George Frideric Handel was a German-born Baroque composer who is famous for his operas, oratorios and concerti grossi. Born as Georg Friedrich Händel in Halle, he spent most of his adult life in England, becoming a subject of the British crown on 22 January 1727.[1] His most famous works are Messiah, an oratorio set to texts from the King James Bible; Water Music; and Music for the Royal Fireworks. Strongly influenced by the techniques of the great composers of the Italian Baroque and the English composer Henry Purcell, his music was known to many significant composers who came after him, including Haydn, Mozart, and Beethoven.

Handel was born in Halle in the Duchy of Magdeburg (province of Brandenburg-Prussia) to Georg and Dorothea (née Taust) Händel in 1685, the same year that both Johann Sebastian Bach and Domenico Scarlatti were born. Handel displayed considerable musical talent at an early age; by the age of seven he was a skilful performer on the harpsichord and pipe organ, and at nine he began to compose music. However, his father, a distinguished citizen of Halle and an eminent barber-surgeon who served as valet and barber to the Courts of Saxony and Brandenburg,[2] was opposed to his son's wish to pursue a musical career, preferring him to study law. By contrast, Handel's mother, Dorothea, encouraged his musical aspirations.[3]

Nevertheless, the young Handel was permitted to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachau, the organist of the Liebfrauenkirche, Halle. His aunt, Anna, had given him a spinet for his seventh birthday, which was placed in the attic so that Handel could play it whenever he could get away from his father.[4] [5]

In 1702, following his father's wishes, Handel began the study of law at the University of Halle, but after his father's death the following year, he abandoned law for music, becoming the organist at the Protestant Cathedral. In 1704, he moved to Hamburg, accepting a position as violinist and harpsichordist in the orchestra of the opera house. There, he met Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705. Two other early operas, Daphne and Florindo, were produced in 1708.

During 1706–09, Handel travelled to Italy on the invitation of Gian Gastone de' Medici, and met Medici's brother Ferdinando, a musician himself. While opera was banned by the pope, Handel found work as a composer of sacred music; the famous Dixit Dominus (1707) is from this era. He wrote many cantatas in operatic style for gatherings in the palace of Pietro Ottoboni (cardinal). His Rodrigo was produced in Florence in 1707, and his Agrippina at Venice in 1709. Agrippina, which ran for an unprecedented 27 performances, showed remarkable maturity and established his reputation as an opera composer. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in Rome in 1709 and 1710, respectively.

In 1710, Handel became Kapellmeister to George, Elector of Hanover, who would soon be King George I of Great Britain. He visited Anna Maria Luisa de' Medici on his way to London in 1710, where he settled permanently in 1712, receiving a yearly income of £200 from Queen Anne. During his early years in London, one of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington, who showed an early love of his music.[6] Handel had a happy time and wrote a few of his best pieces for the Earl.

In 1723 Handel moved into a newly built house at 25 Brook Street, London, which he rented until his death in 1759. This house is now the Handel House Museum, a restored Georgian house open to the public with an events programme of Baroque music. There is a blue commemorative plaque on the outside of the building. It was here that he composed Messiah, Zadok the Priest and Music for the Royal Fireworks. (In 2000, the upper stories of 25 Brook Street were leased to the Handel House Trust, and after an extensive restoration program, the Handel House Museum opened to the public on 8 November 2001.)

In 1726 Handel's opera Scipio (Scipione) was performed for the first time, the march from which remains the regimental slow march of the British Grenadier Guards. He was naturalised a British subject in the following year.

In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since. Handel was director of the Royal Academy of Music 1720–1728, and a partner of J.J. Heidegger in the management of the King's Theatre 1729–1734. Handel also had a long association with the Royal Opera House at Covent Garden, where many of his Italian operas were premiered.

In April 1737, at age 52, he suffered a stroke or some other malady which left his right arm temporarily paralysed and stopped him from performing. He also complained of difficulties in focusing his sight. Handel went to Aix-la-Chapelle, taking hot baths and playing organ for the audience. Handel gave up operatic management entirely in 1740, after he had lost a fortune in the business.

Following his recovery, Handel focused on composing oratorios instead of opera. Handel's Messiah was first performed in New Musick Hall in Fishamble Street, Dublin on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating. In 1749 he composed Music for the Royal Fireworks; 12,000 people came to listen. Three people died, including one of the trumpeters on the day after.

In 1750 Handel arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a fair copy of Messiah to the institution upon his death. His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection.

In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[7] In 1751 his eyesight started to fail in one eye. The cause was unknown and progressed into his other eye as well. He died some eight years later, in 1759, in London, his last attended performance being his own Messiah. More than three thousand mourners attended his funeral, which was given full state honours, and he was buried in Westminster Abbey.

Handel never married, and kept his personal life very private. Unlike many composers, he left a sizable estate at his death—worth £20,000 (an enormous amount for the day), the bulk of which he left to a niece in Germany—as well as gifts to his other relations, servants, friends and to favourite charities.

Handel's compositions include 42 operas; 29 oratorios; more than 120 cantatas, trios and duets; numerous arias; chamber music; a large number of ecumenical pieces; odes and serenatas; and sixteen organ concerti. His most famous work, the Messiah oratorio with its "Hallelujah" chorus, is among the most popular works in choral music and has become a centerpiece of the Christmas season. Also popular are the Opus 3 and 6 Concerti Grossi, as well as "The Cuckoo and the Nightingale", in which birds are heard calling during passages played in different keys representing the vocal ranges of two birds. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.

Handel introduced various previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornets (Tamerlano), theorbo, French horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[8]

Handel's works have been catalogued and are commonly referred to by a HWV number. For example, Handel's Messiah is also known as HWV 56.

After his death, Handel's Italian operas fell into obscurity, save for selections such as the ubiquitous aria from Serse, "Ombra mai fu". His reputation throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions. These include Esther (1718); Athalia (1733); Saul (1739); Israel in Egypt (1739); Messiah (1742); Samson (1743); Judas Maccabaeus (1747); Solomon (1748); and Jephtha (1752). His best are based on a libretto by Charles Jennens.

Since the 1960s, with the revival of interest in baroque music, original instrument playing styles, and the prevalence of countertenors who could more accurately replicate castrato roles, interest has revived in Handel's Italian operas, and many have been recorded and performed onstage. Of the fifty he wrote between 1705 and 1738, Agrippina (1709), Rinaldo (1711, 1731), Orlando (1733), Alcina (1735), Ariodante (1735), and Serse (1738, also known as Xerxes) stand out and are now performed regularly in opera houses and concert halls. Arguably the finest, however, are Giulio Cesare (1724) and Rodelinda (1725), which, thanks to their superb orchestral and vocal writing, have entered the mainstream opera repertoire.

Also revived in recent years are a number of secular cantatas and what one might call secular oratorios or concert operas. Of the former, Ode for St. Cecilia's Day (1739) (set to texts of John Dryden) and Ode for the Birthday of Queen Anne (1713) are particularly noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745), and Semele (1744). In terms of musical style, particularly in the vocal writing for the English-language texts, these works have close kinship with the above-mentioned sacred oratorios, but they also share something of the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.

Handel has generally been accorded high esteem by fellow composers, both in his own time and since. Bach apparently said "[Handel] is the only person I would wish to see before I die, and the only person I would wish to be, were I not Bach." Mozart is reputed to have said of him, "Handel understands effect better than any of us. When he chooses, he strikes like a thunder bolt", and to Beethoven he was "the master of us all". The latter emphasized above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means."

He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on July 28, with Johann Sebastian Bach and Heinrich Schütz.

Handel's works were edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (100 vols., Leipzig, 1858–1902).

Handel adopted the spelling "George Frideric Handel" on his naturalization as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name (Georg Friedrich Händel) is generally used in Germany and elsewhere, but he is known as "Haendel" in France, which causes no small amount of grief to cataloguers everywhere. There was another composer with a similar name, Handl, who was a Slovene and is more commonly known as Jacobus Gallus.

