Operas

Main article: List of operas by Handel All works are opera seria in three acts, unless otherwise stated.
1 Almira 8 January 1705 Theater am Gänsemarkt, Hamburg Friedrich Christian Feustking, after G. Pancieri Singspiel 2 Nero 25 February 1705 Theater am Gänsemarkt, Hamburg Friedrich Christian Feustking Music lost 3 Florindo 1708 Theater am Gänsemarkt, Hamburg Hinrich Hinsch Music lost 4 Daphne 1708 Theater 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 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 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 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 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 40 Serse 15 April 1738 King’s Theatre, London After Stampiglia Also known as Xerxes

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
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 Music for Comus circa 9 June 1745 Exton, Rutland Written for a private performance of the masque Comus. 45 Alceste (Masque) Not performed Written for a play by Tobias Smollett which was not produced. Music composed December 1749—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
46a Il trionfo del Tempo e del Disinganno June 1707 Rome 46b Il trionfo del Tempo e della Verità 17 March 1737 London 47 La resurrezione 8 April 1708 Rome 48 Brockes Passion 23 March 1719 Hamburg Cathedral (possibly) 50a/b Esther probably 1718 probably Cannons Stanford 51 Deborah 21 February 1733 King's Theatre, London Stanford 52 Athalia 10 July 1733 Sheldonian Theatre, Oxford Stanford 53 Saul 16 January 1739 King's Theatre, London Stanford 54 Israel in Egypt 4 April 1739 King's Theatre, London Stanford 55 L'Allegro, il Penseroso ed il Moderato 27 February 1740 Theatre in Lincoln's Inn Fields, London Stanford 56 Messiah 13 April 1742 New Music Hall, Dublin Stanford 57 Samson 18 February 1743 Covent Garden Theatre, London Stanford

London Stanford 69 The Choice of Hercules 1 March 1751 Covent Garden Theatre. London Stanford 71 The Triumph of Time and Truth 11 March 1757 Covent Garden Theatre. London Stanford 66 Susanna 10 February 1749 Covent Garden Theatre. London Stanford 59 Joseph and his Brethren 2 March 1744 Covent Garden Theatre. London Stanford 62 Occasional Oratorio 14 February 1746 Covent Garden Theatre.58 Semele 10 February 1744 Covent Garden Theatre. London Stanford 68 Theodora 16 March 1750 Covent Garden Theatre. London Stanford 64 Joshua 9 March 1748 Covent Garden Theatre. London Stanford 63 Judas Maccabaeus 1 April 1747 Covent Garden Theatre. 1707 . London Stanford 67 Solomon 17 March 1749 Covent Garden Theatre. London Stanford Cantatas 77 Ah che pur troppo è vero Florence. London Stanford 73 Parnasso in festa 13 March 1734 King's Theatre. London Stanford 61 Belshazzar 27 March 1745 King's Theatre. 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 Odes and masques 72 Aci. London Stanford 70 Jephtha 26 February 1752 Covent Garden Theatre. ca. Cecilia's Day 22 November 1739 Theatre in Lincoln's Inn Fields. London Stanford 65 Alexander Balus 23 March 1748 Covent Garden Theatre. London Stanford 60 Hercules 5 January 1745 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.

1708. volgi un sguardo" (89). Spurious. 1707 80 Allor ch'io dissi: Addio Rome. London Played between the two parts of Alexander's Feast (HWV 75). 1707–09 81 Alpestre monte Florence. earliest source circa 1738–40 95 Clori. 1709. 1709 85 Venus and Adonis or Behold where weeping Venus stands London. late 1707 91b Clori. nel pianto mio Rome. 1707–08 94 Clori. August 1708 2 September 1708 Palazzo Bonelli. May 1707 Cardinal Pamphili's palazzo 100 Da sete ardente afflitto Italy. degli occhi miei London. 97 Crudel tiranno Amor London. 1707. 1708–09 Copied for Ruspoli. after 1710 92 Clori. July/September 1707 Copied for Ruspoli. on or before 14 January 1707. 90 Chi rapì la pace al core Florence. 1707–08 93 Clori. aure grate Rome. ch'io t'adoro No autograph. 1708 99 Il delirio amoroso or Da quel giorno fatale Rome. August 1708 Probably 28 October 1708 Copied for Ruspoli. May 1707 Copied for Ruspoli. volgi un sguardo London. (HWV 101a & 101b: Dal fatale momento. authenticity uncertain 86 Bella ma ritrosetta London. June 1721 Probably 5 July 1721 King's Theatre. . 1708 83 Aminta e Fillide or Arresta il passo Early 1708 14 July 1708 Rome Copied for Ruspoli. ove sei? Italy. May 1707 May – June 1707 Vignanello Copied for Francesco Ruspoli.78 Ah! crudel. July/August 1708 Copied for Ruspoli. 98 Cuopre tal volta il cielo Italy. Haymarket. circa 1706–07 Copied for Ruspoli. vezzosa Clori Rome. circa 1711 No autograph. 1737 16 March 1737 London Variant insertion in "Cecilia. 1709 91a Clori. mia bella Clori Rome. 14 October 1707. Tirsi e Fileno or Cor fedele in vano speri Rome. for performances of Alexander's Feast (HWV 75). including music for the castrato Annibali 88 Care selve. 1708. Rome 79 Diana cacciatrice or Alla caccia Rome. "Chi ben ama" printed separately in HG 52b 84 Aure soavi. circa 1707 82 Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso Rome. si. circa 1717– 18 87 Carco sempre di gloria London. 1708 96 Clori. e lieti Rome. by F. Mancini). degli occhi miei Florence. The section. January 1736 19 or 25 (?) February 1736 Covent Garden Theatre. 1737. 1707–08 89 Cecilia. London Performed at the benefit concert for Margherita Durastanti.

1707. 1706–07 114 Filli adorata e cara Rome. 1709 117 Hendel. mia vita? Italy. 1708 Copied for Ruspoli. Pasqualino Tiepoli Libretto: Anonymous 111a E partirai. No source attributed to Handel. 121a La Solitudine or L'aure grate. July/August 1708 Copied for Ruspoli. after 1710 No autographs or Italian-period copies. 1709 102b Dalla guerra amorosa Italy. circa 1722–23 Printed without final aria in HG. 120b Irene. 1707–09 No autograph or Italian-period copies 113 Figlio d'alte speranze Florence. 1707–09 See note for HWV 132 107 Ditemi. 1709.102a Dalla guerra amorosa Italy. 1708–09 Copied for Ruspoli. circa 1717–18 Libretto ?Text by Paolo Antonio Rolli 109b Dolc' è pur d'amor l'affanno London. 1706–07 Copied for Ruspoli. 1708. o piante Rome. 1707–08 Early in 1708 First performed by the castrato soprano. mia vita? London. 1709 115 Fra pensieri quel pensiero Italy. 1709 Libretto by Cardinal Benedetto Pamphili 118 Ho fuggito Amore anch'io London. s'io taccio No autograph. Libretto by Paolo Antonio Rolli 119 Echeggiate. il fresco rio London. 1707–08 Copied for Ruspoli. 1707–09 111b E partirai. idolo mio Italy. festeggiate. 1707–08 116 Fra tante pene Florence. circa 1722–23 fragment . 1709 105 Armida abbandonata or Dietro l'orme fuggaci Rome. 1708–09 Copied for Ruspoli. circa 1710–12 Partly lost. Rome Copied for Ruspoli. circa 1725–28 112 Figli del mesto cor Probably Italy. 109a Dolc' è pur d'amor l'affanno London. idolo mio England. ?after 1718 Libretto: ?Text by Paolo Antonio Rolli 110 Agrippina condotta a morire or Dunque sarà pur vero Italy. 1707–09 No autographs or Italian-period copies. non può mia musa July/August. 1708–09 Copied for Ruspoli. June 1707 Possibly 26 June 1707 Palazzo Bonelli. 1709 103 Deh! lasciate e vita e volo London. 106 Dimmi. 1708 108 Dolce mio ben. o mio cor Italy. numi eterni or Io languisco fra le gioie London. 120a Irene. circa 1722–25 Libretto text by Paolo Antonio Rolli 104 Del bel idolo mio Rome. Fragments printed in wrong order in HG.

