HWV

Operas Main article: List of operas by Handel All works are opera seria in three acts, unless otherwise stated. 1 Almira 8 January 1705 Theater am Gänsemarkt, Hamburg Friedrich Christian Feustking, after G. Pancieri Singspiel 2 Nero 25 February 1705 Theater am Gänsemarkt, Hamburg Friedrich Christian Feustking Music lost 3 Florindo 1708 Theater am Gänsemarkt, Hamburg Hinrich Hinsch Music lost 4 Daphne 1708 Theater am Gänsemarkt, Hamburg Hinrich Hinsch Music lost 5 Rodrigo 1707 Florence after F. Salvani 6 Agrippina Late 1709 / Early 1710 Teatro San Giovanni Grisostomo, Venice Vincenzo Grimani 7a/b Rinaldo 24 February 1711 Queen's Theatre, London Giacomo Rossi/Aaron Hill, after Torquato Tasso, La Gerusalemme liberata 8a/b/c Il pastor fido 22 November 1712 Queen's Theatre, London Giacomo Rossi, after Guarini 9 Teseo 10 January 1713 Queen's Theatre, London Nicola Francesco Haym, after Philippe Quinault 5 acts 10 Silla June 1713? London? Giacomo Rossi, after Plutarch Music reused in Amadigi 11 Amadigi di Gaula 25 May 1715 King's Theatre, London Rossi or Haym (?), after A.H. de la Motte, 1699 12a/b Radamisto 27 April 1720 King’s Theatre, London Haym (?), after D. Lalli 13 Muzio Scevola 15 April 1721 King’s Theatre, London Paolo Antonio Rolli, after Silvio Stampiglia only Act 3 by Handel 14 Floridante 9 December 1721 King’s Theatre, London Rolli, after Francesco Silvani La costanza in trionfo 15 Ottone 12 January 1723 King’s Theatre, London Haym, after S B Pallavicino 16 Flavio 14 May 1723 King’s Theatre, London Haym, after M Norris 17 Giulio Cesare 20 February 1724 King’s Theatre, London Haym 18 Tamerlano 31 October 1724 King’s Theatre, London Haym, after Agostin Piovene and Nicholas Pradon 19 Rodelinda 13 February 1725 King’s Theatre, London Haym, after Antonio Salvi, after Pierre Corneille 20 Scipione 12 March 1726 King’s Theatre, London Rolli 21 Alessandro 5 May 1726 King’s Theatre, London O Mauro 22 Admeto 31 January 1727 King’s Theatre, London Haym 23 Riccardo Primo 11 November 1727 King’s Theatre, London Rolli, after Francesco Briani 24 Siroe 17 February 1728 King’s Theatre, London Haym, after Metastasio 25 Tolomeo 30 April 1728 King’s Theatre, London Haym, adapted from Carlo Sigismondo Capece 26 Lotario 2 December 1729 King’s Theatre, London After Antonio Salvi 27 Partenope 24 February 1730 King’s Theatre, London After Silvio Stampiglia 28 Poro 2 February 1731 King’s Theatre, London After Metastasio 29 Ezio 15 January 1732 King’s Theatre, London Metastasio 30 Sosarme 15 February 1732 King’s Theatre, London After Salvi 31 Orlando 27 January 1733 King’s Theatre, London After Capece, after Ludovico Ariosto's Orlando furioso 32 Arianna in Creta 26 January 1734 King’s Theatre, London After Pietro Pariati 33 Ariodante 8 January 1735 Covent Garden Theatre, London After Salvi, after Ariosto's Orlando Furioso 34 Alcina 16 April 1735 Covent Garden Theatre, London After Ariosto's Orlando Furioso 35 Atalanta 12 May 1736 Covent Garden Theatre, London After Belisario Valeriani 36 Arminio 12 January 1737 Covent Garden Theatre, London After Salvi 37 Giustino 16 February 1737 Covent Garden Theatre, London Adapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino 38 Berenice 18 May 1737 Covent Garden Theatre, London After Salvi 39 Faramondo 3 January 1738 King’s Theatre, London Adapted from Apostolo Zeno's Faramondo 40 Serse 15 April 1738 King’s Theatre, London After Stampiglia Also known as Xerxes 41 Imeneo 22 November 1740 Theatre in Lincoln's Inn Fields, London After Stampiglia's Imeneo 42 Deidamia 10 January 1741 Theatre in Lincoln's Inn Fields, London Rolli Incidental music 43 The Alchemist 14 January 1710 Queen's Theatre, London Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo. 44 Music for Comus circa 9 June 1745 Exton, Rutland Written for a private performance of the masque Comus. 45 Alceste (Masque) Not performed Written for a play by Tobias Smollett which was not produced. Music composed December 1749—January 1750. 218 'Love's but the frailty of the mind' 17 March 1740 Drury Lane Theatre, London Sung by Mrs. Kitty Clive at her benefit performance of William Congreve's The Way of the World (Act III). Music composed in London, 1740 Oratorios 46a Il trionfo del Tempo e del Disinganno June 1707 Rome 46b Il trionfo del Tempo e della Verità 17 March 1737 London 47 La resurrezione 8 April 1708 Rome 48 Brockes Passion 23 March 1719 Hamburg Cathedral (possibly) 50a/b Esther probably 1718 probably Cannons Stanford 51 Deborah 21 February 1733 King's Theatre, London Stanford 52 Athalia 10 July 1733 Sheldonian Theatre, Oxford Stanford 53 Saul 16 January 1739 King's Theatre, London Stanford 54 Israel in Egypt 4 April 1739 King's Theatre, London Stanford 55 L'Allegro, il Penseroso ed il Moderato 27 February 1740 Theatre in Lincoln's Inn Fields, London Stanford 56 Messiah 13 April 1742 New Music Hall, Dublin Stanford 57 Samson 18 February 1743 Covent Garden Theatre, London Stanford 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 