list of compositions by george frideric handel - wikipedia, the free encyclopedia

8/20/2019 List of Compositions by George Frideric Handel - Wikipedia, The Free Encyclopedia

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Portrait of George Frideric Handel

by Thomas Hudson.

List of compositions by George Frideric HandelFrom Wikipedia, the free encyclopedia

George Frideric Handel (23 February 1685 – 14 April 1759) was a German–English

Baroque composer who is famous for his operas, oratorios and concerti grossi. Handel'scompositions include 42 operas; 29 oratorios; more than 120 cantatas, trios and duets;numerous arias; chamber music; a large number of ecumenical pieces; odes and

serenatas; and 16 organ concerti. His oratorio Messiah , with its "Hallelujah" chorus, isamong the most famous Baroque works and is a popular choice for performances during

the Christmas season. Among Handel's best-known instrumental works are the ConcertiGrossi Opus 3 and 6; "The Cuckoo and the Nightingale", in which birds are heard callingduring passages played in different keys representing the vocal ranges of two birds; and his16 keyboard suites, especially The Harmonious Blacksmith .

Collected editions of Handel's works include the Händel-Gesellschaft (HG) and theHallische Händel-Ausgabe (HHA), however the more recent Händel-Werke-Verzeichnis

(HWV) publication is now commonly used to number his works. For example, Handel's

Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56.[1] Some of Handel's music isalso numbered based on initial publications, for example a 1741 publication by Walshlabelled twelve of Handel's concerti grossi as Opus 6 .

Contents

1 Operas2 Incidental music3 Oratorios

4 Odes and masques5 Cantatas6 Italian duets7 Italian trios8 Hymns9 Italian arias10 English songs11 German church cantatas

12 Italian sacred cantatas13 Latin church music14 Anthems

15 Canticles16 Concertos17 Concerti grossi18 Orchestral works19 Solo sonatas

20 Trio sonatas21 Wind ensemble works22 Keyboard works

23 Arrangements by/of other composers24 HWV missing25 Previously attributed

26 See also27 References28 External links

Operas

All works are opera seria in three acts, unless otherwise stated.

of compositions by George Frideric Handel - Wikipedia, the ... https://en.wikipedia.org/wiki/List_of_compositions_by_George_F...

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HWV Title Premiere Venue Libretto Notes

1 Almira 8 January 1705Theater amGänsemarkt,

Hamburg

Friedrich Christian Feustking,after G. Pancieri

Singspiel

2 Nero 25 February 1705Theater amGänsemarkt,Hamburg

Friedrich Christian Feustking Music lost

3 Florindo 1708

Theater am

Gänsemarkt,Hamburg Hinrich Hinsch

Only a copy of the libretto and

fragments of the music survive

4 Daphne 1708Theater amGänsemarkt,Hamburg

Hinrich Hinsch Music lost

5 Rodrigo 1707 Florence after F. Salvani

6 Agrippina Late 1709 / Early 1710

Teatro SanGiovanniGrisostomo,Venice

Vincenzo Grimani

7a/b Rinaldo 24 February 1711Queen'sTheatre, London

Giacomo Rossi/Aaron Hill, after

Torquato Tasso, La Gerusalemme

liberata

8a/b/c Il pastor fido 22 November 1712Queen'sTheatre, London

Giacomo Rossi, after Guarini

The 1712 version is 8a. The1734 revised versions are

designated 8c. The prologueTerpsicore added to the finalversion is 8b.

