Hills Soprano c. 1740
does adorn
228-22 Who to win a Woman's favour Soprano c. 1746
An Answer to Collin's Complaint:
228-23 Ye winds to whome Collin Soprano c. 1716
complains
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

Ah! che troppo ineguali
?Rome 1707–
230 or O del ciel! Maria Soprano Recitative and aria.
08
regina
First performance: ?2 February 1708, Rome on the
233 Donna, che in ciel Soprano "anniversary of the deliverance of Rome from the earthquake
on the feast of the Purification of the Virgin."
Il pianto di Maria or Spurious. Misattributed to Handel; composed by Giovanni
234 Soprano
Giunta l'ora fatal 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
Motet for the
D
Coelestis dum 13 June Feast of St.
231 Motet Soprano major/G ?Rome, 1707 Vignanello
spirat aura 1707 Anthony of
major
Padua
Dixit
Dominus
represents
Handel's
Soprano, earliest dated
Psalm
Alto, autograph,
Psalm Rome, April 110
232 Dixit Dominus Tenor, G minor and it is the
setting 1707 (Vulgate
Bass earliest
109)
Chorus surviving
autograph
from his
large-scale
compositions.
Probably
written for
services held
at the church
Haec est Regina ?15/16 July of S. Maria di
235 Antiphon Soprano G major ?Rome, 1707 Rome
virginum 1707 Monte Santo
to celebrate
the feast day
of "Madonna
del Carmine".
Laudate pueri
dominum in F
major is
Handel's
earliest Psalm
Psalm Laudate pueri ?Hamburg, c. surviving 113
236 Soprano F major
setting dominum 1706 autograph. (Vulgate
Might have 112)
been
composed in
Halle, 1701-
2.
Opening
theme Psalm
Psalm Laudate pueri Soprano, Rome, 8 July originally 113
237 D major
setting dominum Chorus 1707 found in A. (Vulgate
Lotti's Missa 112)

Sapientiae.
Probably
written for a
grand
Vespers
service held
at the church
of S. Maria di
Monte Santo
Alto, Psalm
in Rome, the
Psalm Tenor, Rome, 13 ?16 July 127
238 Nisi Dominus G major Rome feast day of
setting Bass, July 1707 1707 (Vulgate
"Our Lady of
Chorus 126)
Mount
Carmel". The
fugal theme
is originally
found in
Antonio
Lotti's Missa
Sapientiae.
O qualis de coelo ?Rome, May 12 June For
239 Motet Soprano G major Vignanello
sonus – June 1707 1707 Pentecost
Motet for the
Saeviat tellus ?16 July Feast of
240 Motet Soprano D major ?Rome, 1707 Rome
inter rigores 1707 Madonna del
Carmine
Probably first
performed on
Trinity
?19 June Sunday at
241 Antiphon Salve Regina Soprano G minor ?Rome, 1707 Vignanello
1707 Francesco
Ruspoli's
private
chapel.
B-flat London, c.
242 Motet Silete venti Soprano
major 1723-25
Probably
written for
services held
at the church
of S. Maria di
Te decus ?15/16 July
243 Antiphon Alto G minor Rome, 1707 Rome Monte Santo
virgineum 1707
to celebrate
the feast day
of "Our Lady
of Mount
Carmel".
Misattributed
to Handel; by
A. Lotti
("Missa
244 Cantata Kyrie eleison Chorus
Sapientiae"),
but copied by
Handel c.
1749.
Misattributed
to Handel; by
A. Lotti

Gloria in excelsis ("Missa

245 Cantata Chorus
deo Sapientiae"),
but copied by
Handel c.
1749.
Probably
Soprano,
269 Amen...alleluja D minor 1735-46 intended as a
Bass
vocal study.
Probably
Soprano,
270 Amen F major 1735-46 intended as a
Bass
vocal study.
Probably
Soprano,
271 Amen...alleluja G minor 1735-46 intended as a
Bass
vocal study.
Probably
Soprano,
272 Alleluja...amen D minor 1735-46 intended as a
Bass
vocal study.
Probably
Soprano,
273 Alleluja...amen G major 1735-46 intended as a
Bass
vocal study.
Probably
Soprano,
274 Alleluja...amen A minor 1735-46 intended as a
Bass
vocal study.
Probably
Soprano,
276 Amen...hallelujah F major 1744-47 intended as a
Bass
vocal study.
Probably
Soprano,
277 Hallelujah...amen F major 1744-47 intended as a
Bass
vocal study.
Anthems [ edit ]
Further information: Handel's coronation anthems and Chandos Anthems
HWV Title Composed Premiere Venue Notes Text

Chandos Anthem No. 1 or
Jubilate ('Cannons') in D
St. major. Also considered a
O be joyful in Cannons, Lawrence, Canticle. Opening theme Psalm 100
246
the Lord 1717–18 Whitchurch, originally found in "Laudate (the Jubilate).
London Pueri" (HWV 236), which itself
borrowed the theme from A.
Lotti's Missa Sapientia.
Psalm 9, 11,
Chandos Anthem No. 2. 12, & 13 from
St.
Transcribed for orchestra by Tate and
In the Lord Cannons, Lawrence,
247 Edward Elgar in 1923 as the Brady's New
put I my trust 1717–18 Whitchurch,
Overture in D minor, and by Version of the
London
Stokowski in 1924 Psalms of
David.
St.
Have mercy Cannons, Lawrence, Psalm 51 (the
248 Chandos Anthem No. 3.
upon me 1717–18 Whitchurch, Miserere).
London
Chapel
O come, let Royal, St.
?26 September
249a us sing unto 1714 James's Psalm 96
1714
the Lord Palace,