Odes and masques 72 Aci, Galatea e Polifemo 19 July 1708 Naples 49a Acis and Galatea (masque) probably 1718 Cannons, near London 49b Acis and Galatea (Serenata) 10 June 1732 King's Theatre, London Stanford 73 Parnasso in festa 13 March 1734 King's Theatre, London 74 Ode for the Birthday of Queen Anne 6 February 1713 Royal Palace in London 75 Alexander's Feast 19 February 1736 King's Theatre, London Stanford 76 Ode for St. Cecilia's Day 22 November 1739 Theatre in Lincoln's Inn Fields, London Stanford Cantatas 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 Francesco Ruspoli, 1707 80 Allor ch'io dissi: Addio Rome, 1707–09 81 Alpestre monte Florence, circa 1707 82 Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso Rome, August 1708 Probably 28 October 1708 Copied for Ruspoli, 1708 83 Aminta e Fillide or Arresta il passo Early 1708 14 July 1708 Rome Copied for Ruspoli, 1708. The section, "Chi ben ama" printed separately in HG 52b 84 Aure soavi, e lieti Rome, May 1707 Copied for Ruspoli, 1707, 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 London Variant insertion in "Cecilia, volgi un sguardo" (89), for performances of Alexander's Feast (HWV 75), 1737, including music for the castrato Annibali 88 Care selve, aure grate Rome, 1707–08 89 Cecilia, volgi un sguardo London, January 1736 19 or 25 (?) February 1736 Covent Garden Theatre, London Played between the two parts of Alexander's Feast (HWV 75). 90 Chi rapì la pace al core Florence, 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 5 July 1721 King's Theatre, Haymarket, London Performed at the benefit concert for Margherita Durastanti. 98 Cuopre tal volta il cielo Italy, 1708 99 Il delirio amoroso or Da quel giorno fatale Rome, on or before 14 January 1707. May 1707 Cardinal Pamphili's palazzo 100 Da sete ardente afflitto Italy, 1708–09 Copied for Ruspoli, 1709. (HWV 101a & 101b: Dal fatale momento. Spurious, by F. Mancini). 102a Dalla guerra amorosa Italy, 1708–09 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 note for HWV 132 107 Ditemi, o piante Rome, July/August 1708 Copied for Ruspoli, 1708 108 Dolce mio ben, s'io taccio No autograph. No source attributed to Handel. 109a Dolc' è pur d'amor l'affanno London, 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, 1707–08 Early in 1708 First performed by the castrato soprano, Pasqualino Tiepoli Libretto: Anonymous 111a E partirai, mia vita? Italy, 1707–09 111b E partirai, mia vita? London, 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 Hanover, 1710 Probably begun Venice, 1709 123 Languia di bocca lusinghiera Possibly composed in Hanover, 1710 ?fragment 124 Look down, harmonious saint circa 1736 February 1736 Covent Garden Theatre, London Recitative and aria; probably a discarded fragment for "Alexander's Feast" (HWV 75), 1736. It appeared in the cantata HWV 89 Libretto by Newburgh Hamilton, from Cecilian Ode 1720. 125a Lungi da me, pensier tiranno Italy, July – September 1708[1] 1st version; no autographs or Italian-period copies; one version copied for Francesco Ruspoli, 1708. 125b Lungi da me, pensier tiranno London, after 1710 Second version; no autographs. 126a Lungi da voi, che siete poli Rome, July/August 1708 126b Lungi da voi, che siete poli Rome, 1708 126c Lungi da voi, che siete poli Probably London, after 1710. 127a Lungi dal mio bel nume Rome, 3 March 1708 127b Lungi dal mio bel nume ?London, after 1710 127c Lungi dal mio bel nume London, 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" (HWV 106) with new opening. 132b Mi palpita il cor ?London, after 1718 132c Mi palpita il cor ?London, after 1710 132d Mi palpita il cor ?London, 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 1709 135a Nel dolce tempo Probably Naples, June/July 1708 135b Nel dolce tempo London, after 1710 No autographs, and no early Italianperiod 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 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 London, circa 1711–12. Composed with variant 163 Solitudini care, amata libertà London, after 1710 No autographs or early Italian-period copies 164a Il Gelsomino or Son Gelsomino London, 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, 1706–07 Copied for Ruspoli, 1707 173 Un' alma innamorata Rome, May 1707 June 1707 Probably Vignanello Copied for Ruspoli, 1707 174 Un sospir a chi si muore Florence, Fall 1707 175 Vedendo Amor Rome, 1707–08 176 Amore uccellatore or Venne voglia ad Amore Rome, 1707–08 177 Zeffiretto, arresta il volo Italy, 1707–09 ?Copied for Ruspoli, 1709 Italian duets 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 1707–09 181 Beato in ver chi pùo London, 31 October 1742 Italian version of Horace, "Beatus ille" 182a Caro autor di mia doglia Probably Italy, circa 1707–09 182b Caro autor di mia doglia London, circa 1742 183 Caro autor di mia doglia Hanover, circa 1710–12 Spurious, by Reinhard Keiser. 