no autographs or Italian-period copies. 1710 ?fragment 124 Look down. one version copied for Francesco Ruspoli. 1736. July/August 1708 126b Lungi da voi. Completed 1709 135a Nel dolce tempo Probably Naples. 125a Lungi da me. circa 1711–12 133 Ne' tuoi lumi. probably a discarded fragment for "Alexander's Feast" (HWV 75). London Recitative and aria. 1708 129 Manca pur quanto sai Rome. June/July 1708 136b Nell' Africane selve London. 126a Lungi da voi. 1707–08. September 1707 Copied for Ruspoli. and no early Italianperiod copies. after 1718 132c Mi palpita il cor ?London. 1710 Probably begun Venice. after 1710 132d Mi palpita il cor ?London. 132b Mi palpita il cor ?London. o mio cor" (HWV 106) with new opening. 1708 130 Mentre il tutto è in furore Rome. July/August 1708 Copied for Ruspoli. 3 March 1708 127b Lungi dal mio bel nume ?London. no autographs. 1708. September 1707 Copied for Ruspoli. 1707 132a Mi palpita il cor ?London.121b La Solitudine or L'aure grate. July – September 1708[1] 1st version. after 1710 127c Lungi dal mio bel nume London. April/May 1707 Copied for Ruspoli. 1708 131 Menzognere speranze Rome. 1708 126c Lungi da voi. 1707. che siete poli Rome. 127a Lungi dal mio bel nume Rome. after 1710 Borrowings: Version of "Dimmi. August 1708 Copied for Ruspoli. Margherita Durastanti. che siete poli Probably London. after 1710. August 1708 Copied for Ruspoli. pensier tiranno London. 1709. from Cecilian Ode 1720. harmonious saint circa 1736 February 1736 Covent Garden Theatre. 136a Nell' Africane selve Naples. pensier tiranno Italy. . 1709 134 Pensieri notturni di Filli or Nel dolce dell'oblio Rome. il fresco rio London. after 1710 137 Nella stagion che di viole e rose Rome. circa 1725–28 128 Lungi n'andò Fileno Rome. after 1710 Second version. June/July 1708 135b Nel dolce tempo London. o bella Clori Rome. 125b Lungi da me. before 1718 122 Apollo e Dafne or La terra è liberata Hanover. Probably composed for the soprano. 1707. che siete poli Rome. after 1710 No autographs. 1709 123 Languia di bocca lusinghiera Possibly composed in Hanover. It appeared in the cantata HWV 89 Libretto by Newburgh Hamilton.

1708. after 1710 No autograph or eary Italian copies. Gloria or O come chiare e belle Rome. August/September 1708 9 September 1708 Marquis Ruspoli's Palazzo Bonelli ? Copied for Ruspoli. 1707 Derived from the story of Hero and Leander Libretto ?Cardinal Pietro Ottoboni. Copied for Ruspoli. after 1710 . 156 Sarai contenta un di Florence. 1707–08 Libretto anonymous 143 Olinto pastore. 151 Qualor crudele. 1707. Fall 1707 142 Notte placida e cheta Rome. 1706–07 157 Sarei troppo felice Rome. 148 Poichè giuraro amore Rome. circa 1738–40 Published in Handel (ed. o sereni occhi Rome. 1708 154 Quel fior che all'alba ride London." 155 Sans y penser Rome. 1710 139a Ninfe e pastori Rome.138 Nice. o core Probably Naples. 1709 147 Partì. 1708 Copied for Ruspoli. "Songs and Cantatas for Soprano. oh Dio Rome. 158a Se pari è la tua fè Rome. circa 1725–28 140 Nò se emenderá jamás Rome. 1709 149 Qual sento io non conosciuto Only source circa 1738–40 150 Ero e Leandro or Qual ti riveggio. 1707. September 1707 Copied for Ruspoli. Libretto by Cardinal Benedetto Pamphili 146 Occhi miei che faceste? Rome. Burrows). Margherita Durastanti. 158b Se pari è la tua fè Probably London. 1707–08 Copied for Ruspoli. non piangere Florence. 1708 Copied for Ruspoli. September 1707 Copied for Ruspoli. Probably composed for the soprano. 1709 139b Ninfe e pastori Probably London. 1707 153 Quando sperasti. 1708 (incomplete) Libretto by B. 1707–09 145 La Lucrezia or Oh numi eterni August. 1707. sì ma vaga Dori London. Tebro fiume. early 1707 Copied for Ruspoli. 1707–09 Copied for Ruspoli. Pamphili. First performed by the soprano Anna Marie di Piedz 144 O luceniti. l'idolo mio London. after 1710 139c Ninfe e pastori London. 1709. 1709. June/July 1708 Copied for Ruspoli. che fa? che pensa? ?Hanover. 1707 141 Non sospirar. after 1710 No autograph or early Italian-period copies 152 Qualor l'egre pupille Rome. September 1707 Composed in Italy. 1709. 1708. September 1707 Copied for Ruspoli.

early 1707 Copied for Ruspoli. circa 1717–18 165 Spande ancor a mio dispetto Italy. 1709 Italian duets .158c Se pari è la tua fè London. 1707–08 167b Stanco di più soffrire Rome. 1707–08 176 Amore uccellatore or Venne voglia ad Amore Rome. after 1710 No autographs or early Italian-period copies 164a Il Gelsomino or Son Gelsomino London. 1708–09 161b Sento là che ristretto 161c Sento là che ristretto London. 167a Stanco di più soffrire Italy. Composed with variant 163 Solitudini care. 1707. 1707–08 166 Splenda l'alba in oriente London. 1707–08 (possibly spring 1708 for the eminent German gambist Ernst Christian Hesse) Libretto by Cardinal Benedetto Pamphili 171 Tu fedel? Tu costante? Florence/Rome. May 1707 June 1707 Probably Vignanello Copied for Ruspoli. amata libertà London. 1709 160a La bianca rosa or Sei pur bella. 1706–07 Copied for Ruspoli. circa 1725–28 160c La bianca rosa or Sei pur bella. or Stelle. 1707. Fall 1707 175 Vedendo Amor Rome. July/August 1708 168 Partenza di G. arresta il volo Italy. B. 1706–07 Copied for Ruspoli. circa 1725–28 162 Siete rose ruggiadose London. circa 1711–12. circa 1725–28 159 Se per fatal destino Rome. 1707 173 Un' alma innamorata Rome. 1709 160b La bianca rosa or Sei pur bella. 1708 172 Udite il mio consiglio Florence. pur vezzosa London. early 1707 Copied for Ruspoli. circa 1725–28 164b Il Gelsomino or Son Gelsomino London. 1707 169 Torna il core al suo diletto Probably Rome. 1707. 1707–08 170 Il consiglio or Tra le fiamme Rome. 1707–09 ?Copied for Ruspoli. pur vezzosa London. circa 1738–41 161a Sento là che ristretto Rome. circa 1711–12 Survives only in fragmentary form. 1707 174 Un sospir a chi si muore Florence. pur vezzosa Rome. perfide stelle Rome. 1707–08 177 Zeffiretto.