Notes

• 1. British Citizen by Act of Parliament: George Frideric Handel
• 2. Adams Aileen, K., Hofestadt, B., "Georg Handel (1622–97): the barber-surgeon father of George Frideric Handel (1685–1759)", Journal of Medical Biography, 2005, Aug;13(3):142–49. [1]
• 3. Virginia Tech Multimedia Music Dictionary Composer Biographies
• 4. Deutsch, Otto Erich, "Handel: A Documentary Biography", Music & Letters, 36(3) (July 1955), pp. 269–72.
• 5. Hird, Edward, Rev., Rediscovering Handel's Messiah, April 1993, Deep Cove Crier, North Vancouver, B.C., Canada.
• 6. Handel. A Celebration of his Life and Times 1685–1759. National Portrait Gallery, p. 92.
• 7. Dent, Edward Joseph [2004-06-17]. Handel. R A Kessinger Publishing, 63. ISBN 1-4191-2275-4.
• 8. Textbook in CD Sacred Arias with Harp & Harp Duets by Rachel Ann Morgan & Edward Witsenburg.

References

• Burrows, Donald. Handel. Oxford: Oxford University Press, 1994. ISBN 0-19-816470-X
• Deutsch, Otto Erich, Handel: A Documentary Biography, 1955.
• Frosch, W.A., The "case" of George Frideric Handel, New England Journal of Medicine, 1989; 321:765-769, Sep 14, 1989. [2]
• Harris, Ellen T. (general editor) The librettos of Handel's operas: a collection of seventy librettos documenting Handel's operatic career New York: Garland, 1989. ISBN 0-8240-3862-2
• Hogwood, Christopher. Handel. London: Thames and Hudson, 1984. ISBN 0-500-01355-1
• Keates, Jonathan. Handel, the man and his music. London: V. Gollancz, 1985. ISBN 0-575-03573-0
• Dean, Winton and John Merrill Knapp. Handel's Operas, 1704-1726 (Volume 1) Oxford: Clarendon Press. (1987; 2nd Ed. 1994 (softcover) ISBN 0-198-16441-6
• Meynell, Hugo. The Art of Handel's Operas The Edwin Mellen Press (1986) ISBN 0-889-46425-1

Operas

HWV	Title	Premiere	Venue	Notes
1	Almira	8 January 1705	Theater am Gänsemarkt, Hamburg
2	Nero	25 February 1705	Theater am Gänsemarkt, Hamburg	Music lost Organ voluntary 'Arrival of the Queen of Sheba'
3	Florindo	1708	Theater am Gänsemarkt, Hamburg	Music lost
4	Daphne	1708	Theater am Gänsemarkt, Hamburg	Music lost
5	Rodrigo	1707	Florence
6	Agrippina	Late 1709/Early 1710	Teatro San Giovanni Grisostomo, Venice
7a/b	Rinaldo	24 February 1711	Queen's Theatre, London
8a/b/c	Il pastor fido	22 November 1712	Queen's Theatre, London
9	Teseo	10 January 1713	Queen's Theatre, London
10	Lucio Cornelio Silla	June 1713?	London?	Music reused in Amadigi
11	Amadigi	25 May 1715	King's Theatre, London
12a/b	Radamisto	27 April 1720	King’s Theatre, London
13	Muzio Scevola	15 April 1721	King’s Theatre, London	only Act 3 by Handel
14	Floridante	9 December 1721	King’s Theatre, London
15	Ottone	12 January 1723	King’s Theatre, London
16	Flavio	14 May 1723	King’s Theatre, London
17	Giulio Cesare	20 February 1724	King’s Theatre, London
18	Tamerlano	31 October 1724	King’s Theatre, London
19	Rodelinda	13 February 1725	King’s Theatre, London
20	Scipione	12 March 1726	King’s Theatre, London
21	Alessandro	5 May 1726	King’s Theatre, London
22	Admeto	31 January 1727	King’s Theatre, London
23	Riccardo Primo	11 November 1727	King’s Theatre, London
24	Siroe	17 February 1728	King’s Theatre, London
25	Tolomeo	30 April 1728	King’s Theatre, London
26	Lotario	2 December 1729	King’s Theatre, London
27	Partenope	24 February 1730	King’s Theatre, London
28	Poro	2 February 1731	King’s Theatre, London
29	Ezio	15 January 1732	King’s Theatre, London
30	Sosarme	15 February 1732	King’s Theatre, London
31	Orlando	27 January 1733	King’s Theatre, London
32	Arianna in Creta	26 January 1734	King’s Theatre, London
33	Ariodante	8 January 1735	Covent Garden Theatre, London
34	Alcina	16 April 1735	Covent Garden Theatre, London
35	Atalanta	12 May 1736	Covent Garden Theatre, London
36	Arminio	12 January 1737	Covent Garden Theatre, London
37	Giustino	16 February 1737	Covent Garden Theatre, London
38	Berenice	18 May 1737	Covent Garden Theatre, London
39	Faramondo	3 January 1738	King’s Theatre, London
40	Serse	15 April 1738	King’s Theatre, London	Also known as Xerxes
A 14	Giove in Argo (Pasticcio)	1 May 1739	King’s Theatre, London
41	Imeneo	22 November 1740	Theatre in Lincoln's Inn Fields, London
42	Deidamia	10 January 1741	Theatre in Lincoln's Inn Fields, London

Incidental music

HWV	Title	Premiere	Venue	Notes
43	The Alchemist	14 January 1710	Queen's Theatre, London	Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo.
44	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

HWV	Title	Premiere	Venue
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	London
51	Deborah	21 February 1733	King's Theatre, London
52	Athalia	10 July 1733	Sheldonian Theatre, Oxford
53	Saul	16 January 1739	King's Theatre, London
54	Israel in Egypt	4 April 1739	King's Theatre, London
55	L'Allegro, il Penseroso ed il Moderato	27 February 1740	Theatre in Lincoln's Inn Fields, London
56	Messiah	13 April 1742	New Music Hall, Dublin
57	Samson	18 February 1743	Covent Garden Theatre, London
58	Semele	10 February 1744	Covent Garden Theatre, London
59	Joseph and his Brethren	2 March 1744	Covent Garden Theatre, London
60	Hercules	5 January 1745	King's Theatre, London
61	Belshazzar	27 March 1745	King's Theatre, London
62	Occasional Oratorio	14 February 1746	Covent Garden Theatre, London
63	Judas Maccabaeus	1 April 1747	Covent Garden Theatre, London
64	Joshua	9 March 1748	Covent Garden Theatre, London
65	Alexander Balus	23 March 1748	Covent Garden Theatre, London
66	Susanna	10 February 1749	Covent Garden Theatre, London
67	Solomon	17 March 1749	Covent Garden Theatre, London
68	Theodora	16 March 1750	Covent Garden Theatre, London
69	The Choice of Hercules	1 March 1751	Covent Garden Theatre, London
70	Jephtha	26 February 1752	Covent Garden Theatre, London
71	The Triumph of Time and Truth	11 March 1757	Covent Garden Theatre, London
—	Nabal	16 March 1764	Covent Garden Theatre, London
—	Rebecca
—	Gideon	10 February 1769	Covent Garden Theatre, London

Odes and masques

HWV	Title	Premiere	Venue	Text
72	Aci, Galatea e Polifemo	19 July 1708	Naples
49a	Acis and Galatea (masque)	probably 1718	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