184 Che via pensando, folle pensier Italy, circa 1707–09 185 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 1707–09 Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse." 197 Tanti strali al sen mi scocchi ?Hanover, 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 200 Quel fior che all'alba ride ?Italy, circa 1707–09 Two versions, slightly different texts. 201a Se tu non lasci amore Naples, 12 July 1708 201b Se tu non lasci amore 1708 First movement longer in Naples autograph than in most copies. Hymns 202 Künft'ger Zeiten eitler Kummer Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 203 Das zitternde Glänzen der spielenden Wellen Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 204 Süsser Blumen Ambraflocken Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 205 Süsse Stille, sanfte Quelle ruhiger Gelassenheit Soprano London, circa 1724– 26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 206 Singe, Seele, Gott zum Preise Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 207 Meine Seele hört im Sehen Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 208 Die ihr aus dunkeln Grüften Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 209 In den angenehmen Büschen Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 210 Flammende Rose, Zierde der Erden Soprano London, circa 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott." 269-77 Settings of 'Amen' and '(H)alleluja, amen' Soprano London, circa 1734–41, 1744–47 284 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 211 Aure dolci, deh, spirate Alto London, circa 1722–26 212 Con doppia gloria mia Soprano London, circa 1722–26 213 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 1722–26 219 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 1721–23 223 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 226 Hunting Song or The morning is charming Tenor 1743 Voice in treble clef. Autograph, which survives, presented to Legh in 1751 by Charles Legh. Composed in London 228-1 The unhappy Lovers: As Celia's fatal arrows flew Soprano 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 229-1 Das gantze Haupt ist krank à 8 Halle, circa 1700–03 229-2 Es ist der alte Bund, Mensch à 12 Halle, circa 1700–03 229-3 Führwahr, er trug unsere Krankheit à 15 Halle, circa 1700–03 229-4 Thue Rechnung von deinem Haußhalten à 13 Halle, circa 1700–03 229-5 Victoria. Der Tod ist verschlungen à 14 Halle, circa 1700–03 229-6 Was werden wir essen à 10/12 Halle, circa 1700–03 229-7 Wer ist der, so von Edom kömmt à 12 Halle, circa 1700–03 Italian sacred cantatas 230 Ah! che troppo ineguali or O del ciel! Maria regina Soprano ?Rome 1707–08 Recitative and aria. 233 Donna, che in ciel Soprano First performance: ?2 February 1708, Rome on the "anniversary of the deliverance of Rome from the earthquake on the feast of the Purification of the Virgin." 234 Il pianto di Maria or Giunta l'ora fatal Soprano Spurious. Misattributed to Handel; composed by Giovanni Battista Ferrandini (1710-91). 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 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 1707 Vignanello Premier: ?Whitsun 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 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 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 festival of the Carmelite order. 241 Salve Regina Soprano ?Rome, 1707 First performance: ?Trinity Sunday, 19 June 1707, Francesco 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 246 O be joyful in the Lord; Chandos Anthem No. 1 or Jubilate ('Cannons') in D major Cannons, 1717–18 St. Lawrence, Whitchurch, London 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, Whitchurch, London Psalm 9, 11, 12, & 13 from Tate and Brady's New Version of the Psalms of David. 248 Have mercy upon me; Chandos Anthem No. 3 Cannons, 1717–18 St. Lawrence, Whitchurch, London Psalm 51 (the Miserere). 249a O sing unto the Lord a new song 1714 ?26 September 1714 Chapel Royal, St. James's Palace, London Psalm 96 249b O sing unto the Lord a new song; Chandos Anthem No. 4 Cannons, 1717–18 St. Lawrence, Whitchurch, London 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, Whitchurch, London Two movements added later. Psalms 144 & 145 250b I will magnify thee 1724 ?5 January 1724 Chapel Royal, St. James's Palace, London Psalms 89, 96, 145 251a As pants the hart Circa December 1712 to May 1713 1713 King's Chapel Royal Scored for organ and basso continuo alone Psalm 42 251b As pants the hart Cannons, 1717–18 1718 St. Lawrence, Whitchurch, London Orchestrated version of HWV 251a. Chandos Anthem No. 6. The first Chandos Anthem composed(?) Psalm 42 251c As pants the hart circa 1722 ?7 October 1722 Chapel Royal, St. James's Palace, London Orchestrated version of HWV 251d Psalm 42 251d As pants the hart circa 1722 Scored for organ and basso continuo alone Psalm 42 251e As pants the hart 1738 1738 King’s Theatre, Haymarket Written for a benefit evening Psalm 42 252 My song shall be alway; Chandos Anthem No. 7 Cannons, 1717–18 St. Lawrence, Whitchurch, London Partly derived from