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

circa 1724– 26 by B. circa 1730–40 Single movement." 208 Die ihr aus dunkeln Grüften Soprano London.H. 199 Va'.H." . Hymns 202 Künft'ger Zeiten eitler Kummer Soprano London. 12 July 1708 201b Se tu non lasci amore 1708 First movement longer in Naples autograph than in most copies. known only from copies.H.H. 196 Tacete. circa 1707–09 Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse. circa 1724–26 by B. circa 1711 Fugal movement later used in "Solomon" (HWV 67) for "Take him all. Brockes from "Irdisches Vergnügen in Gott." 198 Troppo cruda. Brockes from "Irdisches Vergnügen in Gott. circa 1711 Autograph lost." 209 In den angenehmen Büschen Soprano London. slightly different texts. Brockes from "Irdisches Vergnügen in Gott. tacete Italy. Brockes from "Irdisches Vergnügen in Gott. circa 1724–26 by B." 205 Süsse Stille.H. Brockes from "Irdisches Vergnügen in Gott. circa 1724–26 by B. circa 1724–26 by B. Brockes from "Irdisches Vergnügen in Gott. Brockes from "Irdisches Vergnügen in Gott." 206 Singe. circa 1724–26 by B. troppo fiera ?Hanover. Gott zum Preise Soprano London. Authenticity uncertain. Seele. circa 1724–26 by B. sanfte Quelle ruhiger Gelassenheit Soprano London." 207 Meine Seele hört im Sehen Soprano London. Brockes from "Irdisches Vergnügen in Gott. circa 1711 Autograph lost.H. circa 1707–09 Two versions. 201a Se tu non lasci amore Naples. speme infida ?Hanover." 197 Tanti strali al sen mi scocchi ?Hanover.195 Spero indarno London." 204 Süsser Blumen Ambraflocken Soprano London. ohimè.H. Italian trios 200 Quel fior che all'alba ride ?Italy.H." 203 Das zitternde Glänzen der spielenden Wellen Soprano London. circa 1724–26 by B.

" 269-77 Settings of 'Amen' and '(H)alleluja. by Charles Wesley. circa 1722–26 213 Con lacrime si belle Alto London. circa 1711–13 216 Impari del mio core Soprano London. crudel. circa 1749 215 Col valor del vostro brando Soprano London. by Charles Wesley. sì. circa 1710–18 220 Per dar pace al mio tormento Soprano London. Zierde der Erden Soprano London. deh. ma poi ritrovò Alto London. circa 1734–41. which survives. tornerà Soprano London. how sweet thou art (Desiring to Love) Soprano circa 1747 Probably at the request of Priscilla Rich. circa 1717–18 227 Vo' cercando tra fiori Soprano London. circa 1721–23 223 S'un di m'appaga. circa 1717–18 214 Dell'onda instabile Alto London. by Charles Wesley. circa 1738–41 224 Si. circa 1726 English songs 226 Hunting Song or The morning is charming Tenor 1743 Voice in treble clef. circa 1749 221 Quant'invidio tua fortuna Soprano London. presented to Legh in 1751 by Charles Legh. the Lord is King (On the Resurrection) Soprano circa 1747 Probably at the request of Priscilla Rich. Italian arias 211 Aure dolci. 1744–47 284 Sinners obey the Gospel word (The Invitation) Soprano circa 1747 Probably at the request of Priscilla Rich. circa 1749 217 L'odio. circa 1722–26 212 Con doppia gloria mia Soprano London. Brockes from "Irdisches Vergnügen in Gott. Composed in London 228-1 The unhappy Lovers: As Celia's fatal arrows flew . Autograph. circa 1738–41 225 Spera chi sa perchè la sorte Alto London. la mia crudele Soprano London. 286 Rejoice. circa 1724–26 by B. 285 O Love divine. amen' Soprano London.H. circa 1749 222 Quanto più amara fu sorte crudele Soprano London. spirate Alto London.210 Flammende Rose. circa 1722–26 219 Non so se avrai mai bene Soprano London.

Published: 1745. my lovely creature Soprano circa 1719 228-8 The forsaken Maid's Complaint: Faithless ungrateful / The slighted Swain: Cloe proves false Soprano circa 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. London: 14 November 1745. is gone astray Soprano circa 1725 228-13 Not. I pray you discover Soprano circa 1730 228-16 Phillis be kind and hear Soprano circa 1730 228-17 Phillis advised: Phillis the lovely Soprano circa 1739 228-18 Stand round. 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 circa 1735 228-11 I like the am'rous Youth that's free Soprano 1737 First performance: 28 February 1737: London. Published: 1741. I'm in love Soprano circa 1740 German church cantatas 229-1 Das gantze Haupt ist krank à 8 Halle. 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. circa 1700–03 . 15 May 1746. Sung by Catherine ("Kitty") Clive in James Miller's comedy. that I better am Soprano circa 1730 228-14 Strephon's Complaint of Love: Oh cruel Tyrant Love Soprano circa 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. Incidental music. Mensch à 12 Halle. at Drury Lane Theatre. "The Universal Passions" (Act II) 228-12 Phillis: My fair. Drury Lane Theatre. circa 1700–03 229-2 Es ist der alte Bund. 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 circa 1725 228-21 The Death of the Stag: When Phoebus the tops of the Hills does adorn Soprano circa 1740 228-22 Who to win a Woman's favour Soprano circa 1746 228-23 An Answer to Collin's Complaint: Ye winds to whome Collin complains Soprano circa 1716 228-24 Yes. Cloe.Soprano circa 1730 228-2 Charming Cloris: Ask not the cause / The poor Shepherd: The Sun was sunk beneath the Hills Soprano circa 1730 228-3 As on a Sunshine Summer's Day Soprano circa 1729 228-4 Bacchus Speech in Praise of Wine: Bacchus one day gayly striding Soprano circa 1730 228-5 The Polish Minuet or Miss Kitty Grevil's Delight: Charming is your shape and air Soprano circa 1720 228-6 The Sailor's Complaint: Come and listen to my ditty / Hosier's Ghost: As near Portobello lying Soprano circa 1735 228-7 Di godere ha speranza il mio core / Oh my dearest. ye Swains. 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.