HWV	Title	Composed	Premiere	Notes	Text
77	Ah che pur troppo è vero	Florence, ca. 1707
78	Ah! crudel, nel pianto mio	Rome, August 1708	2 September, 1708, Palazzo Bonelli, Rome
79	Diana cacciatrice or Alla caccia	Rome, May 1707	May-June 1707, Vignanello	Copied for Ruspoli, 1707
80	Allor ch'io dissi: Addio	Rome, 1707-9
81	Alpestre monte	Florence, circa 1707
82	Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso	Rome, August 1708	Probably October 28, 1708	Copied for Ruspoli, 1708
83	Aminta e Fillide or Arresta il passo	Early 1708	Rome, 14 July, 1708	Copied for Ruspoli, 1708. The section, "Chi ben ama" printed separately in HG 52b
84	Aure soavi, e lieti	Rome, May 1707		Copied for Ruspoli, 1707, 1708, 1709
85	Venus and Adonis or Behold where weeping Venus stands	London, circa 1711		No autograph - authenticity uncertain
86	Bella ma ritrosetta	London, circa 1717-18
87	Carco sempre di gloria	London, 1737	16 March, 1737, between parts of "Alexander's Feast" (75), London	Variant insertion in "Cecilia, volgi un sguardo" (89), for performances of "Alexander's Feast" (75), 1737, including music for the castrato Annibali
88	Care selve, aure grate	Rome, 1707/8
89	Cecilia, volgi un sguardo	London, January 1736	19 or 25 (?) February 1736, London, Covent Garden Theatre.	Played between the two parts of Alexander's Feast (75).
90	Chi rapì la pace al core	Florence, circa 1706–07		Copied for Ruspoli, 1709
91a	Clori, degli occhi miei	Florence, late 1707
91b	Clori, degli occhi miei	London, after 1710
92	Clori, mia bella Clori	Rome, 1707–08
93	Clori, ove sei?	Italy, 1707–08
94	Clori, si, ch'io t'adoro			No autograph, earliest source circa 1738–40
95	Clori, vezzosa Clori	Rome, July/August 1708		Copied for Ruspoli, 1708
96	Clori, Tirsi e Fileno or Cor fedele in vano speri	Rome, July/September 1707		Copied for Ruspoli, 14 October 1707.
97	Crudel tiranno Amor	London, June 1721	Probably performed 5 July 1721, London, King's Theatre, Haymarket.	Performed at the benefit concert for Margherita Durastanti.
98	Cuopre tal volta il cielo	Italy, 1708
99	Il delirio amoroso or Da quel giorno fatale	Rome, on or before 14 January 1707.	At Cardinal Pamphili's palato in May 1707.
100	Da sete ardente afflitto	Italy, 1708–09		Copied for Ruspoli, 1709. (101a & 101b: Dal fatale momento. Spurious, by F. Mancini).
102a	Dalla guerra amorosa	Italy, 1708–09		Copied for Ruspoli, 1709
102b	Dalla guerra amorosa	Italy, 1708–09		Copied for Ruspoli, 1709
103	Deh! lasciate e vita e volo	London, circa 1722–25			Libretto text by Paolo Antonio Rolli
104	Del bel idolo mio	Rome, 1708–09		Copied for Ruspoli, 1709
105	Armida abbandonata or Dietro l'orme fuggaci	Rome, June 1707	Possibly 26 June 1707, Palazzo Bonelli, Rome	Copied for Ruspoli, 1707, 1709.
106	Dimmi, o mio cor	Italy, 1707–09		See 132 note.
107	Ditemi, o piante	Rome, July/August 1708		Copied for Ruspoli, 1708
108	Dolce mio ben, s'io taccio			No autograph. No source attributed to Handel.
109a	Dolc' è pur d'amor l'affanno	London, circa 1717–18			Libretto ?Text by Paolo Antonio Rolli
109b	Dolc' è pur d'amor l'affanno	London, ?after 1718			Libretto: ?Text by Paolo Antonio Rolli
110	Agrippina condotta a morire or Dunque sarà pur vero	Italy, 1707-8	Early in 1708	First performed by the castrato soprano, Pasqualino Tiepoli	Libretto: Anonymous
111a	E partirai, mia vita?	Italy, 1707–09
111b	E partirai, mia vita?	London, circa 1725–28
112	Figli del mesto cor	Probably Italy, 1707–09		No autograph or Italian-period copies
113	Figlio d'alte speranze	Florence, 1706–07
114	Filli adorata e cara	Rome, 1707–08		Copied for Ruspoli, 1709
115	Fra pensieri quel pensiero	Italy, 1707–08
116	Fra tante pene	Florence, 1706–07		Copied for Ruspoli, 1709
117	Hendel, non può mia musa	July/August, 1708		Copied for Ruspoli, 1708, 1709	Libretto by Cardinal Benedetto Pamphili
118	Ho fuggito Amore anch'io	London, circa 1722–23		Printed without final aria in HG.	Libretto by Paolo Antonio Rolli
119	Echeggiate, festeggiate, numi eterni or Io languisco fra le gioie	London, circa 1710–12		Partly lost. Fragments printed in wrong order in HG.
120a	Irene, idolo mio	Italy, 1707–09		No autographs or Italian-period copies.
120b	Irene, idolo mio	England, after 1710		No autographs or Italian-period copies.
121a	La Solitudine or L'aure grate, il fresco rio	London, circa 1722–23		fragment
121b	La Solitudine or L'aure grate, il fresco rio	London, before 1718
122	Apollo e Dafne or La terra è liberata	Probably begun Venice, 1709. Completed Hanover, 1710
123	Languia di bocca lusinghiera	Possibly composed in Hanover, 1710		?fragment
124	Look down, harmonious saint	circa 1736	February 1736 London, Covent Garden Theatre	Recitative and aria; probably a discarded fragment for "Alexander's Feast" (75), 1736. It appeared in the cantata HWV 89	Libretto by Newburgh Hamilton, from Cecilian Ode 1720.
125a	Lungi da me, pensier tiranno	Italy, 1707–09		No autographs or Italian-period copies. One version copied for Ruspoli, 1708.
125b	Lungi da me, pensier tiranno	London, after 1710		No autographs or Italian-period copies. One version copied for Ruspoli,1708.
126a	Lungi da voi, che siete poli	Rome, July/August 1708
126b	Lungi da voi, che siete poli	Rome, 1708
126c	Lungi da voi, che siete poli	Probably London, after 1710.
127a	Lungi dal mio bel nume	Completed score Rome, 3 March 1708
127b	Lungi dal mio bel nume	?London, after 1710
127c	Lungi dal mio bel nume	London, circa 1725–28
128	Lungi n'andò Fileno	Rome, August 1708		Copied for Ruspoli, 1708
129	Manca pur quanto sai	Rome, July/August 1708		Copied for Ruspoli, 1708
130	Mentre il tutto è in furore	Rome, August 1708		Copied for Ruspoli, 1708
131	Menzognere speranze	Rome, September 1707		Copied for Ruspoli, 1707
132a	Mi palpita il cor	?London, after 1710		Borrowings: Version of "Dimmi, o mio cor" (106) with new opening.
132b	Mi palpita il cor	?London, after 1718
132c	Mi palpita il cor	?London, after 1710
132d	Mi palpita il cor	?London, circa 1711–12
133	Ne' tuoi lumi, o bella Clori	Rome, September 1707		Copied for Ruspoli, 1707, 1709
134	Pensieri notturni di Filli or Nel dolce dell'oblio	Rome, 1707–08. Completed score 1709
135a	Nel dolce tempo	Probably Naples, June/July 1708
135b	Nel dolce tempo	London, after 1710		No autographs, and no early Italian-period copies.
136a	Nell' Africane selve	Naples, June/July 1708
136b	Nell' Africane selve	London, after 1710
137	Nella stagion che di viole e rose	Rome, April/May 1707		Copied for Ruspoli, 1707, 1709. Probably composed for the soprano, Margherita Durastanti.
138	Nice, che fa? che pensa?	?Hanover, 1710
139a	Ninfe e pastori	Rome, 1707–09		Copied for Ruspoli, 1709
139b	Ninfe e pastori	Probably London, after 1710
139c	Ninfe e pastori	London, circa 1725–28
140	Nò se emenderá jamás	Rome, September 1707		Copied for Ruspoli, 1707
141	Non sospirar, non piangere	Florence, Fall 1707
142	Notte placida e cheta	Rome, 1707–08			Libretto anonymous
143	Olinto pastore, Tebro fiume, Gloria or O come chiare e belle	Rome, August/September 1708	9 September, 1708 at the Marquis Ruspoli's Palazzo Bonelli	?Copied for Ruspoli, 1708. First performed by the soprano Anna Marie di Piedz
144	O luceniti, o sereni occhi	Rome, 1707–09
145	La Lucrezia or Oh numi eterni	August, 1708		Copied for Ruspoli, 1709. Probably composed for the soprano, Margherita Durastanti.	Libretto by Cardinal Benedetto Pamphili
146	Occhi miei che faceste?	Rome, 1707–08		Copied for Ruspoli, 1709
147	Partì, l'idolo mio	London, after 1710		No autograph or eary Italian copies.
148	Poichè giuraro amore	Rome, early 1707		Copied for Ruspoli, 1707, 1709
149	Qual sento io non conosciuto			Only source circa 1738–40
150	Ero e Leandro or Qual ti riveggio, oh Dio	Rome, 1707		Derived from the story of Hero and Leander	Libretto ?Cardinal Pietro Ottoboni.
151	Qualor crudele, sì ma vaga Dori	London, after 1710		No autograph or early Italian-period copies
152	Qualor l'egre pupille	Rome, September 1707		Copied for Ruspoli, 1707
153	Quando sperasti, o core	Probably Naples, June/July 1708		Copied for Ruspoli, 1708
154	Quel fior che all'alba ride	London, circa 1738–40		Published in Handel (ed. Burrows), "Songs and Cantatas for Soprano."
155	Sans y penser	Rome, September 1707		Composed in Italy. Copied for Ruspoli, 1707, 1709.
156	Sarai contenta un di	Florence, 1706–07
157	Sarei troppo felice	Rome, September 1707		Copied for Ruspoli, 1707, 1708 (incomplete)	Libretto by B. Pamphili.
158a	Se pari è la tua fè	Rome, 1708		Copied for Ruspoli, 1708, 1709.
158b	Se pari è la tua fè	Probably London, after 1710
158c	Se pari è la tua fè	London, circa 1725–28
159	Se per fatal destino	Rome, early 1707		Copied for Ruspoli, 1707, 1709
160a	La bianca rosa or Sei pur bella, pur vezzosa	Rome, early 1707		Copied for Ruspoli, 1707, 1709
160b	La bianca rosa or Sei pur bella, pur vezzosa	London, circa 1725–28
160c	La bianca rosa or Sei pur bella, pur vezzosa	London, circa 1738-41
161a	Sento là che ristretto	Rome, 1708–09
161b	Sento là che ristretto
161c	Sento là che ristretto	London, circa 1725–28
162	Siete rose ruggiadose	(with variant), London, circa 1711-12.
163	Solitudini care, amata libertà	London, after 1710		No autographs or early Italian-period copies
164a	Il Gelsomino or Son Gelsomino	London, circa 1725–28
164b	Il Gelsomino or Son Gelsomino	London, circa 1717-18
165	Spande ancor a mio dispetto	Italy, 1707–08
166	Splenda l'alba in oriente	London, circa 1711-12		Survives only in fragmentary form.
167a	Stanco di più soffrire	Italy, 1707–08
167b	Stanco di più soffrire	Rome, July/August 1708
168	Partenza di G. B. or Stelle, perfide stelle	Rome, 1707
169	Torna il core al suo diletto	Probably Rome, 1707–08
170	Il consiglio or Tra le fiamme	Rome, 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, 1706–07		Copied for Ruspoli, 1707, 1708
172	Udite il mio consiglio	Florence, 1706-7		Copied for Ruspoli, 1707
173	Un' alma innamorata	Rome, May 1707	Probably Vignanello, June 1707	Copied for Ruspoli, 1707
174	Un sospir a chi si muore	Florence, Fall 1707
175	Vedendo Amor	Rome, 1707–08
176	Amore uccellatore or Venne voglia ad Amore	Rome, 1707–08
177	Zeffiretto, arresta il volo	Italy, 1707–09		?Copied for Ruspoli, 1709