the "Te Deum in D" (HWV 280). The trio "Thou rulest the raging sea" performed at Cannons but probably spurious; possibly composed by Johann Christoph Pepusch or Nicola Francesco Haym instead. Psalm 89 253 O come, let us sing unto the Lord; Chandos Anthem No. 8 Cannons, 1717–18 St. Lawrence, Whitchurch, London "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, Whitchurch, London 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, Whitchurch, London Psalms 18, 20, 27–30, 34, 45 256a Let God arise; Chandos Anthem No. 11 Cannons, 1717–18 St. Lawrence, Whitchurch, London 1st movement of 'symphony' added later. Psalms 68 & 76 256b Let God arise 1726 ?16 January 1726 Chapel Royal, St. James's Palace, London Psalm 58 257 O praise the Lord, ye angels of his (spurious) Misattributed to Handel in Arnold's edition and in HG 36. By Maurice Greene, before 1728. 258 Zadok the priest; Coronation Anthem No. 1 ?9 September 1727 – 11 October 1727 11 October 1727 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 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 – October 1727 11 October 1727 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 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 German Chapel, St. James's Palace, London For the wedding of Frederick, Prince of Wales, and Princess Augusta of Saxe-Coburg. Revised for the wedding of Princess Mary. Psalms 68, 106, 128 264 The ways of Zion do mourn or Funeral Anthem for Queen Caroline 5(?) – 12 December 1737 17 December 1737 King Henry VII's Chapel, Westminster Abbey 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 Chapel Royal, St. James's Palace, London Performed during a service in King George II's presence to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. Psalms 20, 21 266 How beautiful are the feet of them or His Anthem on the Peace or Peace Anthem 1749 25 April 1749 Chapel Royal, St. James's Palace, London To celebrate the peace of Aix-laChapelle (Aachen). Performed with the "Queen Caroline" Te Deum (HWV 280). Isaish, Psalms 29, 96, Revelation 267 (?) First draft of the "Peace Anthem" (See HWV 266) Probably early 1749. A 209-measure composition of which the last 19 measures are incomplete. 268 Blessed are they that considereth the poor or Foundling Hospital Anthem 1749 27 May 1749 Foundling Hospital Chapel, London First performance probably in fully choral version. The solo movements were probably added circa 1751. Psalms 8, 41, 72, 112, Daniel, Revelation Canticles 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 St. Paul's Cathedral, London "O be joyful in the Lord" (Psalm 100) 280 Te Deum ("Queen Caroline") D major 1714 ?26 September 1714 Chapel Royal, St. James's Palace, London "We praise thee, O God" (Ambrosian hymn) 281 Te Deum ("Chandos" or "Cannons") B-flat major Circa 1717–18 circa 1717–18 St. Lawrence, Whitchurch, London Composed by Handel during his stay with the Duke of Chandos at Cannons. "We praise thee, O God" (Ambrosian hymn) 282 Te Deum A major 1726 ?16 January 1726 Chapel Royal, St. James's Palace, London "We praise thee, O God" (Ambrosian hymn) 283 Te Deum ("Dettingen") D major 17 July – circa 29 July 1743 27 November 1743 Chapel Royal, St. James's Palace, London Performed during a service, in King George II's presence, to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. "We praise thee, O God" (Ambrosian hymn) Concertos Main articles: Handel organ concertos Op.4 and Handel organ concertos Op.7. 287 Oboe G minor ?Hamburg, circa 1704–05 1863 Oboe concerto number 3 288 Violin B-flat major Italy, circa 1707 “Sonata a 5”. Possibly for Corelli in Rome 289 Organ G minor 1735–36 19 February 1736 London, Covent Garden Theatre 1738 Opus 4 No. 1 First performed with "Alexander's Feast" (HWV 75) 290 Organ B-flat major 1735 5 March 1735 London, Covent Garden Theatre 1738 Opus 4 No. 2 First performed with the oratorio "Esther" (HWV 50b) 291 Organ G minor 1735 5 March 1735 London, Covent Garden Theatre 1738 Opus 4 No. 3 Variant versions of last movement. First performed with the oratorio "Esther" (HWV 50b) 292 Organ F major 25 March 1735 1 April 1735 London, Covent Garden Theatre 1738 Opus 4 No. 4 Originally concluded with 'Alleluja' chorus (HG 20, p. 161), short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" (HWV 52) 293 Organ F major ?26 March 1735 London, Covent Garden Theatre 1738 Opus 4 No. 5 Performed with revival of "Deborah" (HWV 51). 