MS copy Handel from circa 1749. MS copy Handel from circa 1749. 233 Donna.229-3 Führwahr." 234 Il pianto di Maria or Giunta l'ora fatal Soprano Spurious. Psalm 110 (Vulgate 109) . May – June 1707 1707 Vignanello Premier: ?Whitsun 240 Saeviat tellus inter rigores Soprano ?Rome. 244 Kyrie eleison Chorus Spurious. circa 1700–03 229-5 Victoria. 1707 ?13 June 1707 Vignanello Motet for the Feast of St. Misattributed to Handel. circa 1724 Psalm settings 232 Dixit Dominus Soprano. so von Edom kömmt à 12 Halle. composed by Giovanni Battista Ferrandini (1710-91). Alto. 245 Gloria in excelsis deo Chorus Spurious. circa 1700–03 229-4 Thue Rechnung von deinem Haußhalten à 13 Halle. circa 1700–03 229-7 Wer ist der. Rome on the "anniversary of the deliverance of Rome from the earthquake on the feast of the Purification of the Virgin. Motets 231 Coelestis dum spirat aura Soprano ?Rome. and it is the earliest surviving autograph from his large-scale compositions. er trug unsere Krankheit à 15 Halle. by A. 1707 ?16 July 1707 Rome Motet for the Feast of Madonna del Carmine 242 Silete venti Soprano London. by A. Misattributed to Handel. Anthony of Padua 239 O qualis de coelo sonus Soprano ?Rome. circa 1700–03 Italian sacred cantatas 230 Ah! che troppo ineguali or O del ciel! Maria regina Soprano ?Rome 1707–08 Recitative and aria. Lotti ("Missa Sapientiae"). circa 1700–03 229-6 Was werden wir essen à 10/12 Halle. Rome Dixit Dominus represents Handel's earliest dated autograph. Chorus April 1707. che in ciel Soprano First performance: ?2 February 1708. Misattributed to Handel. Der Tod ist verschlungen à 14 Halle. Lotti ("Missa Sapientiae").

Rome Psalm 113 (Vulgate 112) 238 Nisi Dominus Soprano. 243 Te decus virgineum Alto Rome. Rome First performance: Probably written for a grand Vespers service held at the church of S. the feast day of "Our Lady of Mount Carmel". Whitchurch. 241 Salve Regina Soprano ?Rome. London Psalm 51 (the Miserere). London Also considered a Canticle. St. 250a I will magnify thee. Chorus 13 July 1707. 3 Cannons. James's Palace. Lawrence. Maria di Monte Santo in Rome circa 16 July 1707 to celebrate the feast day of "Madonna del Carmine" (Our Lady of Mount Carmel). Whitchurch. 1717–18 St. Lawrence. Germany Laudate pueri dominum in F major is Handel's earliest surviving autograph. London Psalm 9. 1707 First performance: Probably written for services held at the church of S. Psalm 113 (Vulgate 112) 237 Laudate pueri dominum in D major Soprano.236 Laudate pueri dominum in F major Soprano circa 1706. 4 Cannons. Psalms 144 & 145 250b I will magnify thee 1724 ?5 January 1724 Chapel Royal. "Prayer Book" version of Psalms 93 & 96. Lawrence. 1717–18 St. Alto. Chandos Anthem No. Chandos Anthem No. 248 Have mercy upon me. 1717–18 St. 1707 First performance: Probably written for services held at the church of S. Lawrence. 247 In the Lord put I my trust. Tenor. Bass. the major festival of the Carmelite order. 2 Cannons. London Psalms 89. the major fesitval of the Carmelite order. 12. 11. 145 . Psalm 127 (Vulgate 126) Antiphons 235 Haec est Regina virginum Soprano ?Rome. St. London Partly based on "O sing unto the Lord a new song" (HWV 249a). Chorus 8 July 1707. 1707 First performance: ?Trinity Sunday. 249a O sing unto the Lord a new song 1714 ?26 September 1714 Chapel Royal. Psalm 100 (the Jubilate). Lawrence. Anthems 246 O be joyful in the Lord. 1717–18 St. 1 or Jubilate ('Cannons') in D major Cannons. Whitchurch. Francesco Ruspoli's private chapel at Vignanello. London Two movements added later. 96. Chandos Anthem No. London Psalm 96 249b O sing unto the Lord a new song. 1717–18 St. Maria di Monte Santo in Rome circa 16 July 1707 to celebrate the feast day of "Our Lady of Mount Carmel" (the major fesitval of the Carmelite order). 5 Cannons. & 13 from Tate and Brady's New Version of the Psalms of David. Whitchurch. Whitchurch. 19 June 1707. Chandos Anthem No. James's Palace. Maria di Monte Santo in Rome on 16 July 1707. Chandos Anthem No.

" after I Kings 1. Lawrence. Chandos Anthem No. Whitchurch. London 1st movement of 'symphony' added later. 103 254 O praise the Lord with one consent. 34. Lawrence. 1 ?9 September 1727 – 11 October 1727 11 October 1727 Westminster Abbey For the Coronation of King George II and Queen Caroline. Psalm 89 253 O come. 27–30. Whitchurch. London Psalms 18. The first Chandos Anthem composed(?) Psalm 42 251c As pants the hart circa 1722 ?7 October 1722 Chapel Royal. 255 The Lord is my light. 260 The King shall rejoice. let us sing unto the Lord. Whitchurch. Chandos Anthem No. Coronation Anthem No. Coronation Anthem No. The trio "Thou rulest the raging sea" performed at Cannons but probably spurious. Lawrence. St. 259 Let thy hand be strengthened. 1717–18 1718 St. Whitchurch. ye angels of his (spurious) Misattributed to Handel in Arnold's edition and in HG 36. 11 Cannons. English version of antiphon "Unxerunt Salomonem Sadoc sacerdos. Performed at the Anointing. 1717– 18 St. 1717–18 St. Lawrence. Lawrence. James's Palace. 10 Cannons. Whitchurch. Chandos Anthem No. Lawrence. 39–48. before 1728. Haymarket Written for a benefit evening Psalm 42 252 My song shall be alway. 6. 1717–18 St. London Orchestrated version of HWV 251d Psalm 42 251d As pants the hart circa 1722 Scored for organ and basso continuo alone Psalm 42 251e As pants the hart 1738 1738 King’s Theatre. St. Chandos Anthem No. London Psalms 117. 148 in metrical versions of Nahum Tate and Nicolas Brady's "New Version of the Psalms" (1696). 45 256a Let God arise. London Psalm 58 257 O praise the Lord. By Maurice Greene. 97. 99. London Orchestrated version of HWV 251a.251a As pants the hart Circa 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. London Partly derived from the "Te Deum in D" (HWV 280). Whitchurch. Psalm 89: 13–14. 1717–18 St. Chandos Anthem No. 2 ?9 September 1727 – 11 October 1727 11 October 1727 Westminster Abbey For the Coronation of King George II and Queen Caroline. 8 Cannons. 135. 1717–18 St. 7 Cannons. 3 ?9 September 1727 – October 1727 11 October 1727 Westminster Abbey For the . Chandos Anthem No. London "Prayer Book" psalms 95 (the venite). Coronation Anthem No. James's Palace. 9 Cannons. 20. 96. possibly composed by Johann Christoph Pepusch or Nicola Francesco Haym instead. 258 Zadok the priest. Sung at the Recognition (the King being presented to the people). Psalms 68 & 76 256b Let God arise 1726 ?16 January 1726 Chapel Royal.