London.
Chandos Anthem No. 4.
St. Partly based on "O sing unto "Prayer Book"
O come, let
Cannons, Lawrence, the Lord a new song" (HWV version of
249b us sing unto
1717–18 Whitchurch, 249a). The overture was later Psalm 93 &
the Lord
London reused in Handel's oboe 96.
concerto No. 2.
St. Chandos Anthem No. 5. Two
I will magnify Cannons, Lawrence, movements added later. The Psalms 144 &
250a
thee 1717–18 Whitchurch, overture was later reused in 145
London Handel's oboe concerto No. 2.
Chapel
Royal, St.
I will magnify Psalms 89,
250b 1724 ?5 January 1724 James's
thee 96, 145
Palace,
London
c. December King's
As pants the Scored for organ and basso
251a 1712 to May 1713 Chapel Psalm 42
hart continuo alone.
1713 Royal
Chandos Anthem No. 6
St.
(although believed to be one
As pants the Cannons, Lawrence,
251b 1718 of the first Chandos Anthems Psalm 42
hart 1717–18 Whitchurch,
composed). Orchestrated
London
version of HWV 251a.
Chapel
Royal, St.
As pants the Orchestrated version of HWV
251c c. 1722 ?7 October 1722 James's Psalm 42
hart 251d.
Palace,
London
Scored for organ and basso
continuo alone. There is no
As pants the
251d c. 1722 evidence that the work was Psalm 42
hart
performed during Handel's
lifetime.
King’s
As pants the
251e 1738 28 March 1738[5] Theatre, Written for a benefit evening Psalm 42
hart
Haymarket
Chandos Anthem No. 7.
Partly derived from the "Te
Deum in D" (HWV 280). The
St.
My song trio "Thou rulest the raging
Cannons, Lawrence,
252 shall be sea" performed at Cannons Psalm 89
1717–18 Whitchurch,
alway but probably spurious;
London
possibly composed by Johann
Christoph Pepusch or Nicola
Francesco Haym instead.
St. "Prayer Book"
O come, let
Cannons, Lawrence, psalms 95 (the
253 us sing unto Chandos Anthem No. 8.
1717–18 Whitchurch, venite), 96,
the Lord
London 97, 99, 103
Psalms 117,
135, 148 in
metrical
St. versions of
O praise the
Cannons, Lawrence, Nahum Tate
254 Lord with one Chandos Anthem No. 9.
1717–18 Whitchurch, and Nicolas
consent
London Brady's "New
Version of the

Psalms"
(1696).
St.
Psalms 18,
The Lord is Cannons, Lawrence,
255 Chandos Anthem No. 10. 20, 27–30, 34,
my light 1717–18 Whitchurch,
45
London
St.
Chandos Anthem No. 11. 1st
Cannons, Lawrence, Psalms 68 &
256a Let God arise movement of 'symphony'
1717–18 Whitchurch, 76
added later.
London
Chapel
Royal, St.
256b Let God arise 1726 ?16 January 1726 James's Psalm 58
Palace,
London
Spurious. Misattributed to
O praise the
Handel in Arnold's edition and
257 Lord, ye
in HG 36. By Maurice Greene,
angels of his
before 1728.
English
version of
Coronation Anthem No. 1. For antiphon
?9 September the Coronation of King "Unxerunt
Zadok the Westminster
258 1727 – 11 11 October 1727 George II and Queen Salomonem
Priest Abbey
October 1727 Caroline. Performed at the Sadoc
Anointing. sacerdos,"
after I Kings 1,
39–48.
Coronation Anthem No. 2. For
the Coronation of King
Let Thy Hand ?9 September
Westminster George II and Queen Psalm 89: 13–
259 Be 1727 – 11 11 October 1727
Abbey Caroline. Sung at the 14.
Strengthened October 1727
Recognition (the King being
presented to the people).
the Coronation of King
?9 September George II and Queen
The King Westminster Psalm 21:
260 1727 – 11 October 1727 Caroline. Should have been
Shall Rejoice Abbey 1,2,3,5
October 1727 sung at the Recognition, but
instead it was performed at
the Crowning.
After Psalm
?9 September the Coronation of King
My Heart is Westminster 45: 1, 10, 12
261 1727 – 11 11 October 1727 George II and Queen
Inditing Abbey and Isaiah
October 1727 Caroline. Performed during
49:23.
the coronation of the Queen.
This is the
day which
the Lord hath French
Performed during the wedding Psalms 45,
made or Chapel, St.
262 1734 14 March 1734 of William, Prince of Orange, 118, Proverbs,
Anthem for James's
and Anne, Princess Royal. Ecclesiasticus
Wedding of Palace
Princess
Anne
Sing unto
German For the wedding of Frederick,
God or
Chapel, St. Prince of Wales, and Princess
Anthem for Psalms 68,
263 1736 27 April 1736 James's Augusta of Saxe-Coburg.
Wedding of 106, 128

Palace, Revised for the wedding of

Prince
London Princess Mary.
Frederick
From
The ways of
Lamentations,
Zion do King Henry Probably first performed fully
Samuel, Job,
mourn or 5(?) – 12 VII's choral without solo
Ecclesiasticus,
264 Funeral December 17 December 1737 Chapel, movements. The Sinfonia was
Philippians,
Anthem for 1737 Westminster not performed at the funeral
Wisdom, and
Queen Abbey and was probably added later.
Psalms 103,
Caroline
112.
Performed during a service in
King George II's presence to
celebrate his safe return to
England. Also, to celebrate
Dettingen Chapel
the combined Austrian and
Anthem Royal, St.
30 July – 3 British armies over the French
265 ("The King 27 November 1743 James's Psalms 20, 21
August 1743 at Dettingen in Lower
Shall Palace,
Franconia on 27 June 1743.
Rejoice") London
Entirely different setting of the
text than "The King Shall
Rejoice" from the Coronation
Anthems of 1727.
How beautiful
are the feet Chapel To celebrate the peace of Aix-
of them or Royal, St. la-Chapelle (Aachen). Isaiah, Psalms
266 His Anthem 1749 25 April 1749 James's Performed with the "Queen 29, 96,
on the Peace Palace, Caroline" Te Deum (HWV Revelation
or Peace London 280).
Anthem
(?) First draft
of the "Peace A 209-measure composition
Probably
267 Anthem" of which the last 19 measures
early 1749
(See HWV are incomplete.
266)
Blessed are
they that
Foundling First performance probably in Psalms 8, 41,
considereth
Hospital fully choral version. The solo 72, 112,
268 the poor or 1749 27 May 1749
Chapel, movements were probably Daniel,
Foundling
London added c. 1751. Revelation
Hospital
Anthem
Canticles [ edit ]
HWV Title Key Composed Premiere Venue Notes Text