294 Organ B-flat major 1736 19 February 1736 London, Covent Garden Theatre 1738 Opus 4 No. 6 Originally composed for the harp, but later rearranged for the organ 295 Organ F major 2 April 1739 4 April 1739 London, King's Theatre, Haymarket 1740 "2nd Set" No. 1 Referred to as Organ Concerto "No. 13". The bird-song motives of the 2nd movement earned the concerto the nickname, "The Cuckoo and the Nightingale" 296a Organ A major 1739 20 March 1739 London, King's Theatre, Haymarket 1740 "2nd Set" No. 2 Referred to as organ concerto "No. 14" 296b Organ A major circa 1743–46 Pasticcio. Arranged by Handel 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 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 circa 1747–48 Arranged by Handel 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 1748–49 1761 1749 Opus 7 No. 6 Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication 343 Organ G major circa 1738–39 Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto Concerti grossi 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 1715–1718 1734 Opus 3 No. 2 314 G major circa 1717–1718 circa 1717–1718 1734 Opus 3 No. 3 Arranged (? by Walsh) 315 F major 1716 20 June 1716 London, King's Theatre, Haymarket Opus 3 No. 4a Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi" 316 D minor 1717–1718 1734 Opus 3 No. 5 In Walsh's 2nd edition of the Op. 3 concertos, the 3rd, 4th, & 5th movements were added 317 D major (?) 1733–1734 1734 Opus 3 No. 6 Published by Walsh in 1734 as an organ concerto 318 C major 25 January 1736 February 1736 1740 First performance between the acts of the oratorio, Alexander's Feast (HWV 75) 319 G major 29 September 1739 1740 Opus 6 No. 1 320 F major 4 October 1739 1740 Opus 6 No. 2 321 E minor 6 October 1739 1740 Opus 6 No. 3 322 A minor 8 October 1739 1740 Opus 6 No. 4 323 D major 10 October 1739 1740 Opus 6 No. 5 Known as the "St. Cecilia's Concerto," as the first two movements and the last use thematic material from the overture to the Ode for St. Cecilia's Day (HWV 76) 324 G minor 15 October 1739 1740 Opus 6 No. 6 325 B-flat major 12 October 1739 1740 Opus 6 No. 7 326 C minor 18 October 1739 1740 Opus 6 No. 8 327 F major Probably between 10–11 October 1739 1740 Opus 6 No. 9 The 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 1747–1748 (?) 9 March 1748 London, Covent Garden Theatre Concerto a due cori in B-flat major, No. 1. Composed for performances with oratorios; probably performed during Joshua (HWV 64) 333 F major 1747–1748 (?) 23 March 1748 London, Covent Garden Theatre Concerto a due cori in F major, No. 2. Composed for performances with oratorios; probably performed during Alexander Balus (HWV 65) 334 F major 1747–1748 (?) 1 April 1748 London, Covent Garden Theatre Concerto a due cori in F major, No. 3. Composed for performances with oratorios; probably performed during Judas Maccabaeus (HWV 63) 335a D major circa 1748–1749 335b F major Orchestral works 302b Largo F major circa 1738 Autograph headed "Suite de pieces" (presumably this was the opening movement) 336 Overture B-flat major Italy Autograph lost. Probably completed in Germany or 337 Overture D major circa 1722–1725 Probably intended as an introductory movement. Possibly intended to be coupled with the concerto grosso in D major Op. 3 No. 6 (HWV 317) as the adagio movement. 338 Adagio/Allegro B minor/D major 1722 Originally, with the 1st movement of the Organ Concerto, Allegro in D minor (HWV 317), a 3-movement orchestral concerto. The 1st movement was used as the sinfonia in Ottone (HWV 15); and the theme of the last movement was reworked for the overture of Ottone 339 Sinfonia B-flat major circa 1706–1707 1979 No autograph. First published in 1979 in the Halle Edition (IV/15) and is known only from a copy by Christopher Graupner (1683–1760). Probably completed in Hamburg or Italy 340 Allegro G major ?circa 1710–1715 No autograph 341 Suite D major 1733 Almost certainly spurious 342 Overture F major circa 1736 344 Chorus and Minuet B-flat major 1708 No autograph. Apparently movements from the Hamburg opera Florindo (HWV 3) (See HWV 354) 345 March D major before 1738 No autograph 347 Sinfonia B-flat major circa 1747 348 Suite. Water Music (No. 1) F major 1717 17 July 1717 1788 Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once 349 Suite. Water Music (No. 2) D major 1717 17 July 1717 1788 Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once 350 Suite. Water Music (No. 3) G major 1717 17 July 1717 1788 Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once 351 Suite. Music for the Royal Fireworks 1749 27 April 1749 Composed for the celebration of Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian succession. First performed in Green Park, London 352 Suite B-flat major 1706 No autograph 353 Suite G major 1706 No autograph 354 Suite B-flat major 1708 No autograph 355 Hornpipe aria C minor ?circa 1710–1715 No autograph 356 Hornpipe D major 1740 No autograph. Composed for Vauxhall Gardens 413 Gigue B-flat major 1736 Solo sonatas 357 Oboe B-flat major circa 1707–1710 One of Handel's earliest extant compositions. Probably written during his years in Italy 358 Recorder or Violin G major circa 1707–1710 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 (HWV 359b) 359b Flute E minor circa 1724 1732 Opus 1 No. 1b Of the two sonatas published by Chrysander as Opus 1 No. 1, this is the one in the original edition, with Chrysander's No. 1a taken from manuscript sources. The two works have in common only the opening and closing movements. 