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. Revelation Canticles 278 Te Deum ("Utrecht") D major 14 January 1713 7 July 1713 London. James's Palace. 262 This is the day which the Lord hath made or Anthem for Wedding of Princess Anne 1734 14 March 1734 French Chapel. London Composed by Handel during his stay with the Duke of Chandos at Cannons. Princess Royal. James's Palace. Ecclesiasticus 263 Sing unto God or Anthem for Wedding of Prince Frederick 1736 27 April 1736 German Chapel. Performed with the "Queen Caroline" Te Deum (HWV 280). to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. Should have been sung at the Recognition. James's Palace. but instead it was performed at the Crowning. St. Revised for the wedding of Princess Mary. Proverbs. Psalms 29. "We praise thee. The solo movements were probably added circa 1751. Samuel. Psalms 68. and Anne. Philippians.3. A 209-measure composition of which the last 19 measures are incomplete.2. 12 and Isaiah 49:23.Coronation of King George II and Queen Caroline. and Psalms 103. Isaish. 96. Whitchurch. Prince of Orange. 268 Blessed are they that considereth the poor or Foundling Hospital Anthem 1749 27 May 1749 Foundling Hospital Chapel. 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. and Princess Augusta of Saxe-Coburg. London For the wedding of Frederick.5 261 My heart is inditing. 10. London Performed during a service in King George II's presence to celebrate his safe return to England. St. Wisdom. London First performance probably in fully choral version. O God" (Ambrosian hymn) 279 Jubilate ("Utrecht ") D major ?January – February 1713. 72. Psalms 20. O God" (Ambrosian hymn) 281 Te Deum ("Chandos" or "Cannons") B-flat major Circa 1717–18 circa 1717–18 St. 265 Dettingen Anthem or The King shall rejoice 30 July – 3 August 1743 27 November 1743 Chapel Royal. Psalm 21: 1. 7 July 1713 St. 118. 112. Also. Psalms 45. O God" (Ambrosian hymn) . Coronation Anthem No. James's Palace. Daniel. Revelation 267 (?) First draft of the "Peace Anthem" (See HWV 266) Probably early 1749. Prince of Wales. Psalms 8. Paul's Cathedral "We praise thee. Westminster Abbey from Lamentations. St. 4 ?9 September 1727 – 11 October 1727 11 October 1727 Westminster Abbey For the Coronation of King George II and Queen Caroline. London "O be joyful in the Lord" (Psalm 100) 280 Te Deum ("Queen Caroline") D major 1714 ?26 September 1714 Chapel Royal. 106. St. 41. Job. James's Palace Performed during the wedding of William. 112. Paul's Cathedral. Ecclesiasticus. St. London "We praise thee. Performed during the coronation of the Queen. London To celebrate the peace of Aix-laChapelle (Aachen). After Psalm 45: 1. Lawrence.

Haymarket 1740 "2nd Set" No. St. London Performed during a service. O God" (Ambrosian hymn) 283 Te Deum ("Dettingen") D major 17 July – circa 29 July 1743 27 November 1743 Chapel Royal. 3 Referred to as organ concerto "No. but later rearranged for the organ 295 Organ F major 2 April 1739 4 April 1739 London. James's Palace. 2 First performed with the oratorio "Esther" (HWV 50b) 291 Organ G minor 1735 5 March 1735 London. 3 Variant versions of last movement.7. Covent Garden Theatre 1738 Opus 4 No. 287 Oboe G minor ?Hamburg. Covent Garden Theatre 1738 Opus 4 No. First performed with the oratorio "Esther" (HWV 50b) 292 Organ F major 25 March 1735 1 April 1735 London.282 Te Deum A major 1726 ?16 January 1726 Chapel Royal. "The Cuckoo and the Nightingale" 296a Organ A major 1739 20 March 1739 London.4 and Handel organ concertos Op. Covent Garden Theatre 1738 Opus 4 No. circa 1707 “Sonata a 5”. King's Theatre. 1 Referred to as Organ Concerto "No. Arranged by Handel 297 Organ D minor 1740 "2nd Set" No. 4 Originally concluded with 'Alleluja' chorus (HG 20. London "We praise thee. Haymarket 1740 "2nd Set" No. Also. 2 Referred to as organ concerto "No. First performed with "Athalia" (HWV 52) 293 Organ F major ?26 March 1735 London. O God" (Ambrosian hymn) Concertos Main articles: Handel organ concertos Op. p. James's Palace. 294 Organ B-flat major 1736 19 February 1736 London. 15" 298 Organ G major 1740 "2nd Set" No. 6 Originally composed for the harp. 4 Referred to as organ concerto "No. 14" 296b Organ A major circa 1743–46 Pasticcio. 16" . short instrumental ending probably written by Handel for Walsh publication. Covent Garden Theatre 1738 Opus 4 No. circa 1704–05 1863 Oboe concerto number 3 288 Violin B-flat major Italy. "We praise thee. King's Theatre. 1 First performed with "Alexander's Feast" (HWV 75) 290 Organ B-flat major 1735 5 March 1735 London. to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. Covent Garden Theatre 1738 Opus 4 No. to celebrate his safe return to England. St. The bird-song motives of the 2nd movement earned the concerto the nickname. 161). Covent Garden Theatre 1738 Opus 4 No. in King George II's presence. 5 Performed with revival of "Deborah" (HWV 51). Possibly for Corelli in Rome 289 Organ G minor 1735–36 19 February 1736 London. 13".

Covent Garden Theatre 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. Probably the earliest concerto in the Op.299 Organ D major 1740 "2nd Set" No. 1 No Handel autograph. 17" 300 Organ G minor 1740 "2nd Set" No. First performed with the premiere of The Occasional Oratorio (HWV 62) 305 Organ F major circa 1747–48 Arranged by Handel 306 Organ B-flat major 17 February 1740 27 February 1740 London. 2 314 G major circa 1717–1718 circa 1717–1718 1734 Opus 3 No. 3 set 313 B-flat major circa 1715–1718 1734 Opus 3 No. Authenticity is uncertain 302a Oboe B-flat major 1740 Oboe Concerto No 1 303 Organ D minor circa 1738 An adagio for two organs. 3 Arranged (? by Walsh) . 2 Performed with the oratorio Samson (HWV 57) 308 Organ B-flat major 1–4 January 1751 1 March 1751 London. 15". Lincoln's Inn Fields Theatre 1761 Opus 7 No. Ending adapted by Handel to lead into another movement 304 Organ D minor circa 1746 ?14 February 1746 1797 Referred to as organ concerto "No. 6 Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication 343 Organ G major circa 1738–39 Ritornello for Chaconne (HWV 435). 3 Two variant autographs of 1st movement. Final gavotte in published version probably added later by Smith Jr. circa 1710 1734 Opus 3 No. 18" 301 Oboe B-flat major 1740 Oboe Concerto No 2a. Part of a fragmentary outline of an organ concerto Concerti grossi 312 B-flat major ?Hanover. 5 Referred to as organ concerto "No. 1 First movement includes an independent pedal part 307 Organ A major 5 February 1743 18 February 1743 London. Earliest surviving manuscript score from circa 1724. Covent Garden Theatre 1761 Opus 7 No. 6 Referred to as organ concerto "No. Handel's last orchestral work 309 Organ D minor ?circa 1744 ?14 February 1746 1761 Opus 7 No. Covent Garden Theatre 1761 Opus 7 No. 5 Performed with "Theodora" (HWV 68). 311 Organ B-flat major circa 1748–49 1761 1749 Opus 7 No.