"We praise
St Paul's thee, O
Utrecht Te D 14 January
278 7 July 1713 Cathedral, God"
Deum major 1713
London (Ambrosian
hymn)
"O be joyful
?January – St Paul's
Utrecht D in the Lord"
279 February 7 July 1713 Cathedral,
Jubilate major (Psalm
1713. London
100)
Chapel "We praise
Te Deum Royal, St. thee, O
D ?26 September
280 ("Queen 1714 James's God"
major 1714
Caroline") Palace, (Ambrosian

London hymn)
"We praise
Te Deum St. Composed by Handel
thee, O
("Chandos" B-flat Lawrence, during his stay with the
281 c. 1717–18 c. 1717–18 God"
or major Whitchurch, Duke of Chandos at
(Ambrosian
"Cannons") London Cannons.
hymn)
Chapel "We praise
Royal, St. thee, O
A
282 Te Deum 1726 ?16 January 1726 James's God"
major
Palace, (Ambrosian
London hymn)
Performed during a
service, in King George
II's presence, to celebrate
Chapel "We praise
his safe return to England.
Royal, St. thee, O
Te Deum D 17 July – c. Also, to celebrate the
283 27 November 1743 James's God"
("Dettingen") major 29 July 1743 combined Austrian and
Palace, (Ambrosian
British armies over the
London hymn)
French at Dettingen in
Lower Franconia on 27
June 1743.
Concertos [ edit ]
Further information: Handel organ concertos Op.4 and Handel organ concertos Op.7
HWV Instrument Key Composed Premiere Venue Published Opus Notes

"Oboe
G ?Hamburg
287 Oboe 1863 concerto No.
minor ?c.1704–05
3"
“Sonata a 5”.
Possibly for
B-flat
288 Violin Italy, c. 1707
major Corelli in
Rome
First
London, performed
G Covent Opus 4 with
289 Organ 1735–36 19 February 1736 1738
minor Garden No. 1 "Alexander's
Theatre Feast" (HWV
75)
First
London, performed
B-flat Covent Opus 4 with the
290 Organ 1735 5 March 1735 1738
major Garden No. 2 oratorio
Theatre "Esther"
(HWV 50b)
Variant
versions of
last
London, movement.
G Covent Opus 4 First
291 Organ 1735 5 March 1735 1738
minor Garden No. 3 performed
Theatre with the
oratorio
"Esther"
(HWV 50b)
Originally
concluded

with 'Alleluja'
chorus (HG
20, p. 161),
short
instrumental
London,
ending
F 25 March Covent Opus 4
292 Organ 1 April 1735 1738 probably
major 1735 Garden No. 4
written by
Theatre
Handel for
Walsh
publication.
First
performed
with "Athalia"
(HWV 52)
London, Performed
F Covent Opus 4 with revival of
293 Organ ?26 March 1735 1738
major Garden No. 5 "Deborah"
Theatre (HWV 51).
Originally
London, composed for
B-flat Covent Opus 4 the harp, but
294 Organ 1736 19 February 1736 1738
major Garden No. 6 later
Theatre rearranged
for the organ
Referred to
as Organ
Concerto "No.
13". The bird-
song motives
London,
"2nd of the 2nd
F King's
295 Organ 2 April 1739 4 April 1739 1740 Set" No. movement
major Theatre,
1 earned the
Haymarket
concerto the
nickname,
"The Cuckoo
and the
Nightingale"
London, Referred to
"2nd
A King's as organ
296a Organ 1739 20 March 1739 1740 Set" No.
major Theatre, concerto "No.
2
Haymarket 14"
Pasticcio.
A
296b Organ c. 1743–46 Arranged by
major
Handel
Referred to
as organ
concerto "No.
"2nd 15". Arranged
D
297 Organ 1740 Set" No. from
minor
3 Concerto
Grosso Op.6
No.10 (HWV
328).
Referred to
as organ
concerto "No.
"2nd 16". Arranged
G

major
4 Concerto
Grosso Op.6
No.1 (HWV
319).
Referred to
as organ
concerto "No.
"2nd 17". Arranged
D
major
5 Concerto
Grosso Op.6
No.5 (HWV
323).
Referred to
as organ
concerto "No.
18". Arranged
"2nd
G from
300 Organ 1740 Set" No.
minor Concerto
6
Grosso in G
minor Op.6
No.6 (HWV
324).
"Oboe
B-flat
301 Oboe 1740 concerto No.
major
1"
"Oboe
B-flat
302a Oboe 1740 concerto No.
major
2"
An adagio for
two organs.
Ending
adapted by
Handel to
lead into
another
movement.
D
303 Organ c. 1738 Later
minor
published as
the first
movement of
Organ
Concerto in D
minor, Op 7
No 4 (HWV
309)
Sometimes
referred to as
organ
concerto "No.
15". First
D performed
304 Organ c. 1746 ?14 February 1746 1797
minor with the
premiere of
The
Occasional
Oratorio
(HWV 62).