360 Recorder G minor circa 1725–1726 1732 Opus 1 No. 2 361 Violin A major circa 1725–1726 1732 Opus 1 No. 3 362 Recorder A minor circa 1725–1726 1732 Opus 1 No. 4 363a Oboe F major circa 1711–1716 363b Flute G major circa 1711–1716 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 1725–1726 Opus 1 No. 7 366 Oboe C minor circa 1711–1712 1732 Opus 1 No. 8 367a Recorder D minor circa 1725–1726 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 1725–1726 1732 Opus 1 No. 9b In the 'Aylesford' collection the Alla breve appears with the title of FUGE 368 Violin G minor 1732 Opus 1 No. 10 Probably spurious 369 Recorder F major circa 1725-1726 1732 Opus 1 No. 11 370 Violin F major 1732 Opus 1 No. 12 Probably spurious 371 Violin D major Circa 1749-1750 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 sonata No. 1". Authenticity uncertain. 375 Flute E minor 1730 "Halle sonata No. 2". Authenticity uncertain. 376 Flute B minor 1730 "Halle sonata No. 3". Authenticity uncertain. 377 Recorder B-flat major circa 1724–1725 378 Flute D major ?circa 1707 1979 No autograph, but now considered authentic. It appears in an important manuscript of 18th century solo sonatas in the Brussels Royal Conservatory, and is there attributed to 'Sr Weisse' 379 Flute E minor circa 1727–1728 1879 Opus 1 No. 1a Although the work's authenticity remains unquestioned, this sonata is not strictly part of Handel's Opus 1—having been added by Chrysander from the British Museum autograph 406 Violin A major circa 1751 Adagio and Allegro. 3-part accompaniment (? orchestral short score) 407 Violin G major circa 1738 Allegro 408 Violin C minor circa 1725–1729 Allegro. It may be the only surviving fragment of a completed sonata in C minor 409 Recorder D minor circa 1725–1726 Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a) 412 Violin A minor circa 1725–1726 Andante 419 1-6 circa 1710–1720 Six marches. 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 1743–1744 Minuet. 2-stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work 421 D major circa 1743–1744 Minuet. 2-stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work Trio sonatas 380 B-flat major Authenticity doubtful 381 D minor Authenticity doubtful 382 E-flat major Authenticity doubtful 383 F major Authenticity doubtful 384 G major Authenticity doubtful 385 D major Authenticity doubtful 386a C minor circa 1717–1719 1879 In Chrysander's "G. F. Handel's Werke" (1879) this piece was referred to as Op. 2 No. 1a; Variant form of Op. 2 No 1, not published by Walsh, but found in manuscripts 386b B minor before 1727 1733 Opus 2 No. 1 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 1b 387 G minor ?1699 1733 Opus 2 No. 2 Handel's earliest datable composition. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 2 388 B-flat major circa 1717–1718 1733 Opus 2 No. 3 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 4. The finale appears in the overture to Athalia (HWV 52) 389 F major circa 1718–1722 1733 Opus 2 No. 4 In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 5. The Larghetto appears in the overture to Esther (HWV 50a) 390 G minor circa 1717–1722 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 1706–1707 In Chrysander's "G. F. Handel's Werke" (1879) this composition referred to as Op. 2 No 3. One of the "Dresden" sonatas. No autograph 393 G minor probably 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 1707–1710 Wind ensemble works 346 March F major ?before 1729 410 Aria F major circa 1725 411 Aria F major circa 1725 414 March for Fife C major circa 1747 415 March for Fife D major circa 1747 416 March D major circa 1734 417 March D major circa 1746–1747 May have originated as a keyboard work as a two-stave version of the march exists 418 March G major ?circa 1741 422 Minuet G major circa 1746–1747 423 Minuet G major circa 1746–1747 424 Overture D major circa 1741 'Fitzwilliam' Overture Keyboard works 305b Arrangement F minor circa 1747 Used as an overture. 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 ?1710–1717 1733 434-4: minuet in G minor which is also used in the flute sonata in E minor (HWV 375). Not part of the Suite de piece in B-flat major 435 Suite de pièce Vol. 2 No. 2 G major ?1705–1717 1733 21 variations. A chaconne. The Ritornello in G major (HWV 343) was added to this composition 436 Suite de pièce Vol. 2 No. 3 D minor Nowrap|circa 1721–1726 1733 437 Suite de pièce Vol. 2 No. 4 D minor circa 1703–1706 1733 438 Suite de pièce Vol. 2 No. 5 E minor circa 1710–1717 1733 439 Suite de pièce Vol. 2 No. 6 G minor circa 1703–1706 1733 440 Suite de pièce Vol. 2 No. 7 B-flat major circa 1703–1706 1733 revised 171718 441 Suite de pièce Vol. 2 No. 8 G major circa 1703–1706 1733 442 Suite de piece Vol. 2 No. 9 G major circa 1703–1706 1733 62 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh) 443 Suite C major 1700–1703 Includes Chaconne (of which there are 26 variations) 444 Partita C minor circa 1705–1706 445 Suite C minor 1705–1706 446 Suite C minor circa 1703–1706 Composed