Italian duets

HWV	Title	Composed	Notes	Text
178	A mirarvi io son intento	?Hanover, circa 1711	First movement reappeared 2 years later in the "Utrecht" Jubilate (HWV 279) as "Be ye sure that Lord he is God.". Slow middle section formed the basis for the final chorus of "Alcina" (HWV 34) in 1735.
179	Ahi, nelle sorti umane	London, 31 August 1745
180	Amor, gioje mi porge	Italy, circa 1707-9
181	Beato in ver chi pùo	London, 31 October, 1742	Italian version of Horace, "Beatus ille"
182a	Caro autor di mia doglia	Probably Italy, circa 1707-9
182b	Caro autor di mia doglia	London, circa 1742
183	Caro autor di mia doglia -- Spurious	Hanover, circa 1710-12	Spurious, by Reinhard Keiser.
184	Che via pensando, folle pensier	Italy, circa 1707-9
185	Conservate, raddoppiate	?Hanover, circa 1711	The 2nd movement, "Nodi voi" can be found later in the Opus 1 sonatas and also in the concerti grossi as well as various operas and oratorios.
186	Fronda leggiera e mobile	London, circa 1745	The opening theme also appears in "Belshazzar" (HWV 61) as well as the Concerto a due cori No. 1 (HWV 332)
187	Giù nei Tartarei regni	Composed: Italy, circa 1707
188	Langue, geme, e sospira	London, circa 1722	Theme of the 2nd movement later appeared as "Thou hast prevented him" in the Coronation Anthem, "The King shall rejoice" (HWV 260)	Libretto by G.D. de Totis (from opera, "La caduta del regno dell' Amazzoni"; 1690)
189	Nò, di voi non vo' fidarmi	London, 3 July 1741	Thematic ideas from 2 movements used in "Messiah" (HWV 56)
190	Nò, di voi non vo' fidarmi	London, 2 November 1742
191	Quando in calma ride il mare	Italy or Hanover, circa 1707-11
192	Quel fior che all'alba ride	London, 1 July 1741	3rd movement uses theme from, "Quel fior che all'alba ride," (HWV 154). Thematic ideas from 2 movements used in "Messiah" (HWV 56)
193	Se tu non lasci amore	London, circa 1722 (?1711)	Thematic idea from 1st movement used in "Messiah" (HWV 56) as the duet, "Oh death, where is thy sting." Sections of the concluding movement use in Esther (HWV 50a), 1718, and there's the hint of the famous Air from the "Water Music."
194	Sono liete, fortunate	?Hanover, circa 1710-11	The final movement was later used in the overture to "Judas Maccabeus" (HWV 63).
195	Spero indarno	London, circa 1730-40	Single movement, known only from copies. Authenticity uncertain.
196	Tacete, ohimè, tacete	Italy, circa 1707-9	Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse."
197	Tanti strali al sen mi scocchi	?Hanover, circa 1711	Fugal movement later used in "Solomon" (HWV 67) for "Take him all."
198	Troppo cruda, troppo fiera	?Hanover, circa 1711	Autograph lost.
199	Va', speme infida	?Hanover, circa 1711	Autograph lost.

Italian trios

HWV	Title	Composed	Notes	Text
200	Quel fior che all'alba ride	?Italy, circa 1707-9	Two versions, slightly different texts.
201a	Se tu non lasci amore	Naples, 12 July 1708
201b	Se tu non lasci amore	1708	First movement longer in Naples autograph than in most copies.

Hymns

HWV	Title	Voice	Composed	Notes	Text
202	Künft' ger Zeiten eitler Kummer	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
203	Das zitternde Glänzen der spielenden Wellen	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
204	Süsser Blumen Ambraflocken	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
205	Süsse Stille, sanfte Quelle ruhiger Gelassenheit	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
206	Singe, Seele, Gott zum Preise	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
207	Meine Seele hört im Sehen	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
208	Die ihr aus dunkeln Grüften	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
209	In den angenehmen Büschen	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
210	Flammende Rose, Zierde der Erden	Soprano	London, circa 1724-6		by B.H. Brockes from "Irdisches Vergnügen in Gott."
269-77	Settings of 'Amen' and '(H)alleluja, amen'	Soprano	London, circa 1734-41, 1744-7
284	Sinners obey the Gospel word (The Invitation)	Soprano	circa 1747	Probably at the request of Priscilla Rich.	by Charles Wesley.
285	O Love divine, how sweet thou art (Desiring to Love)	Soprano	circa 1747	Probably at the request of Priscilla Rich.	by Charles Wesley.
286	Rejoice, the Lord is King (On the Resurrection)	Soprano	circa 1747	Probably at the request of Priscilla Rich.	by Charles Wesley.