Sometimes
referred to as
organ
concerto "No.
16". Arranged
by Handel
F from the
305 Organ c. 1747–48
major Concerto a
due cori in F
major (HWV
334) (3
movements)
and Marche
in F.
First
London,
movement
B-flat 17 February Lincoln's Opus 7
306 Organ 27 February 1740 1761 includes an
major 1740 Inn Fields No. 1
independent
Theatre
pedal part
Performed
London,
with the
A 5 February Covent Opus 7
307 Organ 18 February 1743 1761 oratorio
Samson
Theatre
(HWV 57)
Two variant
autographs of
London,
1st
B-flat 1–4 January Covent Opus 7
308 Organ 1 March 1751 1761 movement.
Handel's last
Theatre
orchestral
work
?Performed
with premiere
D Opus 7 of "The
309 Organ ?c. 1744 ?14 February 1746 1761
minor No. 4 Occasional
Oratorio"
(HWV 62)
Performed
with
"Theodora"
London, (HWV 68).
G 31 January Covent Opus 7 Final gavotte
310 Organ 16 March 1750 1761
minor 1750 Garden No. 5 in published
Theatre version
probably
added later
by Smith Jr.
Assembled by
John
Christopher
Smith junior
B-flat Opus 7 following
311 Organ c. 1748–49 1761 1749
major No. 6 Handel's
death for
John Walsh
the younger's
publication
Ritornello for
Chaconne

(HWV 435).
G Part of a
343 Organ c. 1738–39
major fragmentary
outline of an
organ
concerto
Concerti grossi [ edit ]
Main articles: Concerti Grossi, Op. 3 (Handel) and Concerti grossi, Op. 6 (Handel)
HWV Key Composed Premiere Venue Published Opus Notes

No Handel
autograph.
Earliest
surviving
manuscript
?Hanover, c.
312 B-flat major 1734 Opus 3 No. 1 score from c.
1710
1724.
Probably the
earliest
concerto in
the Op. 3 set
313 B-flat major c. 1715–1718 1734 Opus 3 No. 2
Arranged (?
314 G major c. 1717–1718 c. 1717–1718 1734 Opus 3 No. 3
by Walsh)
Referred to as
either "The
London,
Orchestra
King's
315 F major 1716 20 June 1716 Opus 3 No. 4a Concerto" or
Theatre,
"The Second
Haymarket
Overture in
Amadigi"
In Walsh's
2nd edition of
the Op. 3
316 D minor 1717–1718 1734 Opus 3 No. 5 concertos, the
3rd, 4th, & 5th
movements
were added
Published by
(?) 1733– Walsh in 1734
317 D major 1734 Opus 3 No. 6
1734 as an organ
concerto
First
performance
between the
25 January acts of the
318 C major February 1736 1740
1736 oratorio,
Alexander's
Feast (HWV
75)
29 September
319 G major 1740 Opus 6 No. 1
1739
4 October
320 F major 1740 Opus 6 No. 2
1739
6 October
321 E minor 1740 Opus 6 No. 3
1739

8 October
322 A minor 1740 Opus 6 No. 4
1739
Known as the
"St. Cecilia's
Concerto," as
the first two
movements
10 October and the last
323 D major 1740 Opus 6 No. 5
1739 use thematic
material from
the overture to
the Ode for
St. Cecilia's
Day (HWV 76)
15 October
324 G minor 1740 Opus 6 No. 6
1739
12 October
325 B-flat major 1740 Opus 6 No. 7
1739
18 October
326 C minor 1740 Opus 6 No. 8
1739
The second
two
movements
were
borrowed from
the Organ
Concerto in F
major, HWV
295, and the
minuet and
Probably
allegro fugue
between 10–
327 F major 1740 Opus 6 No. 9 from the
11 October
overture to
1739
Imeneo. The
newly
composed
Gigue was
originally
intended for
the Concerto
Grosso in F
major (HWV
320)
The gavotte-
like last
movement
was originally
22 October intended by
328 D minor 1740 Opus 6 No. 10
1739 Handel for the
Concerto
Grosso in B
minor (HWV
330)
A reworking of
the Organ
30 October
329 A major 1740 Opus 6 No. 11 Concerto in A
1739
major, HWV
296.

20 October
330 B minor 1740 Opus 6 No. 12
1739
Two
movements,
London, thematically
Drury related to the
331 F major 20 March 1723
Lane Water Music
Theatre Suite in F
major (HWV
348)
Water Music,
Suite Variant
No 1. Two
movements,
thematically
331-1 F major related to the
Suite No 1 in
F major from
The Water
Music (HWV
348)
Water Music,
Suite Variant
No 2. Two
movements,
thematically
331-2 F major related to the
Suite No 1 in
F major from
The Water
Music (HWV
348)
Concerto a
due cori in B-
flat major, No.
1. Composed
London,
for
Covent
332 B-flat major 1747–1748 (?) 9 March 1748 performances
Garden
with oratorios;
Theatre
probably
performed
during Joshua
(HWV 64)
Concerto a
due cori in F
major, No. 2.
Composed for
London, performances
Covent with oratorios;
333 F major 1747–1748 (?) 23 March 1748
Garden probably
Theatre performed
during
Alexander
Balus (HWV
65)
Concerto a
due cori in F
major, No. 3.
Composed for

London,
performances
Covent
334 F major 1747–1748 (?) 1 April 1748 with oratorios;
Garden
probably
Theatre
performed
during Judas
Maccabaeus
(HWV 63)
Version of the
overture to the
335a D major c. 1746
Fireworks
music.
Version of the
overture to the
335b F major c. 1746
Fireworks
music.
Orchestral works [ edit ]
HWV Type Key Composed Premiere Published Notes

Autograph headed "Suite de
302b Largo F major c. 1738 pieces" (presumably this was the
opening movement)
B-flat Autograph lost. Probably
336 Overture
major completed in Germany or Italy
Probably intended as an
introductory movement. Possibly
intended to be coupled with the
337 Overture D major c. 1722–1725
concerto grosso in D major Op. 3
No. 6 (HWV 317) as the adagio
movement.
Originally, with the 1st movement
of the Organ Concerto, Allegro in D
minor (HWV 317), a 3-movement
B orchestral concerto. The 1st
338 Adagio/Allegro minor/D 1722 movement was used as the
major sinfonia in Ottone (HWV 15); and
the theme of the last movement
was reworked for the overture of
Ottone
No autograph. First published in
1979 in the Halle Edition (IV/15)
B-flat and is known only from a copy by
339 Sinfonia c. 1706–1707 1979
major Christopher Graupner (1683–
1760). Probably completed in
Hamburg or Italy
?c. 1710–
340 Allegro G major No autograph
1715
341 Suite D major 1733 Almost certainly spurious
342 Overture F major c. 1736
No autograph. Apparently
Chorus and B-flat movements from the Hamburg
344 1708
Minuet major opera Florindo (HWV 3) (See HWV
354)
345 March D major before 1738 No autograph
B-flat
347 Sinfonia c. 1747
major