for two harpsichords, but the music for only one harpsichord survives 447 Suite D minor circa 1738–1739 Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452) 448 Suite D minor circa 1705–1706 449 Suite D minor circa 1705 450 Partita G major circa 1700–1705 451 Suite G minor circa 1703–1706 Allemande and Courante only 452 Suite G minor circa 1738–1739 Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 447) 453 Suite G minor circa 1705–1706 454 Partita A major circa 1703–1706 455 Suite B-flat major circa 1705 Keyboard version of the overture in B-flat major (HWV 336) and the suite in B-flat major (HWV 354) 456-1 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera “Il pastor fido" 456-2 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Amadigi" 456-3 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Flavio" 456-4 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Rodelinda" 456-5 Arrangement circa 1720–1727 Arrangement of the overture to the Italian opera "Riccardo Primo" 457 Air C major circa 1720–1721 458 Air C minor ?circa 1710–1720 Authenticity uncertain 459 Air C minor ?circa 1710–1720 Authenticity uncertain 460 Air (March) D major circa 1720–1721 461 Air (Hornpipe) D minor circa 1717–1718 462 Air and minuet D minor circa 1724–1726 463 Air F major circa 1707–1709 464 Air F major circa 1724–1726 A version of the air from the "Water Music" (HWV 348–350) 465 Air and two Doubles F major circa 1710–1720 466 Air G minor circa 1710–1720 For two-manual harpsichord (or possibly organ) 467 Air Lentement G minor circa 1710–1720 468 Air A major circa 1727–1728 469 Air B-flat major circa 1738–1739 Re-used in orchestral form in the Sinfonia in B-flat major (HWV 347) and the Organ Concerto in B-flat major (HWV 311) 470 Air B-flat major circa 1710–1720 For two-manual harpsichord (or possibly organ) 471 Air B-flat major circa 1710–1720 472 Allegro C major circa 1705 473 Allegro C major 25 August 1738 Clock-Organ 474 Air G major circa 1736–1738 Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ 475 Allegro D minor circa 1710–1720 476 Allemande F major circa 1730–1735 477 Allemande A major circa 1724–1726 478 Allemande A minor circa 1705 479 Allemande B minor circa 1721–1722 480 Chorale G minor circa 1736–1740 Chorale melody "Jesu meine Freude" in the middle part. Possibly for organ. A two-bar epilogue may represent a planned variation 481 Capriccio F major circa 1703–1706 482-1 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Rinaldo' 482-2 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Floridante' 482-3 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Radamisto' 482-4 Arrangement circa 1720–1725 Arrangement of the overture to the Italian opera 'Muzio Scevola' 483 Capriccio G minor circa 1720–1721 484 Chaconne with 49 variations C major circa 1700–1705 Version of the Chaconne in Suite HWV 443 485 Chaconne F major circa 1705 For a two-manual harpsichord 486 Chaconne G minor circa 1705 487 Concerto G major circa 1710–1720 Two movements 488 Allegro (Courante) F major circa 1717–1718 In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442) 489 Courante B minor circa 1722 490 Fantasie pour le clavecin, C major circa 1703–1706 491 Gavotte G major circa 1705 492 Gigue F major circa 1726–1727 493 Gigue G minor circa 1704–1705 Two versions 494 Impertinence (Bourée) G minor circa 1705 495 Lesson D minor circa 1705– 1710 Early form (two variants) of the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428), movement six 496 Lesson A minor circa 1715–1720 497 to 558 62 Minuets Various Two-stave pieces, probably for keyboard. Some related to minuets in other works 559 Passepied C major circa 1721–1722 560 Passepied A major circa 1705 561 Prelude D minor circa 1705–1706 Version of the prelude to the Suite de pièce in D minor, Vol. 2 No. 4 (HWV 437) 562 Prelude (Harpeggio) D minor circa 1711–1712 563 Prelude D minor circa 1700–1703 564 Prelude D minor circa 1705 565 Prelude D minor circa 1710–1720 An early version of the Prelude to the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428) 566 Prelude E major circa 1710–1720 Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433) 567 Preludium F major circa 1710–1720 568 Preludium F minor circa 1710–1720 Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433) 569 Preludium F minor ?circa 1710–1720 Arpeggio del Cook. Authorship uncertain 570 Prelude (Harpeggio) F-sharp minor circa 1717–1718 Originally associated with the Suite de pièce in F-sharp minor, Vol. 1 No. 6 (HWV 431) 571 Prelude and Capriccio G major circa 1703–1706 Two movements 572 Prelude G minor circa 1710–1717 Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432) 573 Prelude (Harpeggio) G minor circa 1705 574 Prelude and Allegro (Sonata) G minor circa 1705 Two movements 575 Prelude (Harpeggio) A minor circa 1717–1718 Coupled with the "Lesson in A minor"; HWV 496 576 Prelude and Allegro A minor circa 1705–1706 Two movements 577 Sonata (Fantasia) pour le clavecin, C major circa 1703–1705 578 Sonata C major circa 1750 Clock-Organ. 