Italian arias

HWV	Title	Voice	Composed
211	Aure dolci, deh, spirate	Alto	London, circa 1722-6
212	Con doppia gloria mia	Soprano	London, circa 1722-6
213	Con lacrime si belle	Alto	London, circa 1717-18
214	Dell'onda instabile	Alto	London, circa 1749
215	Col valor del vostro brando	Soprano	London, circa 1711-13
216	Impari del mio core	Soprano	London, circa 1749
217	L'odio, sì, ma poi ritrovò	Alto	London, circa 1722-6
219	Non so se avrai mai bene	Soprano	London, circa 1710-18
220	Per dar pace al mio tormento	Soprano	London, circa 1749
221	Quant'invidio tua fortuna	Soprano	London, circa 1749
222	Quanto più amara fu sorte crudele	Soprano	London, circa 1721-3
223	S'un di m'appaga, la mia crudele	Soprano	London, circa 1738-41
224	Si, crudel, tornerà	Soprano	London, circa 1738-41
225	Spera chi sa perchè la sorte	Alto	London, circa 1717-18
227	Vo' cercando tra fiori	Soprano	London, circa 1726

English songs

HWV	Title	Voice	Composed	Notes
226	Hunting Song or The morning is charming	Tenor	London, 1743	Voice in treble clef. Autograph, which survives, presented to Legh in 1751
228-1	The unhappy Lovers: As Celia's fatal arrows flew	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, 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, 15 May 1746. Composed to celebrate the Duke of Cumberland's defeat of the Jacobite forces at Culloden on 16 April, 1746
228-10	The forsaken Nymph: Guardian Angels now protect me	Soprano	circa 1735
228-11	I like the am'rous Youth that's free	Soprano	1737	First performance: 28 February 1737: London, Drury Lane Theatre. Published: 1741. Sung by Catherine ("Kitty") Clive in James Miller's comedy, "The Universal Passions" (Act II)
228-12	Phillis: My fair, ye Swains, is gone astray	Soprano	circa 1725
228-13	Not, Cloe, 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, 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, my brave boys or Song made for the Gentlemen Volunteers of the City of London	Tenor	1745	First performance : Sung by Thomas Lowe in "The Relapse or Virtue in Danger" by John Vanbrugh, at Drury Lane Theatre, London: 14 November 1745. Published: 1745. Published as "A Song made for the Gentlemen Volunteers of the City of London" (1745)
228-19	The faithful Maid / The Melancholy Nymph: 'Twas when the seas were roaring	Soprano	1715	First performance: 23 February 1715: London, Drury Lane Theatre. Incidental music - 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, I'm in love	Soprano	circa 1740

German church cantatas

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

Italian sacred cantatas

HWV	Title	Voice	Composed	Notes
230	Ah! che troppo ineguali or O del ciel! Maria regina	Soprano	?Rome 1707-8	Recitative and aria.
233	Donna, che in ciel	Soprano		First performance: ?2 February 1708, Rome on the "anniversary of the deliverance of Rome from the earthquake on the feast of the Purification of the Virgin."
234	Il pianto di Maria or Giunta l'ora fatal	Soprano		Spurious. Misattributed to Handel; composed by Giovanni Battista Ferrandini (1710-91).
244	Kyrie eleison	Chorus		Spurious. Misattributed to Handel; by A. Lotti ("Missa Sapientiae"). MS copy Handel from circa 1749.
245	Gloria in excelsis deo	Chorus		Spurious. Misattributed to Handel; by A. Lotti ("Missa Sapientiae"). MS copy Handel from circa 1749.

Motets

HWV	Title	Voice	Composed	Performed	Notes
231	Coelestis dum spirat aura	Soprano	?Rome, 1707	?13 June 1707, Vignanello	Motet for the Feast of St. Anthony of Padua
239	O qualis de coelo sonus	Soprano	?Rome, May-June 1707	?Whitsun 1707, Vignanello
240	Saeviat tellus inter rigores	Soprano	?Rome, 1707	?16 July 1707, Rome	Motet for the Feast of Madonna del Carmine
242	Silete venti	Soprano	London, circa 1724

Psalm settings

HWV	Title	Voice	Composed	Notes	Text
232	Dixit Dominus	Soprano, Alto, Chorus	April 1707, Rome	Dixit Dominus represents Handel's earliest dated autograph, and it is the earliest surviving autograph from his large-scale compositions.	Psalm 110 (Vulgate 109)
236	Laudate pueri dominum in F major	Soprano	circa 1706, Germany	Laudate pueri dominum in F major is Handel's earliest surviving autograph.	Psalm 113 (Vulgate 112)
237	Laudate pueri dominum in D major	Soprano, Chorus	8 July 1707, Rome		Psalm 113 (Vulgate 112)
238	Nisi Dominus	Soprano, Alto, Tenor, Bass, Chorus	13 July 1707, Rome	First performance: Probably written for a grand Vespers service held at the church of S. Maria di Monte Santo in Rome on 16 July 1707, the feast day of "Our Lady of Mount Carmel" -- the major fesitval of the Carmelite order.	Psalm 127 (Vulgate 126)

Antiphons

HWV	Title	Voice	Composed	Notes
235	Haec est Regina virginum	Soprano	?Rome, 1707	First performance: Probably written for services held at the church of S. Maria di Monte Santo in Rome circa 16 July 1707 to celebrate the feast day of "Madonna del Carmine" (Our Lady of Mount Carmel) -- the major fesitval of the Carmelite order.
241	Salve Regina	Soprano	?Rome, 1707	First performance: ?Trinity Sunday, 19 June, 1707, Marquis Ruspoli's private chapel at Vignanello.
243	Te decus virgineum	Alto	Rome, 1707	First performance: Probably written for services held at the church of S. 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.

Anthems

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

Canticles

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

Concertos

HWV	Instrument	Key	Completed	First Performed	Published	Opus	Notes
287	Oboe	G minor	?Hamburg, circa 1704-5	1863			Oboe concerto number 3
288	Violin	B flat major	Italy, circa 1707				“Sonata a 5”. Earliest concerto by Handel. Possibly for Corelli in Rome
289	Organ	G minor	1735-6	19 February 1736: London, Covent Garden Theatre	1738	Opus 4 No. 1	First performed with "Alexander's Feast" (HWV 75)
290	Organ	B flat major	1735	5 March 1735: London, Covent Garden Theatre	1738	Opus 4 No. 2	First performed with the oratorio "Esther" (HWV 50b)
291	Organ	G minor	1735	5 March 1735: London, Covent Garden Theatre	1738	Opus 4 No. 3	Variant versions of last movement. First performed with the oratorio "Esther" (HWV 50b)
292	Organ	F major	25 March 1735	1 April 1735: London, Covent Garden Theatre	1738	Opus 4 No. 4	Originally concluded with 'Alleluja' chorus (HG 20, p. 161), short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" (HWV 52)
293	Organ	F major		?26 March 1735: London, Covent Garden Theatre	1738	Opus 4 No. 5	Performed with revival of "Deborah" (HWV 51).
294	Organ	B flat major	1736	19 February 1736: London, Covent Garden Theatre	1738	Opus 4 No. 6	Originally composed for the harp, but later rearranged for the organ
295	Organ	F major	2 April 1739	4 April 1739: London, King's Theatre, Haymarket	1740	"2nd Set" No. 1	Referred to as Organ Concerto "No. 13". The bird-song motives of the 2nd movement earned the concerto the nickname, "The Cuckoo and the Nightingale"
296a	Organ	A major	1739	20 March 1739: London, King's Theatre, Haymarket	1740	"2nd Set" No. 2	Referred to as organ concerto "No. 14"
296b	Organ	A major	Arranged by Handel circa 1743-6				Pasticcio
297	Organ	D minor			1740	"2nd Set" No. 3	Referred to as organ concerto "No. 15"
298	Organ	G major			1740	"2nd Set" No. 4	Referred to as organ concerto "No. 16"
299	Organ	D major			1740	"2nd Set" No. 5	Referred to as organ concerto "No. 17"
300	Organ	G minor			1740	"2nd Set" No. 6	Referred to as organ concerto "No. 18"
301	Oboe	B flat major			1740		Oboe Concerto No 2a. Authenticity is uncertain
302a	Oboe	B flat major			1740		Oboe Concerto No 1
303	Organ (two)	D minor	circa 1738				An adagio for two organs. 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. 15". First performed with the premiere of The Occasional Oratorio (HWV 62)
305	Organ	F major	Arranged by Handel circa 1747-8
306	Organ	B flat major	17 February 1740	27 February 1740: London, Lincoln's Inn Fields Theatre	1761	Opus 7 No. 1	First movement includes an independent pedal part
307	Organ	A major	5 February 1743	18 February 1743: London, Covent Garden Theatre	1761	Opus 7 No. 2	Performed with the oratorio Samson (HWV 57)
308	Organ	B flat major	1-4 January 1751	1 March 1751: London, Covent Garden Theatre	1761	Opus 7 No. 3	Two variant autographs of 1st movement. Handel's last orchestral work
309	Organ	D minor	?circa 1744	?14 February 1746	1761	Opus 7 No. 4	?Performed with premiere of "The Occasional Oratorio" (HWV 62)
310	Organ	G minor	31 January 1750	16 March 1750: London, Covent Garden Theatre	1761	Opus 7 No. 5	Performed with "Theodora" (HWV 68). Final gavotte in published version probably added later by Smith Jr.
311	Organ	B flat major	circa 1748-9	1761	1749	Opus 7 No. 6	Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication
343	Organ	G major	circa 1738-9				Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto

Concerti grossi

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

Orchestral works

HWV	Type	Key	Completed	First Performed	Published	Notes
302b	Largo	F major	circa 1738			Autograph headed "Suite de pieces" (presumably this was the opening movement)
336	Overture	B flat major	Probably Germany or Italy			Autograph lost
337	Overture	D major	circa 1722-5			Probably intended as an introductory movement. Possibly intended to be coupled with the concerto grosso in D major Op. 3 No. 6 (HWV 317) as the adagio movement.
338	Adagio/Allegro	B minor/D major	1722			Originally, with the 1st movement of the Organ Concerto, Allegro in D minor (HWV 317), a 3-movement orchestral concerto. The 1st movement was used as the sinfonia in Ottone (HWV 15); and the theme of the last movement was reworked for the overture of Ottone
339	Sinfonia	B flat major	Probably Hamburg or Italy, circa 1706-7		1979	No autograph. First published in 1979 in the Halle Edition (IV/15) and is known only from a copy by Christopher Graupner (1683-1760)
340	Allegro	G major	?circa 1710-15			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. 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	Water Music, Suite No 1	F major	1717	17 July 1717	1788	Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
349	Water Music, Suite No 2	D major	1717	17 July 1717	1788	Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
350	Water Music, Suite No 3	G major	1717	17 July 1717	1788	Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
351	Suite. Royal Fireworks Music		1749	27 April 1749: London, Green Park		Composed for the celebration of Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian succession
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 1710-15			No autograph
356	Hornpipe	D major	1740			No autograph. Composed for Vauxhall Gardens
413	Gigue	B flat major	1736

Solo sonatas

HWV	Instrument	Key	Completed	Published	Opus	Notes
357	Oboe	B flat major	circa 1707-10			One of Handel's earliest extant compositions. Probably written during his years in Italy
358	Recorder or Violin	G major	circa 1707-10			The "Fitzwilliam" sonata. The autographed manuscript, located in the Fitzwilliam Museum, does not mention the instrument for which it was intended, although Handel specialists consider it a violin sonata
359a	Violin	D minor	circa 1724			The D minor sonata, headed "Sonata 2", follows the G minor sonata in the Fitzwilliam Museum autograph. Originally written for violin and published in two different E minor versions for the flute. See Flute Sonata in E minor, Op 1 No 1b (HWV 359b)
359b	Flute	E minor	circa 1724	1732	Opus 1 No. 1b	Of the two sonatas published by Chrysander as Op 1 No 1, this is the one in the original edition, Chrysander's No. 1A being taken from MSS, they have in common only the opening and closing movements
360	Recorder	G minor	circa 1725-6	1732	Opus 1 No. 2
361	Violin	A major	circa 1725-6	1732	Opus 1 No. 3
362	Recorder	A minor	circa 1725-6	1732	Opus 1 No. 4
363a	Oboe	F major	circa 1711-16
363b	Flute	G major	circa 1711-16	1732	Opus 1 No. 5
364a	Violin	G minor	circa 1724	1732	Opus 1 No. 6
364b	Viola da gamba	G minor	circa 1724			An authorized transcription of HWV364a
365	Recorder	C major	circa 1725-6		Opus 1 No. 7
366	Oboe	C minor	circa 1711-12	1732	Opus 1 No. 8
367a	Recorder	D minor	circa 1725-6		Opus 1 No. 9a	Movements 1-5 constitute the "Fitzwilliam Sonata III". Originally published Flute Sonata in B minor, Op 1 No 9b (HWV 367b). The contemporary edition of Handel attributes it to the transverse flute, but the autograph manuscript is clearly for the recorder
367b	Flute	B minor	circa 1725-6	1732	Opus 1 No. 9b	In the 'Aylesford' collection the Alla breve appears with the title, FUGE
368	Violin	G minor		1732	Opus 1 No. 10	Probably spurious
369	Recorder	F major	circa 1725-6	1732	Opus 1 No. 11
370	Violin	F major		1732	Opus 1 No. 12	Probably spurious
371	Violin	D major	Circa 1749-50		Opus 1 No. 13	This sonata represents Handel's last piece of chamber music
372	Violin	A major		1732	Opus 1 No. 14	Probably spurious
373	Violin	E major		1732	Opus 1 No. 15	Probably spurious
374	Flute	A minor		1730		"Halle" No. 1. Authenticity uncertain. Sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works)
375	Flute	E minor		1730		"Halle" No. 2. Authenticity uncertain. Sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works)
376	Flute	B minor		1730		"Halle" No. 3. Authenticity uncertain. Sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works)
377	Recorder	B flat major	circa 1724-5
378	Flute	D major	?circa 1707			No autograph, but probably authentic. This is a recent discovery. It appears in an important manuscript of 18th century solo sonatas in the Brussels Royal Conservatory, published in facsimile in 1979, and is there attributed to 'Sr Weisse'
379	Flute	E minor	circa 1727-8	1879	Opus 1 No. 1a	Although its authenticity remains unquestioned, this sonata is not, strictly, part of Op. 1, having been added by Chrysander from the British Museum autograph
406	Violin	A major	circa 1751			Adagio and Allegro. 3-part accompaniment (? orchestral short score)
407	Violin	G major	circa 1738			Allegro
408	Violin	C minor	circa 1725-9			Allegro. It may be the only surviving fragment of a completed sonata in C minor
409	Recorder	D minor	circa 1725-6			Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a)
412	Violin	A minor	circa 1725-6			Andante
419-1			circa 1710-20			A march. Known only from printed sources; published as separate treble and bass parts; instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work
419-2			circa 1710-20			A march. Known only from printed sources; published as separate treble and bass parts; instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work
419-3			circa 1710-20			A march. Known only from printed sources; published as separate treble and bass parts; instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work
419-4			circa 1710-20			A march. Known only from printed sources; published as separate treble and bass parts; instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work
419-5			circa 1710-20			A march. Known only from printed sources; published as separate treble and bass parts; instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work
419-6			circa 1710-20			A march. Known only from printed sources; published as separate treble and bass parts; instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work
420		D major	circa 1743-4			Minuet. 2-stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work
421		D major	circa 1743-4			Minuet. 2-stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work