Autograph lost. Performed for King

George I on The Thames from a
Suite. Water
barge containing about 50
348 Music suite F major 1717 17 July 1717 1788
musicians. The King insisted on
No. 1
the performance being repeated
more than once
Suite. Water
349 Music suite D major 1717 17 July 1717 1788
No. 2
more than once
Suite. Water
350 Music suite G major 1717 17 July 1717 1788
No. 3
more than once
Composed for the celebration of
Suite. Music Peace of Aix-la-Chapelle (Aachen)
351 for the Royal D major 1749 27 April 1749 which brought to an end the War of
Fireworks Austrian succession. First
performed in Green Park, London
B-flat
352 Suite 1706 No autograph
major
353 Suite G major 1706 No autograph
B-flat
354 Suite 1708 No autograph
major
?c. 1710–
355 Hornpipe aria C minor No autograph
1715
No autograph. Composed for
356 Hornpipe D major 1740
Vauxhall Gardens
B-flat
413 Gigue 1736
major
Solo sonatas [ edit ]
Further information: Handel flute sonatas, Handel solo sonatas (published by Walsh), and XV Handel solo sonatas
(published by Chrysander)
The following table details the sonatas for various solo instruments (with keyboard accompaniment):
HWV Instrument Key Composed Published Opus Notes

One of Handel's earliest
357 Oboe B-flat major c. 1707–10 extant compositions. Probably
written during his years in Italy
A "Fitzwilliam" sonata. The
autographed manuscript,
located in the Fitzwilliam
Museum, does not mention
instrumentation, nor are there
358 Unspecified G major c. 1707–10
tempo markings for the
movements. It is tentatively
assigned to the violin in the
HHA, however the recorder is
also a possibility.
The D minor sonata, headed
"Sonata 2", follows the G
major sonata (HWV 358) in

the Fitzwilliam Museum

359a Violin D minor c. 1724 autograph. Originally written
for violin and published in two
different E minor versions for
the flute. See flute sonata in E
minor (HWV 359b)
Of the two sonatas published
by Chrysander as Opus 1
Sonata I, this one (Sonata Ib)
359b Flute E minor c. 1724 1732 Opus 1 No. 1b
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
The only violin sonata to have
361 Violin A major c. 1725–26 1732 Opus 1 No. 3 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
Both Walsh and Chrysander
364a Violin G minor c. 1722–24 1732 Opus 1 No. 6 published the work as an
oboe sonata.
A transcription of HWV 364a
Viola da
364b G minor c. 1724 —as suggested by Handel on
gamba
the manuscript.
365 Recorder C major c. 1712 Opus 1 No. 7
366 Oboe C minor c. 1711–12 1732 Opus 1 No. 8
Movements 1–5 constitute the
"Fitzwilliam Sonata III" in
Thurston Dart's arrangement.
Originally published Flute
Sonata in B minor, Op 1 No
367a Recorder D minor c. 1712 Opus 1 No. 9a 9b (HWV 367b). The
contemporary edition of
Handel attributes it to the
transverse flute, but the
autograph manuscript is
clearly for the recorder.
In the 'Aylesford' collection the
367b Flute B minor c. 1725–26 1732 Opus 1 No. 9b 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
This sonata represents
Handel's last piece of
chamber music. The piece
371 Violin D major c. 1749-50 Opus 1 No. 13
was not published by Walsh;
the designation Op 1 No.13 is
Chrysander's
Probably spurious. The piece
was published by Walsh as
Op 1 No. 10 in the original
372 Violin A major 1732 Opus 1 No. 14 edition that had a faked title
page naming Roger as the
publisher; the designation Op

1 No.14 is Chrysander's
Probably spurious. The piece
was published by Walsh as
Op 1 No. 12 in the original
373 Violin E major 1732 Opus 1 No. 15 edition that had a faked title
page naming Roger as the
publisher; the designation Op
1 No.15 is Chrysander's
"Halle sonata No. 1".
374 Flute A minor 1730
Authenticity uncertain
Authenticity uncertain. The
first two movements are
375 Flute E minor 1730 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
Authenticity uncertain
All three movements appear
377 Recorder B-flat major c. 1712
as parts of other works
No autograph, but now
considered authentic. It
appears in an important
378 Flute D major c. 1707? 1979 manuscript of 18th century
solo sonatas in the Brussels
Royal Conservatory, and is
there attributed to 'Sr Weisse'
The work's authenticity is
unquestioned, but the sonata
is not part of Handel's Opus 1
379 Flute E minor c. 1727–28 1879 Opus 1 No. 1a
as published by Walsh—
having been added by
Chrysander.
Adagio and Allegro. Three–
406 Violin A major c. 1751 part accompaniment (?
orchestral short score)
407 Violin G major c. 1738 Allegro
Allegro. It may be the only
surviving fragment of a
completed sonata in C minor.
408 Violin C minor c. 1725–29
Used as the finale to the
Recorder sonata in A minor
(HWV 362).
Andante. Variant of
movement from the Recorder
409 Recorder D minor c. 1712
Sonata in D minor (HWV
367a)
412 Violin A minor c. 1725–26 Andante
HWV 419 1-6 are six
marches. They are known
only from printed sources;
were published as separate
treble and bass parts; with
419-1 c. 1710–20
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
Minuet. Two–stave versions in
autograph; instrumentation
420 D major c. 1743–44 unspecified, upper stave ?
violins. May have originated
as a keyboard work
Minuet. Two–stave versions in
autograph; instrumentation
421 D major c. 1743–44 unspecified, upper stave ?
violins. May have originated
as a keyboard work
Trio sonatas [ edit ]
HWV Key Composed Published Opus Notes