7 326 C minor 18 October 1739 1740 Opus 6 No. Suite Variant No 2. 6 325 B-flat major 12 October 1739 1740 Opus 6 No. Cecilia's Concerto. 11 330 B minor 20 October 1739 1740 Opus 6 No. Two movements. thematically related to the Water Music Suite in F major (HWV 348) 331-1 F major Water Music. the 3rd. Drury Lane Theatre Two movements. 1 320 F major 4 October 1739 1740 Opus 6 No. Alexander's Feast (HWV 75) 319 G major 29 September 1739 1740 Opus 6 No. Cecilia's Day (HWV 76) 324 G minor 15 October 1739 1740 Opus 6 No. King's Theatre. 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. Haymarket Opus 3 No. thematically related to the Suite No 1 in F major from The Water Music (HWV 348) 331-2 F major Water Music. 12 331 F major 20 March 1723 London. Suite Variant No 1. 8 327 F major Probably between 10–11 October 1739 1740 Opus 6 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." as the first two movements and the last use thematic material from the overture to the Ode for St. 4a Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi" 316 D minor 1717–1718 1734 Opus 3 No. 1. & 5th movements were added 317 D major (?) 1733–1734 1734 Opus 3 No. probably performed during Joshua (HWV 64) . No.315 F major 1716 20 June 1716 London. 9 The Gigue was originally intended by Handel for the Concerto Grosso in F major (HWV 320) 328 D minor 22 October 1739 1740 Opus 6 No. 5 In Walsh's 2nd edition of the Op. 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. 5 Known as the "St. 4th. 3 322 A minor 8 October 1739 1740 Opus 6 No. 3 concertos. 4 323 D major 10 October 1739 1740 Opus 6 No. 2 321 E minor 6 October 1739 1740 Opus 6 No. Covent Garden Theatre Concerto a due cori in B-flat major. Composed for performances with oratorios. Two movements.

Possibly intended to be coupled with the concerto grosso in D major Op. 1) F major 1717 17 July 1717 1788 Autograph lost. The 1st movement was used as the sinfonia in Ottone (HWV 15). Composed for performances with oratorios. Performed for King George I on The Thames from a barge containing about 50 musicians. Performed for King George I on The Thames from a barge containing about 50 musicians. Covent Garden Theatre Concerto a due cori in F major. Water Music (No. 3. Covent Garden Theatre Concerto a due cori in F major. a 3-movement orchestral concerto. and the theme of the last movement was reworked for the overture of Ottone 339 Sinfonia B-flat major circa 1706–1707 1979 No autograph. Probably completed in Germany or 337 Overture D major circa 1722–1725 Probably intended as an introductory movement. probably performed during Alexander Balus (HWV 65) 334 F major 1747–1748 (?) 1 April 1748 London. 2) D major 1717 17 July 1717 1788 Autograph lost. Probably completed in Hamburg or Italy 340 Allegro G major ?circa 1710–1715 No autograph 341 Suite D major 1733 Almost certainly spurious 342 Overture F major circa 1736 344 Chorus and Minuet B-flat major 1708 No autograph. 338 Adagio/Allegro B minor/D major 1722 Originally. with the 1st movement of the Organ Concerto. 2. 6 (HWV 317) as the adagio movement. 3 No. No. Allegro in D minor (HWV 317). The King insisted on the performance being repeated more than once . First published in 1979 in the Halle Edition (IV/15) and is known only from a copy by Christopher Graupner (1683–1760). Composed for performances with oratorios. 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 circa 1747 348 Suite. The King insisted on the performance being repeated more than once 349 Suite. probably performed during Judas Maccabaeus (HWV 63) 335a D major circa 1748–1749 335b F major Orchestral works 302b Largo F major circa 1738 Autograph headed "Suite de pieces" (presumably this was the opening movement) 336 Overture B-flat major Italy Autograph lost. Water Music (No.333 F major 1747–1748 (?) 23 March 1748 London. No.

First performed in Green Park. The two works have in common only the opening and closing movements. 3) G major 1717 17 July 1717 1788 Autograph lost. does not mention the instrument for which it was intended. 4 363a Oboe F major circa 1711–1716 363b Flute G major circa 1711–1716 1732 Opus 1 No. 1a taken from manuscript sources. 1b Of the two sonatas published by Chrysander as Opus 1 No. Water Music (No. See flute sonata in E minor (HWV 359b) 359b Flute E minor circa 1724 1732 Opus 1 No. 3 362 Recorder A minor circa 1725–1726 1732 Opus 1 No. Originally published Flute Sonata in B minor. this is the one in the original edition. 9a Movements 1–5 constitute the "Fitzwilliam Sonata III". headed "Sonata 2". The autographed manuscript. 6 364b Viola da gamba G minor circa 1724 An authorized transcription of HWV364a 365 Recorder C major circa 1725–1726 Opus 1 No. 7 366 Oboe C minor circa 1711–1712 1732 Opus 1 No. Music for the Royal Fireworks 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. Op 1 No 9b (HWV 367b). although Handel specialists consider it a violin sonata 359a Violin D minor circa 1724 The D minor sonata. located in the Fitzwilliam Museum. 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 ?circa 1710–1715 No autograph 356 Hornpipe D major 1740 No autograph. but the autograph manuscript is clearly for the recorder . Composed for Vauxhall Gardens 413 Gigue B-flat major 1736 Solo sonatas 357 Oboe B-flat major circa 1707–1710 One of Handel's earliest extant compositions. 2 361 Violin A major circa 1725–1726 1732 Opus 1 No.350 Suite. 8 367a Recorder D minor circa 1725–1726 Opus 1 No. 1. Performed for King George I on The Thames from a barge containing about 50 musicians. Originally written for violin and published in two different E minor versions for the flute. The contemporary edition of Handel attributes it to the transverse flute. The King insisted on the performance being repeated more than once 351 Suite. follows the G minor sonata in the Fitzwilliam Museum autograph. 5 364a Violin G minor circa 1724 1732 Opus 1 No. 360 Recorder G minor circa 1725–1726 1732 Opus 1 No. Probably written during his years in Italy 358 Recorder or Violin G major circa 1707–1710 The "Fitzwilliam" sonata. with Chrysander's No.

14 Probably spurious 373 Violin E major 1732 Opus 1 No.367b Flute B minor circa 1725–1726 1732 Opus 1 No. May have originated as a keyboard work Trio sonatas 380 B-flat major Authenticity doubtful 381 D minor Authenticity doubtful 382 E-flat major Authenticity doubtful 383 F major Authenticity doubtful . May have originated as a keyboard work 420 D major circa 1743–1744 Minuet. Authenticity uncertain. 375 Flute E minor 1730 "Halle sonata No. upper stave ? violins. 3". 10 Probably spurious 369 Recorder F major circa 1725-1726 1732 Opus 1 No. 376 Flute B minor 1730 "Halle sonata No. 15 Probably spurious 374 Flute A minor 1730 "Halle sonata No. 9b In the 'Aylesford' collection the Alla breve appears with the title of FUGE 368 Violin G minor 1732 Opus 1 No. It may be the only surviving fragment of a completed sonata in C minor 409 Recorder D minor circa 1725–1726 Andante. but now considered authentic. Authenticity uncertain. May have originated as a keyboard work 421 D major circa 1743–1744 Minuet. instrumentation unspecified. Authenticity uncertain. 11 370 Violin F major 1732 Opus 1 No. upper stave ? violins. 12 Probably spurious 371 Violin D major Circa 1749-1750 Opus 1 No. 2-stave versions in autograph. 1". this sonata is not strictly part of Handel's Opus 1—having been added by Chrysander from the British Museum autograph 406 Violin A major circa 1751 Adagio and Allegro. Known only from printed sources. though title pages mention flute and violin for treble parts. 13 This sonata represents Handel's last piece of chamber music 372 Violin A major 1732 Opus 1 No. instrumentation unspecified. published as separate treble and bass parts. 1a Although the work's authenticity remains unquestioned. instrumentation unspecified. 3-part accompaniment (? orchestral short score) 407 Violin G major circa 1738 Allegro 408 Violin C minor circa 1725–1729 Allegro. Variant of movement from the Recorder Sonata in D minor (HWV 367a) 412 Violin A minor circa 1725–1726 Andante 419 1-6 circa 1710–1720 Six marches. 377 Recorder B-flat major circa 1724–1725 378 Flute D major ?circa 1707 1979 No autograph. 2-stave versions in autograph. It appears in an important manuscript of 18th century solo sonatas in the Brussels Royal Conservatory. 2". and is there attributed to 'Sr Weisse' 379 Flute E minor circa 1727–1728 1879 Opus 1 No.