Trio sonatas

HWV	Key	Completed	Published	Opus	Notes
380	B flat major				Authenticity doubtful
381	D minor				Authenticity doubtful
382	E flat major				Authenticity doubtful
383	F major				Authenticity doubtful
384	G major				Authenticity doubtful
385	D major				Authenticity doubtful
386a	C minor	circa 1717-19	1879		In Chrysander's "G. F. Handel's Werke" (1879) this piece was referred to as Op. 2 No. 1a; Variant form of Op. 2 No 1, not published by Walsh, but found in manuscripts
386b	B minor	Before 1727	1733	Opus 2 No. 1	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 1b
387	G minor	?1699	1733	Opus 2 No. 2	Handel's earliest datable composition. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 2
388	B flat major	circa 1717-18	1733	Opus 2 No. 3	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 4. The finale appears in the overture to Athalia (HWV 52)
389	F major,	circa 1718-22	1733	Opus 2 No. 4	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 5. The Larghetto appears in the overture to Esther (HWV 50a)
390	G minor	circa 1717-22	1733	Opus 2 No. 5	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 6
391	G minor	circa 1707	1733	Opus 2 No. 6	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 7
392	F major	circa 1706-7			In Chrysander's "G. F. Handel's Werke" (1879) this composition referred to as Op. 2 No 3. One of the "Dresden" sonatas. No autograph
393	G minor	Probably circa 1719			Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 8
394	E major				Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 9
395	E minor				Authenticity uncertain. Probably composed by Johann Adolph Hasse (1699-1783)
396	A major		1739	Opus 5 No. 1
397	D major		1739	Opus 5 No. 2
398	E minor		1739	Opus 5 No. 3
399	G major		1739	Opus 5 No. 4
400	G minor		1739	Opus 5 No. 5
401	F major		1739	Opus 5 No. 6
402	B flat major		1739	Opus 5 No. 7
403	C major	circa 1738
404	G minor				No autograph
405	F major	circa 1707-10

Wind ensemble works

HWV	Type	Key	Completed	Notes
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	La March	D major	circa 1746-7	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 1746-7
423	Minuet	G major	circa 1746-7
424	Overture	D major	circa 1741	'Fitzwilliam' Overture

Keyboard works

HWV	Type	Key	Completed	Published	Notes
305b	Arrangement	F minor	circa 1747		Used as an overture. Solo keyboard arrangement of the Organ Concerto in F major (HWV 305)
425	Air (Saraband)	E major			An individual movement. Composed by Handel at St. Giles extempore. Autograph c. 1740-50 includes Handel's transcription of opening melody
426	Suite de pièce Vol. 1 No. 1	A major	Prior to 1720	1720
427	Suite de pièce Vol. 1 No. 2	F major	Prior to 1720	1720
428	Suite de pièce Vol. 1 No. 3	D minor	Prior to 1720	1720
429	Suite de pièce Vol. 1 No. 4	E minor	Prior to 1720	1720
430	Suite de pièce Vol. 1 No. 5	E major	Prior to 1720	1720	“The Harmonious Blacksmith” or “Air and Variations in E major”. Also found in early manuscript scores as a "Chaconne" in G major (at least 2 variant forms)
431	Suite de pièce Vol. 1 No. 6	F sharp minor	Prior to 1720	1720
432	Suite de pièce Vol. 1 No. 7	G minor	Prior to 1720	1720
433	Suite de pièce Vol. 1 No. 8	F minor	Prior to 1720	1720
434	Suite de pièce Vol. 2 No. 1	B flat major	?1710-17	1733	434-4: minuet in G minor. Not part of the Suite de piece in B flat major
435	Suite de pièce Vol. 2 No. 2	G major	?1705-17	1733	21 variations. A chaconne. The Ritornello in G major (HWV 343) was added to this composition
436	Suite de pièce Vol. 2 No. 3	D minor	circa 1721-6	1733
437	Suite de pièce Vol. 2 No. 4	D minor	circa 1703-6	1733
438	Suite de pièce Vol. 2 No. 5	E minor	circa 1710-17	1733
439	Suite de pièce Vol. 2 No. 6	G minor	circa 1703-6	1733
440	Suite de pièce Vol. 2 No. 7	B flat major	circa 1703-6	1733	revised 1717-18
441	Suite de pièce Vol. 2 No. 8	G major	circa 1703-6	1733
442	Suite de piece Vol. 2 No. 9	G major	circa 1703-6	1733	62 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh)
443	Suite	C major	1700-3		Includes Chaconne (of which there are 26 variations)
444	Partita	C minor	circa 1705-6
445	Suite	C minor	1705-6
446	Suite	C minor	circa 1703-6		Composed for two harpsichords, but the music for only one harpsichord survives
447	Suite	D minor	circa 1738-9		Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452)
448	Suite	D minor	circa 1705-6
449	Suite	D minor	circa 1705
450	Partita	G major	circa 1700-5
451	Suite	G minor	circa 1703-6		Allemande and Courante only
452	Suite	G minor	circa 1738-9		Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 447)
453	Suite	G minor	circa 1705-6
454	Partita	A major	circa 1703-6
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 1720-7		Arrangement of the overture to the Italian opera “Il pastor fido"
456-2	Arrangement		circa 1720-7		Arrangement of the overture to the Italian opera "Amadigi"
456-3	Arrangement		circa 1720-7		Arrangement of the overture to the Italian opera "Flavio"
456-4	Arrangement		circa 1720-7		Arrangement of the overture to the Italian opera "Rodelinda"
456-5	Arrangement		circa 1720-7		Arrangement of the overture to the Italian opera "Riccardo Primo"
457	Air	C major	circa 1720-1
458	Air	C minor	?circa 1710-20		Authenticity uncertain
459	Air	C minor	?circa 1710-20		Authenticity uncertain
460	Air (March)	D major	circa 1720-1
461	Air (Hornpipe)	D minor	circa 1717-18
462	Air and minuet	D minor	circa 1724-6
463	Air	F major	circa 1707-9
464	Air	F major	circa 1724-6		A version of the air from the "Water Music" (HWV 348-50)
465	Air and two Doubles	F major	circa 1710-20
466	Air	G minor	circa 1710-20		For two-manual harpsichord (or possibly organ)
467	Air Lentement	G minor	circa 1710-20
468	Air	A major	circa 1727-8
469	Air	B flat major	circa 1738-9		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 1710-20		For two-manual harpsichord (or possibly organ)
471	Air	B flat major	circa 1710-20
472	Allegro	C major	circa 1705
473	Allegro	C major	25 August 1738		Clock-Organ
474	Air	G major	circa 1736-8		Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ
475	Allegro	D minor	circa 1710-20
476	Allemande	F major	circa 1730-5
477	Allemande	A major	circa 1724-6
478	Allemande	A minor	circa 1705
479	Allemande	B minor	circa 1721-2
480	Chorale	G minor	circa 1736-40		Chorale melody "Jesu meine Freude" in the middle part. Possibly for organ. A two-bar epilogue may represent a planned variation
481	Capriccio	F major	circa 1703-6
482-1	Arrangement		circa 1720-5		Arrangement of the overture to the Italian opera 'Rinaldo'
482-2	Arrangement		circa 1720-5		Arrangement of the overture to the Italian opera 'Floridante'
482-3	Arrangement		circa 1720-5		Arrangement of the overture to the Italian opera 'Radamisto'
482-4	Arrangement		circa 1720-5		Arrangement of the overture to the Italian opera 'Muzio Scevola'
483	Capriccio	G minor	circa 1720-1
484	Chaconne with 49 variations	C major	circa 1700-5		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 1710-20		Two movements
488	Allegro (Courante)	F major	circa 1717-18		In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442)
489	Courante	B minor	circa 1722
490	Fantasie pour le clavecin,	C major	circa 1703-6
491	Gavotte	G major	circa 1705
492	Gigue	F major	circa 1726-7
493	Gigue	G minor	circa 1704-5		Two versions
494	Impertinence (Bourée)	G minor	circa 1705
495	Lesson	D minor	circa 1705-10		Early form (two variants) of the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428), movement six
496	Lesson	A minor	circa 1715-20
497 to 558	62 Minuets	Various			Two-stave pieces, probably for keyboard. Some related to minuets in other works
559	Passepied	C major	circa 1721-2
560	Passepied	A major	circa 1705
561	Prelude	D minor	circa 1705-6		Version of the prelude to the Suite de pièce in D minor, Vol. 2 No. 4 (HWV 437)
562	Prelude (Harpeggio)	D minor	circa 1711-12
563	Prelude	D minor	circa 1700-3
564	Prelude	D minor	circa 1705
565	Prelude	D minor	circa 1710-20		An early version of the Prelude to the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428)
566	Prelude	E major	circa 1710-20		Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)
567	Preludium	F major	circa 1710-20
568	Preludium	F minor	circa 1710-20		Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)
569	Preludium	F minor	?circa 1710-20		Arpeggio del Cook. Authorship uncertain
570	Prelude (Harpeggio)	F sharp minor	circa 1717-18		Originally associated with the Suite de pièce in F sharp minor, Vol. 1 No. 6 (HWV 431)
571	Prelude and Capriccio	G major	circa 1703-6		Two movements
572	Prelude	G minor	circa 1710-17		Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432)
573	Prelude (Harpeggio)	G minor	circa 1705
574	Prelude and Allegro (Sonata)	G minor; 2 movements	circa 1705
575	Prelude (Harpeggio)	A minor	circa 1717-18		Coupled with the "Lesson in A minor"; HWV 496
576	Prelude and Allegro	A minor	circa 1705-6		Two movements
577	Sonata (Fantasia) pour le clavecin,	C major	circa 1703-5
578	Sonata	C major	circa 1750		Clock-Organ. Music related to a setting of 'Amen' (HWV 277), the Concerto Grosso in C major for "Alexander's Feast" (HWV 318), and the "Air Lentement in G minor" (HWV 467)
579	Sonata (Fantasia)	G major	?circa 1707-10		For a two-manual harpsichord (or possibly organ)
580	Sonata (Larghetto)	G minor; 1 movement	?circa 1707-10		One movement
581	Sonatina	D minor	circa 1705		One movement
582	Sonatina (Fugue)	G major	circa 1721-2		One movement
583	Sonatina	G minor	?circa 1721-2		One movement
584	Sonatina	A minor	circa 1706-8		One movement. Authenticity uncertain
585	Sonatina	B flat major	circa 1721-2		One movement
586	Toccata	G minor	circa 1710-20
587 to 597	Eleven pieces	C, F, and G	circa 1735-40		"10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). Includes arrangements of opera arias
598 to 604	Seven pieces	C major	circa 1730-40		Clock-Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels."
605	Fugue	G minor	circa 1711-18	1735
606	Fugue	G major	circa 1711-18	1735
608	Fugue	B minor	circa 1711-18
609	Fugue	A minor	circa 1711-18	1735
610	Fugue	C minor	circa 1711-18
611	Fugue	F major	circa 1705		No autograph
612	Fugue	E major			No autograph. Single source is from a manuscript of organ voluntaries; probably authentic, though the text of final bars is defective. The fugue subject is related to the "Water Music" overture