B-flat
380 Authenticity doubtful
major
D
minor
E-flat
major
F
major
G
major
D
major
In Chrysander's "G. F. Handel's Werke" (1879) this piece was
C
386a c. 1717–1719 1879 referred to as Op. 2 No. 1a; Variant form of Op. 2 No 1, not
minor
published by Walsh, but found in manuscripts
B Opus 2 In Chrysander's "G. F. Handel's Werke" this piece referred to as
386b before 1727 1733
minor No. 1 Op. 2 No 1b
G Opus 2 Handel's earliest datable composition. In Chrysander's "G. F.
387 ?1699 1733
minor No. 2 Handel's Werke" this piece referred to as Op. 2 No 2
In Chrysander's "G. F. Handel's Werke" this piece referred to as
B-flat Opus 2
388 c. 1717–1718 1733 Op. 2 No 4. The finale appears in the overture to Athalia (HWV
major No. 3
52)
In Chrysander's "G. F. Handel's Werke" this piece referred to as
F Opus 2
389 c. 1718–1722 1733 Op. 2 No 5. The Larghetto appears in the overture to Esther
major No. 4
(HWV 50a)
G Opus 2 In Chrysander's "G. F. Handel's Werke" this piece referred to as
390a c. 1717–1722 1733
minor No. 5 Op. 2 No 6
G
390b Published in HG volume 48. Unlikely to be Handel's work
minor
G Opus 2 In Chrysander's "G. F. Handel's Werke" this piece referred to as
391 c. 1707 1733
minor No. 6 Op. 2 No 7
In Chrysander's "G. F. Handel's Werke" (1879) this composition
F
392 c. 1706–1707 referred to as Op. 2 No 3. One of the "Dresden" sonatas. No
major
autograph

G probably c. Authenticity uncertain. In Chrysander's "G. F. Handel's Werke"

393
minor 1719 this piece referred to as Op. 2 No 8
E Authenticity uncertain. In Chrysander's "G. F. Handel's Werke"
394
major this piece referred to as Op. 2 No 9
E Authenticity uncertain. Probably composed by Johann Adolph
395
minor Hasse (1699–1783)
A Opus 5
396 1739
major No. 1
D Opus 5
397 1739
major No. 2
E Opus 5
398 1739
minor No. 3
G Opus 5 A tempo ordinario movement is based on the overture to
399 1739
major No. 4 "Parnasso in Festa" (HWV 73).
G Opus 5
400 1739
minor No. 5
F Opus 5
401 1739
major No. 6
B-flat Opus 5
402 1739
major No. 7
C
403 c. 1738
major
G
404 No autograph
minor
F
405 c. 1707–1710
major
Wind ensemble works [ edit ]
HWV Type Key Composed Notes

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

HWV Type Key Composed Published Notes

Used as an overture. Solo keyboard
305b Arrangement F minor c. 1747 arrangement of the Organ Concerto in F
major (HWV 305)
An individual movement. Composed by
E Handel at St. Giles extempore. Autograph c.
425 Air (Saraband)
major 1740–50 includes Handel's transcription of
opening melody
A
426 Suite de pièce Vol. 1 No. 1 prior to 1720 1720
major
I. Adagio (2:45):
0:00 MENU
II. Allegro (1:53):

0:00 MENU
427 Suite de pièce Vol. 1 No. 2 F major prior to 1720 1720
III. Adagio (1:55):
0:00 MENU
IV. Allegro (2:04):

0:00 MENU
D
minor
E
minor
4th.“The Harmonious Blacksmith” or “Air and
E Variations in E major”. Also found in early
major manuscript scores as a "Chaconne" in G
major (at least 2 variant forms)
F-
431 Suite de pièce Vol. 1 No. 6 sharp prior to 1720 1720
minor
G
432 Suite de pièce Vol. 1 No. 7 prior to 1720 1720 6th.Passacaglia
minor
433 Suite de pièce Vol. 1 No. 8 F minor prior to 1720 1720
434-4: minuet in G minor which is also used
in the flute sonata in E minor (HWV 375).
B-flat
434 Suite de pièce Vol. 2 No. 1 ?1710–1717 1733 Not part of the Suite de piece in B-flat major.
major
434-3 has the theme used by Johannes
Brahms for his Handel Variations.
21 variations. A chaconne. The Ritornello in
G
435 Suite de pièce Vol. 2 No. 2 ?1705–1717 1733 G major (HWV 343) was added to this
major
composition
D Nowrap|c.
436 Suite de pièce Vol. 2 No. 3 1733
minor 1721–1726
D
437 Suite de pièce Vol. 2 No. 4 c. 1703–1706 1733 4th.Sarabande
minor
E
438 Suite de pièce Vol. 2 No. 5 c. 1710–1717 1733
minor
G
minor
B-flat
440 Suite de pièce Vol. 2 No. 7 c. 1703–1706 1733 revised 1717-18
major
G
major
62 variations. Prelude and Chaconne. Two
G
442 Suite de piece Vol. 2 No. 9 c. 1703–1706 1733 different preludes noted in sources (HWV
major
442/1b in Walsh)
C Includes Chaconne (of which there are 26