9 Teseo 10 January 1713Queen's

Theatre, London

Nicola Francesco Haym, after

Philippe Quinault5 acts

10 Silla June 1713? London? Giacomo Rossi, after Plutarch Music reused in Amadigi

11Amadigi di Gaula

25 May 1715King's Theatre,London

Rossi or Haym (?), after A.H. dela Motte, 1699

12a/b Radamisto 27 April 1720King’s Theatre,

LondonHaym (?), after D. Lalli

13Muzio Scevola

15 April 1721King’s Theatre,London

Paolo Antonio Rolli, after SilvioStampiglia

only Act 3 by Handel

14 Floridante 9 December 1721King’s Theatre,London

Rolli, after Francesco Silvani La costanza in trionfo

15 Ottone 12 January 1723King’s Theatre,London

Haym, after S B Pallavicino

16 Flavio 14 May 1723King’s Theatre,London

Haym, after M Norris

17Giulio Cesare

20 February 1724King’s Theatre,London

Haym

18 Tamerlano 31 October 1724 King’s Theatre,London

Haym, after Agostin Piovene andNicholas Pradon

19 Rodelinda 13 February 1725King’s Theatre,

London

Haym, after Antonio Salvi, after

Pierre Corneille

20 Scipione 12 March 1726King’s Theatre,London

Rolli

21 Alessandro 5 May 1726King’s Theatre,London

O Mauro

22 Admeto 31 January 1727King’s Theatre,London

Haym

23Riccardo

Primo 11 November 1727

King’s Theatre,

LondonRolli, after Francesco Briani

A2Genserico

(or Olibrio )After N. Beregan

Drafted early 1728. Only part

of Act I. Music mostly used inSiroe and Tolomeo.

24 Siroe 17 February 1728King’s Theatre,London

Haym, after Metastasio


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HWV Title Premiere Venue Libretto Notes

25 Tolomeo 30 April 1728King’s Theatre,London

Haym, adapted from CarloSigismondo Capece

26 Lotario 2 December 1729King’s Theatre,London

After Antonio Salvi

27 Partenope 24 February 1730King’s Theatre,

LondonAfter Silvio Stampiglia

28 Poro 2 February 1731King’s Theatre,

LondonAfter Metastasio

A5Titus l'Empereur

After J. Racine: Bérénice Only one act (first threescenes) with some music used

in Ezio . Composed late 1731.

29 Ezio 15 January 1732King’s Theatre,London

Metastasio

30 Sosarme 15 February 1732King’s Theatre,London

After Salvi

31 Orlando 27 January 1733King’s Theatre,London

After Capece, after LudovicoAriosto's Orlando furioso

32Arianna in

Creta 26 January 1734

King’s Theatre,

LondonAfter Pietro Pariati

A11 Oreste 18 December 1734Covent GardenTheatre, London

Adapted from G.G. Barlocci

Pasticcio, composed in 1734.Music entirely by Handel.Overture published in HG

volume 48 (p. 102).

33 Ariodante 8 January 1735Covent GardenTheatre, London

After Salvi, after Ariosto's Orlando Furioso

34 Alcina 16 April 1735Covent GardenTheatre, London

After Ariosto's Orlando Furioso

35 Atalanta 12 May 1736Covent GardenTheatre, London

After Belisario Valeriani

36 Arminio 12 January 1737Covent Garden

Theatre, London

After Salvi

37 Giustino 16 February 1737Covent GardenTheatre, London

Adapted from Pariati's Giustino ,after Nicolo Beregan's Il Giustino

38 Berenice 18 May 1737Covent GardenTheatre, London

After Salvi

39 Faramondo 3 January 1738King’s Theatre,London

Adapted from Apostolo Zeno'sFaramondo

A13Alessandro

Severo 25 February 1738

King’s Theatre,

LondonAdapted from Zeno

Pasticcio, composed in 1738.Music entirely by Handel.

Overture published in HGvolume 48 (page 104).

40

Serse

(Xerxes ) 15 April 1738

King’s Theatre,

London After Stampiglia

A14Giove in Argo

1 May 1739King’s Theatre,London

Adapted from A.M. Lucchini

Pasticcio, composed in April

1739. Music entirely byHandel. Semi-staged.

41 Imeneo 22 November 1740Theatre inLincoln's Inn

Fields, London

After Stampiglia's Imeneo

42 Deidamia 10 January 1741Theatre inLincoln's InnFields, London

Rolli

Incidental music


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HWV Title Premiere Venue Notes

43 The Alchemist 14 January 1710Queen'sTheatre,

London

Instrumental music for the revival of Ben Jonson's playThe Alchemist . An arrangement, by an anonymous

composer, of music from Handel's opera Rodrigo .