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

1740–50 includes Handel's transcription of opening melody 426 Suite de pièce Vol. Giles extempore. 3 D minor prior to 1720 1720 429 Suite de pièce Vol. 2 F major prior to 1720 1720 428 Suite de pièce Vol. 1 No. 5 E major prior to 1720 1720 “The Harmonious Blacksmith” or “Air and Variations in E major”. 1 No.402 B-flat major 1739 Opus 5 No. 7 403 C major circa 1738 404 G minor No autograph 405 F major circa 1707–1710 Wind ensemble works 346 March F major ?before 1729 410 Aria F major circa 1725 411 Aria F major circa 1725 414 March for Fife C major circa 1747 415 March for Fife D major circa 1747 416 March D major circa 1734 417 March D major circa 1746–1747 May have originated as a keyboard work as a two-stave version of the march exists 418 March G major ?circa 1741 422 Minuet G major circa 1746–1747 423 Minuet G major circa 1746–1747 424 Overture D major circa 1741 'Fitzwilliam' Overture Keyboard works 305b Arrangement F minor circa 1747 Used as an overture. 1 A major prior to 1720 1720 427 Suite de pièce Vol. Also found in early manuscript scores as a "Chaconne" in G major (at least 2 variant forms) 431 Suite de pièce Vol. 4 E minor prior to 1720 1720 430 Suite de pièce Vol. Autograph c. 1 No. 6 F-sharp minor prior to 1720 1720 432 Suite de pièce Vol. 1 No. Solo keyboard arrangement of the Organ Concerto in F major (HWV 305) 425 Air (Saraband) E major An individual movement. 1 No. 7 G minor prior to 1720 1720 . Composed by Handel at St. 1 No. 1 No.

2 No. 8 F minor prior to 1720 1720 434 Suite de pièce Vol. 2 No. 8 G major circa 1703–1706 1733 442 Suite de piece Vol.433 Suite de pièce Vol. Companion piece to the Suite in G minor (HWV 452) 448 Suite D minor circa 1705–1706 449 Suite D minor circa 1705 450 Partita G major circa 1700–1705 451 Suite G minor circa 1703–1706 Allemande and Courante only 452 Suite G minor circa 1738–1739 Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 447) 453 Suite G minor circa 1705–1706 454 Partita A major circa 1703–1706 455 Suite B-flat major circa 1705 Keyboard version of the overture in B-flat major (HWV 336) and the suite in B-flat major (HWV 354) 456-1 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera “Il pastor fido" . 2 No. but the music for only one harpsichord survives 447 Suite D minor circa 1738–1739 Written for Princess Louisa. 6 G minor circa 1703–1706 1733 440 Suite de pièce Vol. 2 G major ?1705–1717 1733 21 variations. 2 No. 3 D minor Nowrap|circa 1721–1726 1733 437 Suite de pièce Vol. 2 No. 1 No. 9 G major circa 1703–1706 1733 62 variations. The Ritornello in G major (HWV 343) was added to this composition 436 Suite de pièce Vol. 2 No. 4 D minor circa 1703–1706 1733 438 Suite de pièce Vol. 5 E minor circa 1710–1717 1733 439 Suite de pièce Vol. Prelude and Chaconne. A chaconne. 2 No. 2 No. 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 circa 1705–1706 445 Suite C minor 1705–1706 446 Suite C minor circa 1703–1706 Composed for two harpsichords. Not part of the Suite de piece in B-flat major 435 Suite de pièce Vol. 7 B-flat major circa 1703–1706 1733 revised 171718 441 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).

Possibly for organ 475 Allegro D minor circa 1710–1720 476 Allemande F major circa 1730–1735 477 Allemande A major circa 1724–1726 478 Allemande A minor circa 1705 .456-2 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Amadigi" 456-3 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Flavio" 456-4 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Rodelinda" 456-5 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Riccardo Primo" 457 Air C major circa 1720–1721 458 Air C minor ?circa 1710–1720 Authenticity uncertain 459 Air C minor ?circa 1710–1720 Authenticity uncertain 460 Air (March) D major circa 1720–1721 461 Air (Hornpipe) D minor circa 1717–1718 462 Air and minuet D minor circa 1724–1726 463 Air F major circa 1707–1709 464 Air F major circa 1724–1726 A version of the air from the "Water Music" (HWV 348–350) 465 Air and two Doubles F major circa 1710–1720 466 Air G minor circa 1710–1720 For two-manual harpsichord (or possibly organ) 467 Air Lentement G minor circa 1710–1720 468 Air A major circa 1727–1728 469 Air B-flat major circa 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 circa 1710–1720 For two-manual harpsichord (or possibly organ) 471 Air B-flat major circa 1710–1720 472 Allegro C major circa 1705 473 Allegro C major 25 August 1738 Clock-Organ 474 Air G major circa 1736–1738 Based on the first chorus of "Acis and Galatea" (HWV 49a).

1 No. Some related to minuets in other works 559 Passepied C major circa 1721–1722 560 Passepied A major circa 1705 561 Prelude D minor circa 1705–1706 Version of the prelude to the Suite de pièce in D minor. 4 (HWV 437) 562 Prelude (Harpeggio) D minor circa 1711–1712 563 Prelude D minor circa 1700–1703 . C major circa 1703–1706 491 Gavotte G major circa 1705 492 Gigue F major circa 1726–1727 493 Gigue G minor circa 1704–1705 Two versions 494 Impertinence (Bourée) G minor circa 1705 495 Lesson D minor circa 1705– 1710 Early form (two variants) of the Suite de pièce in D minor. 2 No. Vol. 9 (HWV 442) 489 Courante B minor circa 1722 490 Fantasie pour le clavecin. probably for keyboard. Possibly for organ. 3 (HWV 428). movement six 496 Lesson A minor circa 1715–1720 497 to 558 62 Minuets Various Two-stave pieces. A two-bar epilogue may represent a planned variation 481 Capriccio F major circa 1703–1706 482-1 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Rinaldo' 482-2 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Floridante' 482-3 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Radamisto' 482-4 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Muzio Scevola' 483 Capriccio G minor circa 1720–1721 484 Chaconne with 49 variations C major circa 1700–1705 Version of the Chaconne in Suite HWV 443 485 Chaconne F major circa 1705 For a two-manual harpsichord 486 Chaconne G minor circa 1705 487 Concerto G major circa 1710–1720 Two movements 488 Allegro (Courante) F major circa 1717–1718 In G major for the Suite de piece in G major. 2 No. Vol.479 Allemande B minor circa 1721–1722 480 Chorale G minor circa 1736–1740 Chorale melody "Jesu meine Freude" in the middle part. Vol.