443 Suite 1700–1703

major variations)
C
444 Partita c. 1705–1706
minor
C
445 Suite 1705–1706
minor
C Composed for two harpsichords, but the
446 Suite c. 1703–1706
minor music for only one harpsichord survives
D Written for Princess Louisa. Companion
447 Suite c. 1738–1739
minor piece to the Suite in G minor (HWV 452)
D
448 Suite c. 1705–1706
minor
D
449 Suite c. 1705
minor
G
450 Partita c. 1700–1705
major
G
451 Suite c. 1703–1706 Allemande and Courante only
minor
G Written for Princess Louisa. Companion
452 Suite c. 1738–1739
minor piece to the Suite in D minor (HWV 447)
G
453 Suite c. 1705–1706
minor
A
454 Partita c. 1703–1706
major
Keyboard version of the overture in B-flat
B-flat
455 Suite c. 1705 major (HWV 336) and the suite in B-flat
major
major (HWV 354)
Arrangement of the overture to the Italian
456-1 Arrangement c. 1720–1727
opera “Il pastor fido"
opera "Amadigi"
opera "Flavio"
opera "Rodelinda"
opera "Riccardo Primo"
C
457 Air c. 1720–1721
major
C
458 Air ?c. 1710–1720 Authenticity uncertain
minor
C
459 Air ?c. 1710–1720 Authenticity uncertain
minor
D
460 Air (March) c. 1720–1721
major
D
461 Air (Hornpipe) c. 1717–1718
minor
D
462 Air and minuet c. 1724–1726
minor
463 Air F major c. 1707–1709
A version of the air from the "Water Music"
464 Air F major c. 1724–1726
(HWV 348–350)
465 Air and two Doubles F major c. 1710–1720
G For two-manual harpsichord (or possibly
466 Air c. 1710–1720
minor organ)

G
467 Air Lentement c. 1710–1720
minor
A
468 Air c. 1727–1728
major
Re-used in orchestral form in the Sinfonia in
B-flat
469 Air c. 1738–1739 B-flat major (HWV 347) and the Organ
major
Concerto in B-flat major (HWV 311)
B-flat For two-manual harpsichord (or possibly
470 Air c. 1710–1720
major organ)
B-flat
471 Air c. 1710–1720
major
C
472 Allegro c. 1705
major
C 25 August
473 Allegro Clock-Organ
major 1738
G Based on the first chorus of "Acis and
474 Air c. 1736–1738
major Galatea" (HWV 49a). Possibly for organ
D
475 Allegro c. 1710–1720
minor
476 Allemande F major c. 1730–1735
A
477 Allemande c. 1724–1726
major
A
478 Allemande c. 1705
minor
B
479 Allemande c. 1721–1722
minor
Chorale melody "Jesu, meine Freude" in the
G
480 Chorale c. 1736–1740 middle part. Possibly for organ. A two-bar
minor
epilogue may represent a planned variation
481 Capriccio F major c. 1703–1706
opera 'Rinaldo'
opera 'Floridante'
opera 'Radamisto'
opera 'Muzio Scevola'
G
483 Capriccio c. 1720–1721
minor
Chaconne with 49 C
484 c. 1700–1705 Version of the Chaconne in Suite HWV 443
variations major
485 Chaconne F major c. 1705 For a two-manual harpsichord
G
486 Chaconne c. 1705
minor
G
487 Concerto c. 1710–1720 Two movements
major
In G major for the Suite de piece in G major,
488 Allegro (Courante) F major c. 1717–1718
Vol. 2 No. 9 (HWV 442)
B
489 Courante c. 1722
minor
C
490 Fantasie pour le clavecin, c. 1703–1706
major
G

491 Gavotte c. 1705

major
492 Gigue F major c. 1726–1727
G
493 Gigue c. 1704–1705 Two versions
minor
G
494 Impertinence (Bourée) c. 1705
minor
Early form (two variants) of the Suite de
D
495 Lesson c. 1705–1710 pièce in D minor, Vol. 1 No. 3 (HWV 428),
minor
movement six
A
496 Lesson c. 1715–1720
minor
497 to Two-stave pieces, probably for keyboard.
62 Minuets Various
558 Some related to minuets in other works
C
559 Passepied c. 1721–1722
major
A
560 Passepied c. 1705
major
D Version of the prelude to the Suite de pièce
561 Prelude c. 1705–1706
minor in D minor, Vol. 2 No. 4 (HWV 437)
D
562 Prelude (Harpeggio) c. 1711–1712
minor
D
563 Prelude c. 1700–1703
minor
D
564 Prelude c. 1705
minor
D An early version of the Prelude to the Suite
565 Prelude c. 1710–1720
minor de pièce in D minor, Vol. 1 No. 3 (HWV 428)
Associated in some manuscripts with
E
566 Prelude c. 1710–1720 movements in the Suite de pièce in F minor,
major
Vol. 1 No. 8 (HWV 433)
567 Preludium F major c. 1710–1720
Associated in some manuscripts with
568 Preludium F minor c. 1710–1720 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
F-
Originally associated with the Suite de pièce
570 Prelude (Harpeggio) sharp c. 1717–1718
in F-sharp minor, Vol. 1 No. 6 (HWV 431)
minor
G
571 Prelude and Capriccio c. 1703–1706 Two movements
major
G Originally associated with the Suite de pièce
572 Prelude c. 1710–1717
minor in G minor, Vol. 1 No. 7 (HWV 432)
G
573 Prelude (Harpeggio) c. 1705
minor
Prelude and Allegro G
574 c. 1705 Two movements
(Sonata) minor
A Coupled with the "Lesson in A minor"; HWV
575 Prelude (Harpeggio) c. 1717–1718
minor 496
A
576 Prelude and Allegro c. 1705–1706 Two movements
minor
Sonata (Fantasia) pour le C
577 c. 1703–1705
clavecin, major
Clock-Organ. Music related to a setting of
'Amen' (HWV 277), the Concerto Grosso in

