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Handel,
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Frideric&o=10616
Handel, George Frideric&o=10616

List of compositions by George Frideric Handel
The following is a list of compositions by George Frideric Handel.

Operas

HWV Title Premiere Venue Notes Text
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 Italian libretto
6 Agrippina Late 1709/Early 1710 Teatro San Giovanni Grisostomo, Venice
7a/b Rinaldo 24 February 1711 Queen's Theatre, London Italian libretto
8a/b/c Il pastor fido 22 November 1712 Queen's Theatre, London 8b Italian libretto, 8c Italian libretto
9 Teseo 10 January 1713 Queen's Theatre, London Italian libretto
10 Lucio Cornelio Silla June 1713? London? Music reused in Amadigi Italian libretto
11 Amadigi 25 May 1715 King's Theatre, London Italian libretto
12a/b Radamisto 27 April 1720 King’s Theatre, London Italian libretto
13 Muzio Scevola 15 April 1721 King’s Theatre, London only Act 3 by Handel Italian libretto
14 Floridante 9 December 1721 King’s Theatre, London Italian libretto
15 Ottone 12 January 1723 King’s Theatre, London Italian libretto
16 Flavio 14 May 1723 King’s Theatre, London Italian libretto
17 Giulio Cesare 20 February 1724 King’s Theatre, London Italian libretto
18 Tamerlano 31 October 1724 King’s Theatre, London Italian libretto
19 Rodelinda 13 February 1725 King’s Theatre, London Italian libretto
20 Scipione 12 March 1726 King’s Theatre, London Italian libretto
21 Alessandro 5 May 1726 King’s Theatre, London Italian libretto
22 Admeto 31 January 1727 King’s Theatre, London Italian libretto
23 Riccardo Primo 11 November 1727 King’s Theatre, London Italian libretto
24 Siroe 17 February 1728 King’s Theatre, London Italian libretto
25 Tolomeo 30 April 1728 King’s Theatre, London Italian libretto
26 Lotario 2 December 1729 King’s Theatre, London Italian libretto
27 Partenope 24 February 1730 King’s Theatre, London Italian libretto
28 Poro 2 February 1731 King’s Theatre, London Italian libretto
29 Ezio 15 January 1732 King’s Theatre, London Italian libretto
30 Sosarme 15 February 1732 King’s Theatre, London Italian libretto
31 Orlando 27 January 1733 King’s Theatre, London Italian libretto
32 Arianna in Creta 26 January 1734 King’s Theatre, London
33 Ariodante 8 January 1735 Covent Garden Theatre, London Italian libretto
34 Alcina 16 April 1735 Covent Garden Theatre, London Italian libretto
35 Atalanta 12 May 1736 Covent Garden Theatre, London Italian libretto
36 Arminio 12 January 1737 Covent Garden Theatre, London Italian libretto
37 Giustino 16 February 1737 Covent Garden Theatre, London Italian libretto
38 Berenice 18 May 1737 Covent Garden Theatre, London
39 Faramondo 3 January 1738 King’s Theatre, London Italian libretto
40 Serse 15 April 1738 King’s Theatre, London Also known as Xerxes Italian libretto
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 Italian libretto

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 Text
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 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
58 Semele 10 February 1744 Covent Garden Theatre, London Stanford
59 Joseph and his Brethren 2 March 1744 Covent Garden Theatre, London Stanford
60 Hercules 5 January 1745 King's Theatre, London Stanford
61 Belshazzar 27 March 1745 King's Theatre, London Stanford
62 Occasional Oratorio 14 February 1746 Covent Garden Theatre, London Stanford
63 Judas Maccabaeus 1 April 1747 Covent Garden Theatre, London Stanford
64 Joshua 9 March 1748 Covent Garden Theatre, London Stanford
65 Alexander Balus 23 March 1748 Covent Garden Theatre, London Stanford
66 Susanna 10 February 1749 Covent Garden Theatre, London Stanford
67 Solomon 17 March 1749 Covent Garden Theatre, London Stanford
68 Theodora 16 March 1750 Covent Garden Theatre, London Stanford
69 The Choice of Hercules 1 March 1751 Covent Garden Theatre, London Stanford
70 Jephtha 26 February 1752 Covent Garden Theatre, London Stanford
71 The Triumph of Time and Truth 11 March 1757 Covent Garden Theatre, London Stanford
— 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 Text
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 Text
226 Hunting Song or The morning is charming Tenor London, 1743 Voice in treble clef. Autograph, which survives, presented to Legh in 1751 by Charles Legh
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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