564 Prelude D minor circa 1705 565 Prelude D minor circa 1710–1720 An early version of the Prelude to the Suite de pièce in D minor. Vol. 8 (HWV 433) 567 Preludium F major circa 1710–1720 568 Preludium F minor circa 1710–1720 Associated in some manuscripts with movements in the Suite de pièce in F minor. 7 (HWV 432) 573 Prelude (Harpeggio) G minor circa 1705 574 Prelude and Allegro (Sonata) G minor circa 1705 Two movements 575 Prelude (Harpeggio) A minor circa 1717–1718 Coupled with the "Lesson in A minor". 8 (HWV 433) 569 Preludium F minor ?circa 1710–1720 Arpeggio del Cook. Music related to a setting of 'Amen' (HWV 277). Authenticity uncertain 585 Sonatina B-flat major circa 1721–1722 One movement 586 Toccata G minor circa 1710–1720 . Vol. Vol. the Concerto Grosso in C major for "Alexander's Feast" (HWV 318). Vol. 1 No. 1 No. Authorship uncertain 570 Prelude (Harpeggio) F-sharp minor circa 1717–1718 Originally associated with the Suite de pièce in F-sharp minor. HWV 496 576 Prelude and Allegro A minor circa 1705–1706 Two movements 577 Sonata (Fantasia) pour le clavecin. C major circa 1703–1705 578 Sonata C major circa 1750 Clock-Organ. and the "Air Lentement in G minor" (HWV 467) 579 Sonata (Fantasia) G major ?circa 1707–1710 For a two-manual harpsichord (or possibly organ) 580 Sonata (Larghetto) G minor ?circa 1707–1710 One movement 581 Sonatina D minor circa 1705 One movement 582 Sonatina (Fugue) G major circa 1721–1722 One movement 583 Sonatina G minor ?circa 1721–1722 One movement 584 Sonatina A minor circa 1706–1708 One movement. 1 No. 1 No. 6 (HWV 431) 571 Prelude and Capriccio G major circa 1703–1706 Two movements 572 Prelude G minor circa 1710–1717 Originally associated with the Suite de pièce in G minor. Vol. 1 No. 3 (HWV 428) 566 Prelude E major circa 1710–1720 Associated in some manuscripts with movements in the Suite de pièce in F minor.

Single source is from a manuscript of organ voluntaries. Barlocci. Haymarket (10 performances to 19 June) ?Nicola Haym. never completed A3 Opera (pasticcio) Ormisda 1730 4 April 1730 London. 1722 12 songs changed at 21 April 1730 performance. probably authentic. Haymarket (5 . King's Theatre. Haymarket (4 performances to 23 January) ?Rossi. Includes arrangements of opera arias 598 to 604 Seven pieces C major circa 1730–1740 Clock-Organ. 1729 A9 Opera (pasticcio) Caio Fabricio 1733 4 December 1733 London. Covent Garden Theatre After Metatstasio. Frugoni. after Zeno. Revival on 28 November 1730: London. 1693 A fragment. and G circa 1735–1740 "10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). only part of Act 1 drafted. Haymarket After Zeno. The fugue subject is related to the "Water Music" overture Appendix A1 Opera (pasticcio) L'Elpidia. King's Theatre.587 to 597 Eleven pieces C. Zeno.I. Haymarket After Metatstasio. overo Li rivali generosi 1725 11 May 1725 London. 1732 A10 Opera (pasticcio) Arbace 1734 5 January 1734 London. King's Theatre. G. King's Theatre. never completed A6 Opera (pasticcio) Lucio Papirio dittatore 1732 23 May 1732 London. 1697 Revival on 30 November 1725: London. 1723 Music entirely by Handel A12 Opera (pasticcio) Didone abbandonata 1737 13 April 1737 London. King's Theatre. Racine. Covent Garden Theatre (3 performances to 28 December) After G. Haymarket After Metatstasio. King's Theatre. King's Theatre. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels. after Zeno. A4 Opera (pasticcio) Venceslao 1731 11 January 1731 London. Haymarket (5 performances to 8 December). ? from J. F. 1729 A7 Opera (pasticcio) Catone 1732 4 November 1732 London. King's Theatre. 1724 A5 Opera Titus l'empéreur ? Oct – Nov 1731 In Italian. King's Theatre. though the text of final bars is defective. 1730 A11 Opera (pasticcio) Oreste 1734 18 December 1734 London. King's Theatre. only part of Act 1 drafted. "Berenice" Fragment." 605 Fugue G minor circa 1711–1718 1735 606 Fugue G major circa 1711–1718 1735 608 Fugue B minor circa 1711–1718 609 Fugue A minor circa 1711–1718 1735 610 Fugue C minor circa 1711–1718 611 Fugue F major circa 1705 No autograph 612 Fugue E major No autograph. Haymarket (4 performances to 11 December) A2 Opera Olibrio or Genserico ?January 1728 After Beregan. Haymarket After Metastasio. also 9 June) ?Rossi. after A. 1728/9 A8 Opera (pasticcio) Semiramide or Semiramis riconosciuta 1733 30 October 1733 London. 1726 A13 Opera (pasticcio) Alessandro Severo 1738 25 February 1738 London. Haymarket (4 performances to 6 June) After Zeno/C. King's Theatre. for Strada's benefit. Haymarket (13 performances to 14 May.

Samson's (HWV 57) "Dead March" Italian Aria No Kossi presto nò For soprano. Identified in the year 2000 at the Royal Academy of Music's library (London). 32a) Wind ensemble Marche lentement in C major circa 1741 Wind version of the oratorio. after A. Italian Aria Lusinga questo cor circa 1712–1717 For soprano. 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 (also 5 May) In Italian. HWV 251b).M. including much music from "Deborah" (HWV 51). a Coronation Anthem. "As pants the hart" (Chandos Anthem No. London Oratorio (pasticcio) Rebecca Oratorio (pasticcio) Gideon 10 February 1769 Covent Garden Theatre. 1719 Music entirely by Handel. no. Probably completed in London Orchestral March in 'Judas Maccabaeus' in F major circa 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 circa 1746–1747 Independent wind version of the oratorio. The manuscript is not in Handel's hand. and organ concertos Oratorio (pasticcio) Nabal 16 March 1764 Covent Garden Theatre. two-part violins. London Revived 24 February 1747 and 20 February 1748 at the King’s Theatre. King's Theatre. "Judas Maccabeus" march (HWV 63. Haymarket. Lucchini "Giove in Argo". also 30 May) After Zeno. Title translates as Jupiter in Argos A15 (1 to 37) Keyboard Minuets in various keys Arranged from music of opera arias HWV missing Handel compositions not included in the HWV Catalogue. 1717/23 Music entirely by Handel A14 Opera (pasticcio) Giove in Argo 24 April 1739 1 May 1739 London. you're witty' A recycling of the aria 'S'io dir potessi' from Ottone (HWV 15). Aria The Beauteous Cloe or 'Cloe. Haymarket. London Handel's benefit performance. Published by Burrows in 1991 . but the authenticity is uncertain. London. 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. possibly by Handel himself. 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. Lampugnani arranged music from Handel's "Alessandro" (HWV 21). The arrangement is contemporary. 6. 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) Italian sacred cantata Gloria in Excelsis Deo ?1703–1709 3 June 2001 The International Händel Göttingen Festival For soprano. Bilingual pasticcio.performances to 11 March. basso continuo. 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 circa 1712–1717 For alto Orchestral Suite Water Music chamber suite Nine movements.