C
578 Sonata c. 1750 C major for "Alexander's Feast" (HWV 318),
major
and the "Air Lentement in G minor" (HWV
467)
G For a two-manual harpsichord (or possibly
579 Sonata (Fantasia) ?c. 1707–1710
major organ)
G
580 Sonata (Larghetto) ?c. 1707–1710 One movement
minor
D
581 Sonatina c. 1705 One movement
minor
G
582 Sonatina (Fugue) c. 1721–1722 One movement
major
G
583 Sonatina ?c. 1721–1722 One movement
minor
A
584 Sonatina c. 1706–1708 One movement. Authenticity uncertain
minor
B-flat
585 Sonatina c. 1721–1722 One movement
major
G
586 Toccata c. 1710–1720
minor
"10 [sic] Tunes for Clay's Musical Clock"
587 to C, F,
Eleven pieces c. 1735–1740 (Clock-Organ). Includes arrangements of
597 and G
opera arias
C
Clock-Organ. HWV 600 (a version of HWV
598 to major,
Seven pieces c. 1730–1740 588) named "A Voluntary for a Flight of
604 A
Angels."
minor
No 1 of "Six Fugues or Voluntarys for the
G
605 Fugue c. 1711–1718 1735 Organ or Harpsichord" published by Walsh in
minor
1735
G
major
1735
B-flat
major
1735
B
minor
1735
A
minor
1735
C
minor
1735
611 Fugue F major c. 1705 No autograph
No autograph. Single source is from a
manuscript of organ voluntaries; probably
E
612 Fugue authentic, though the text of final bars is
major
defective. The fugue subject is related to the
"Water Music" overture
A15
Minuets Various Arranged from music of opera arias
1 – 37
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

London,
Revival on 30
King's
L'Elpidia, ?Nicola November 1725:
Theatre,
Opera overo Li Haym, London, King's
A1 1725 11 May 1725 Haymarket
(pasticcio) rivali after A. Theatre, Haymarket
(10
generosi Zeno, 1697 (4 performances to
performances
11 December)
to 19 June)
12 songs changed at
London, 21 April 1730
King's performance, for
Theatre, Strada's benefit.
?Rossi,
Opera Haymarket Revival on 28
A3 Ormisda 1730 4 April 1730 after Zeno,
(pasticcio) (13 November 1730:
1722
performances London, King's
to 14 May; Theatre, Haymarket
also 9 June) (5 performances to 8
December).
London,
King's
Theatre, ?Rossi,
Opera
A4 Venceslao 1731 11 January 1731 Haymarket (4 after Zeno,
(pasticcio)
performances 1724
to 23
January)
London,
King's After
Lucio
Opera Theatre, Zeno/C.I.
A6 Papirio 1732 23 May 1732
(pasticcio) Haymarket (4 Frugoni,
dittatore
performances 1729
to 6 June)
London,
After
Opera King's
A7 Catone 1732 4 November 1732 Metastasio,
(pasticcio) Theatre,
1728/9
Haymarket
Semiramide London,
After
Opera or King's
A8 1733 30 October 1733 Metastasio,
(pasticcio) Semiramis Theatre,
1729
riconosciuta Haymarket
London,
Opera Caio King's After Zeno,
A9 1733 4 December 1733
(pasticcio) Fabricio Theatre, 1732
Haymarket
London,
After
Opera King's
A10 Arbace 1734 5 January 1734 Metastasio,
1730
Haymarket
London, Pasticcio by Händel
After
Opera Covent using Leonardo
A12 Didone 1737 13 April 1737 Metastasio,
(pasticcio) Garden Vinci's Didone
1726
Theatre abbandonata[6]
HWV missing [ edit ]
Handel's compositions that are not included in the HWV Catalogue include:
Genre Name Composed Premiere Venue Notes

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

Handel's "Alessandro" (HWV 21), which was

London
subsequently performed by the "Middlesex"
opera company
French Sans y Another version of the French song (HWV 155)
song penser in a lower key and a simpler bass line
Italian Sa perchè
c. 1712–1717 For alto
Aria pena il cor
Water Music Nine movements. The arrangement is
Orchestral
chamber contemporary, but the authenticity is uncertain.
Suite
suite 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 ]
George Frideric Handel

Händel-Werke-Verzeichnis
Händel-Gesellschaft
Publications by Friedrich Chrysander
Hallische Händel-Ausgabe
Handel Reference Database
References [ edit ]
1. ^ Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians. x (2nd 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 (2nd ed.).
3. ^ Stiftung Händel-Haus Halle Archived 19 June 2013 at the Wayback Machine (Händel-Haus Halle Foundation)
6. ^ Roberts, John H. (1 January 1987). "Handel and Vinci's 'Didone Abbandonata': Revisions and Borrowings". Music & Letters. 68
(2): 141–150. JSTOR 737061 .
External links [ edit ]
Category of Handel's works at the International Music Score Library Project

List of compositions at GFHandel.org
v·t·e George Frideric Handel [show]
Categories: Compositions by George Frideric Handel Lists of compositions by composer
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List of compositions by George Frideric Handel

Main article: List of operas by George Frideric Handel

https://en.wikipedia.org/wiki/List_of_compositions_by_George_Frideric_Handel[28/03/2020 09:22:18 p. m.]

HWV Title Premiere Venue Libretto Notes

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Haym, after Antonio Salvi, after

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33 Ariodante 8 January 1735

Incidental music [ edit ]

HWV Title Premiere Venue Notes

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December 1749 and January 1750.

HWV Title Premiere Venue Libretto Text Notes

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Covent Garden Thomas

Odes and masques [ edit ]

HWV Title Premiere Venue Text

HWV Title Composed Premiere Venue Notes Text

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106) with new opening.

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148 Rome, early 1707

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Italian duets [ edit ]

HWV Title Composed Notes Text

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Italian trios [ edit ]

HWV Title Composed Notes Text

HWV Title Voice Composed Notes Text

Italian arias [ edit ]

HWV Title Voice Composed Text

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213 Con lacrime si belle Alto London, c. 1717–18

English songs [ edit ]

HWV Title Voice Composed Notes Text

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("Kitty") Clive in James Miller's comedy,

German church cantatas [ edit ]

HWV Title Composed notes

Italian sacred cantatas [ edit ]

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HWV Title Voice Composed Notes

Latin church music [ edit ]

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Gloria in excelsis ("Missa

Further information: Handel's coronation anthems and Chandos Anthems

HWV Title Composed Premiere Venue Notes Text

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Palace, Revised for the wedding of

HWV Title Key Composed Premiere Venue Notes Text

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HWV Instrument Key Composed Premiere Venue Published Opus Notes

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