Appendix

HWV	Genre	Name	Completed	Libretto	First Performed	Notes
A1	Opera (pasticcio)	L'Elpidia, overo Li rivali generosi	1725	?Nicola Haym, after A. Zeno, 1697	11 May 1725: London, King's Theatre, Haymarket (10 performances to 19 June)	Revival on 30 November 1725: London, King's Theatre, Haymarket (4 performances to 11 December)
A2	Opera	Olibrio or Genserico	?January 1728	After Beregan, 1693		A fragment; only part of Act 1 drafted; never completed
A3	Opera (pasticcio)	Ormisda	1730	?Rossi, after Zeno, 1722	4 April 1730: London, King's Theatre, Haymarket (13 performances to 14 May; also 9 June)	12 songs changed at 21 April 1730 performance, for Strada's benefit. Revival on 28 November 1730: London, King's Theatre, Haymarket (5 performances to 8 December).
A4	Opera (pasticcio)	Venceslao	1731	?Rossi, after Zeno, 1724	11 January 1731: London, King's Theatre, Haymarket (4 performances to 23 January)
A5	Opera	Titus l'empéreur	? - Oct. - Nov. 1731	In Italian, ? from J. Racine, "Berenice"		Fragment; only part of Act 1 drafted; never completed
A6	Opera (pasticcio)	Lucio Papirio dittatore	1732	After Zeno/C.I. Frugoni, 1729	23 May 1732: London, King's Theatre, Haymarket (4 performances to 6 June)
A7	Opera (pasticcio)	Catone	1732	After Metastasio, 1728/9	4 November 1732: London, King's Theatre, Haymarket
A8	Opera (pasticcio)	Semiramide or Semiramis riconosciuta	1733	After Metatstasio, 1729	30 October 1733: London, King's Theatre, Haymarket
A9	Opera (pasticcio)	Caio Fabricio	1733	After Zeno, 1732	4 December 1733: London, King's Theatre, Haymarket
A10	Opera (pasticcio)	Arbace	1734	After Metatstasio, 1730	5 January 1734: London, King's Theatre, Haymarket
A11	Opera (pasticcio)	Oreste	1734	After G. G. Barlocci, 1723	18 December 1734: London, Covent Garden Theatre (3 performances to 28 December)	Music entirely by Handel
A12	Opera (pasticcio)	Didone abbandonata	1737	After Metatstasio, 1726	13 April 1737: London, Covent Garden Theatre
A13	Opera (pasticcio)	Alessandro Severo	1738	After Zeno, 1717/23	25 February 1738: London, King's Theatre, Haymarket (5 performances to 11 March; also 30 May)	Music entirely by Handel
A14	Opera (pasticcio)	Giove in Argo	24 April 1739	In Italian, after A.M. Lucchini "Giove in Argo", 1719	1 May 1739: London, King's Theatre, Haymarket (also 5 May)	Music entirely by Handel. 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.

Genre	Name	Completed	First Performed	Notes
Aria	The Beauteous Cloe or 'Cloe, you're witty'			A recycling of the aria 'S'io dir potessi' from Ottone (HWV 15) -- possibly by Handel himself.
Aria	Dicente mis ojos			Reworked version of the final aria of the Spanish cantata Nò se emenderá jamás (HWV 140)
	The Dream or 'Beneath a shady willow'			Based on the middle section of the opening chorus of Acis and Galatea (HWV 49a)
Italian sacred cantata	Gloria in Excelsis Deo	?1703-9	3 June 2001 at the International Händel Göttingen Festival	For soprano, two-part violins, basso continuo. Identified in the year 2000 at the Royal Academy of Music's library (London). The manuscript is not in Handel's hand.
Opera (pasticcio)	Lucio Vero	1745	November, 1745: London, King's Theatre	A pasticcio opera containing music by Handel and performed by the "Middlesex" opera company (named after Lord Middlesex)
Italian Aria	Lusinga questo cor	?London, circa 1712-17		For soprano
Orchestral	March in 'Judas Maccabaeus' in F major	circa 1747-8		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 1746-7		Independent wind version of the oratorio, "Judas Maccabeus" march (HWV 63, no. 32a)
Wind ensemble	Marche lentement in C major	circa 1741		Wind version of the oratorio, Samson's (HWV 57) "Dead March"
Italian Aria	No Kossi presto nò			For soprano. Text apparently macaronic Italian-German
Aria	Der Mund spricht zwar			Reworked version of the aria from the opera Almira (HWV 1)
Oratorio (pasticcio)		1738	28 March 1738: London, King's Theatre, Haymarket. Handel's benefit performance	Bilingual pasticcio, including much music from "Deborah" (HWV 51), "As pants the hart" (Chandos Anthem No. 6; HWV 251b), a Coronation Anthem, and organ concertos
Aria	Quand on suit l'amoureuse loi			A short da capo aria in the style of a gavotte
Opera	Rossane	1743	November, 1743 at London, King's Theatre	Revived 24 February, 1747 and 20 February 1748 at the King’s Theatre, Haymarket, London. Lampugnani arranged music from Handel's "Alessandro" (HWV 21), which was subsequently performed by the "Middlesex" opera company
French song	Sans y penser			Another version of the French song (HWV 155) in a lower key and a simpler bass line
Italian Aria	Sa perchè pena il cor	circa 1712-17		For alto
Orchestral Suite	Water Music chamber suite			Nine movements. The arrangement is contemporary, but the authenticity is uncertain. Published by Burrows in 1991

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