44 Comus June 1745Ludlow Castle,Shropshire

Three songs and a trio written as part of a private

arrangement of John Milton's masque Comus .[2]

45 Alceste Not performed

A masque which was written for an unproduced play by

Tobias Smollett. Music composed between December

1749 and January 1750.

218Love's but the frailty

of the mind 17 March 1740

Drury LaneTheatre,London

Sung by Mrs. Kitty Clive at her benefit performance ofWilliam Congreve's The Way of the World (Act III). Musiccomposed in London, 1740

Oratorios


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HWV Title Premiere Venue Libretto Text Notes

46aIl trionfo delTempo e del

Disinganno

June 1707 RomeBenedettoPamphili

46bIl trionfo delTempo edella Verità

17 March

1737London

Benedetto

Pamphili

47

La

resurrezione 8 April 1708 Rome

Carlo

SigismondoCapece

48Brockes

Passion

23 March

1719

HamburgCathedral(possibly)

BartholdHeinrichBrockes

50a Esther ?1718probablyCannons

JohnArbuthnot

IMSLP (http://imslp.org

/wiki/Esther,_HWV_50a_(Handel,_George_Frideric)).Based on Alexander Pope's work.

Originally amasque.

50b Esther 1 May 1732King'sTheatre,London

John

Arbuthnot

IMSLP (http://imslp.org /wiki/Esther,_HWV_50b_(Handel,_George_Frideric)).Based on Alexander Pope's work.

Containsadditions

by S.Humphreys

51 Deborah 21 February1733

King'sTheatre,London

SamuelHumphreys

Stanford (http://opera.stanford.edu/iu/libretti /deborah.htm)

52 Athalia 10 July 1733SheldonianTheatre,Oxford

JeanRacine?

Stanford (http://opera.stanford.edu/iu/libretti /athalia.htm)

53 Saul16 January

1739

King's

Theatre,London

CharlesJennens

Stanford (http://opera.stanford.edu/iu/libretti /saul.htm)

54Israel in

Egypt4 April 1739


Charles

Jennens?

Stanford (http://opera.stanford.edu/iu/libretti

/israel.htm)

55L'Allegro, ilPenserosoed ilModerato

27 February1740

Theatre inLincoln'sInn Fields,London

CharlesJennens

Stanford (http://opera.stanford.edu/iu/libretti /allegro.htm). Based on John Milton's work.

56 Messiah13 April

1742

New MusicHall,Dublin

CharlesJennens

Stanford (http://opera.stanford.edu/iu/libretti /messiah.html)

57 Samson18 February

1743

CoventGarden

Theatre,London

Newburgh

Hamilton


/samson.htm)

58 Semele

10 February

1744

CoventGarden

Theatre,London

William

Congreve


/semele.htm)

An operacatalogued

as anoratorio

59Joseph and

his Brethren

2 March

1744

CoventGarden

Theatre,London

James

Miller


/joseph.htm)

60 Hercules5 January

1745


ThomasBroughton

Stanford (http://opera.stanford.edu/iu/libretti /hercules.htm)

61 Belshazzar27 March

1745

King's

Theatre,London

CharlesJennens

Stanford (http://opera.stanford.edu/iu/libretti /belshaz.htm)

62OccasionalOratorio

14 February1746

CoventGardenTheatre,London

NewburghHamilton

Stanford (http://opera.stanford.edu/iu/libretti /occasion.htm)


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HWV Title Premiere Venue Libretto Text Notes

63Judas

Maccabaeus1 April 1747

CoventGarden

Theatre,London

Thomas

Morell


/judas.htm)

64 Joshua9 March

1748

CoventGarden

Theatre,London

Thomas

Morell


/joshua.htm)

65Alexander

Balus

23 March

1748

CoventGarden

Theatre,London

Thomas

Morell


/albalus.htm)

66 Susanna10 February

1749

CoventGardenTheatre,

London

NewburghHamilton?