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 1707–1710 For a two-manual harpsichord (or possibly organ) 580 Sonata (Larghetto) G minor ?circa 1707–1710 One movement 581 Sonatina D minor circa 1705 One movement 582 Sonatina (Fugue) G major circa 1721–1722 One movement 583 Sonatina G minor ?circa 1721–1722 One movement 584 Sonatina A minor circa 1706–1708 One movement. Authenticity uncertain 585 Sonatina B-flat major circa 1721–1722 One movement 586 Toccata G minor circa 1710–1720 587 to 597 Eleven pieces C, F, and G circa 1735–1740 "10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). Includes arrangements of opera arias 598 to 604 Seven pieces C major circa 1730–1740 Clock-Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels." 605 Fugue G minor circa 1711–1718 1735 606 Fugue G major circa 1711–1718 1735 608 Fugue B minor circa 1711–1718 609 Fugue A minor circa 1711–1718 1735 610 Fugue C minor circa 1711–1718 611 Fugue F major circa 1705 No autograph 612 Fugue E major No autograph. 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 A1 Opera (pasticcio) L'Elpidia, overo Li rivali generosi 1725 11 May 1725 London, King's Theatre, Haymarket (10 performances to 19 June) ?Nicola Haym, after A. Zeno, 1697 Revival on 30 November 1725: London, King's Theatre, Haymarket (4 performances to 11 December) 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 4 April 1730 London, King's Theatre, Haymarket (13 performances to 14 May; also 9 June) ?Rossi, after Zeno, 1722 12 songs changed at 21 April 1730 performance, for Strada's benefit. Revival on 28 November 1730: London, King's Theatre, Haymarket (5 performances to 8 December). A4 Opera (pasticcio) Venceslao 1731 11 January 1731 London, King's Theatre, Haymarket (4 performances to 23 January) ?Rossi, after Zeno, 1724 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 23 May 1732 London, King's Theatre, Haymarket (4 performances to 6 June) After Zeno/C.I. Frugoni, 1729 A7 Opera (pasticcio) Catone 1732 4 November 1732 London, King's Theatre, Haymarket After Metastasio, 1728/9 A8 Opera (pasticcio) Semiramide or Semiramis riconosciuta 1733 30 October 1733 London, King's Theatre, Haymarket After Metatstasio, 1729 A9 Opera (pasticcio) Caio Fabricio 1733 4 December 1733 London, King's Theatre, Haymarket After Zeno, 1732 A10 Opera (pasticcio) Arbace 1734 5 January 1734 London, King's Theatre, Haymarket After Metatstasio, 1730 A11 Opera (pasticcio) Oreste 1734 18 December 1734 London, Covent Garden Theatre (3 performances to 28 December) After G. G. Barlocci, 1723 Music entirely by Handel A12 Opera (pasticcio) Didone abbandonata 1737 13 April 1737 London, Covent Garden Theatre After Metatstasio, 1726 A13 Opera (pasticcio) Alessandro Severo 1738 25 February 1738 London, King's Theatre, Haymarket (5 performances to 11 March; also 30 May) After Zeno, 1717/23 Music entirely by Handel A14 Opera (pasticcio) Giove in Argo 24 April 1739 1 May 1739 London, King's Theatre, Haymarket (also 5 May) In Italian, after A.M. Lucchini "Giove in Argo", 1719 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. 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 ?1703–1709 3 June 2001 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. Italian Aria Lusinga questo cor circa 1712–1717 For soprano. Probably completed in London Orchestral March in 'Judas Maccabaeus' in F major circa 1747–1748 As addition to oratorio "Judas Maccabaeus" (HWV 63) or to Concerto a due cori in F major (HWV 334) Wind ensemble Marche in G major circa 1746–1747 Independent wind version of the oratorio, "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) Opera (pasticcio) Lucio Vero 1745 November 1745 King's Theatre, London A pasticcio opera containing music by Handel and performed by the "Middlesex" opera company (named after Lord Middlesex) Oratorio (pasticcio) 1738 28 March 1738 King's Theatre, Haymarket, London Handel's benefit performance. Bilingual pasticcio, including much music from "Deborah" (HWV 51), "As pants the hart" (Chandos Anthem No. 6; HWV 251b), a Coronation Anthem, and organ concertos Oratorio (pasticcio) Nabal 16 March 1764 Covent Garden Theatre, London Oratorio (pasticcio) Rebecca Oratorio (pasticcio) Gideon 10 February 1769 Covent Garden Theatre, London Aria Quand on suit l'amoureuse loi A short da capo aria in the style of a gavotte Opera Rossane 1743 November 1743 King's Theatre, London Revived 24 February 1747 and 20 February 1748 at the King’s Theatre, Haymarket, London. Lampugnani arranged music from Handel's "Alessandro" (HWV 21), which was subsequently performed by the "Middlesex" opera company French song Sans y penser Another version of the French song (HWV 155) in a lower key and a simpler bass line Italian Aria Sa perchè pena il cor circa 1712–1717 For alto Orchestral Suite Water Music chamber suite Nine movements. The arrangement is contemporary, but the authenticity is uncertain. Published by Burrows in 1991