Stanford (http://opera.stanford.edu/iu/libretti /susanna.htm)

67 Solomon17 March

1749


London

NewburghHamilton?

Stanford (http://opera.stanford.edu/iu/libretti /solomon.htm)

68 Theodora16 March

1750


London

ThomasMorell

Stanford (http://opera.stanford.edu/iu/libretti /theodora.htm)

69The Choiceof Hercules

1 March1751

CoventGardenTheatre,London

ThomasMorell?

Stanford (http://opera.stanford.edu/iu/libretti /choice.htm)

70 Jephtha26 February

1752


London

ThomasMorell

Stanford (http://opera.stanford.edu/iu/libretti /jephtha.htm)

71The Triumphof Time andTruth

11 March1757


London

ThomasMorell?

Stanford (http://opera.stanford.edu/iu/libretti /triumph.htm)

Odes and masques

HWV Title Premiere Venue Text

72 Aci, Galatea e Polifemo 19 July 1708 Naples

49aAcis and Galatea(masque)

probably 1718 Cannons, near London

49bAcis and Galatea(serenata) 10 June 1732 King's Theatre, London

Stanford (http://opera.stanford.edu/iu/libretti /acis.htm)

73 Parnasso in Festa 13 March 1734 King's Theatre, London

74Ode for the Birthday ofQueen Anne

6 February 1713 Royal Palace in London

75 Alexander's Feast 19 February 1736 King's Theatre, LondonStanford (http://opera.stanford.edu/iu/libretti

/alfeast.htm)

76 Ode for St. Cecilia's Day 22 November 1739Theatre in Lincoln's InnFields, London

Stanford (http://opera.stanford.edu/iu/libretti /Cecilia.htm)

Cantatas


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HWV Title Composed Premiere Venue Notes Text

77Ah che purtroppo è vero

Florence, c. 1707

78Ah! crudel, nelpianto mio

Rome, August 1708 2 September 1708

Palazzo

Bonelli,Rome

79Dianacacciatrice or

Alla caccia

Rome, May 1707 May – June 1707 VignanelloCopied for Francesco

Ruspoli, 1707

80Allor ch'io dissi

addioRome, 1707–08

81 Alpestre monte Florence, c. 1707

82

Amarilli vezzosaor Daliso edAmarilli or Ilduello amoroso

Rome, August 1708Probably 28October 1708

Copied for Ruspoli,1708

83

Aminta e Fillide

or Arresta ilpasso

Early 1708 14 July 1708 Rome

Copied for Ruspoli,

1708. The section, "Chiben ama" printed

separately in HG 52b

84 Aure soavi e lieti Rome, May 1707 Copied for Ruspoli,1707

85

Venus andAdonis orBehold where

weeping Venusstands

London, c. 1711No autograph,authenticity uncertain

86Bella maritrosetta

London, c. 1717–18

87 Carco sempre digloria

London, 1737 16 March 1737 London

Variant insertion in"Cecilia, volgi unsguardo" (89), for

performances ofAlexander's Feast (HWV 75), 1737,including music for the

castrato DomenicoAnnibali

88Care selve, auregrate

Rome, 1707–08

89Cecilia, volgi unsguardo

London, January1736

19 or 25 (?)February 1736

Covent

GardenTheatre,London

Played between the

two parts ofAlexander's Feast (HWV 75).

90

Chi rapì la pace

al core

Florence, c.

1706–07

Copied for Ruspoli,

1709

91aClori, degli occhi

mieiFlorence, late 1707

91bClori, degli occhimiei

London, after 1710

92Clori, mia bellaClori

Rome, 1707–08

93 Clori, ove sei? Italy, 1707–08

94Clori, si, ch'iot'adoro

No autograph, earliestsource c. 1738–40

95

Clori, vezzosa

Clori

Rome, July/August

1708

Copied for Ruspoli,

1708

96

Clori, Tirsi eFileno or Corfedele in vanosperi

Rome,

July/September1707

Copied for Ruspoli, 14October 1707.


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97Crudel tiranno

AmorLondon, June 1721

Probably 5 July

1721

King'sTheatre,

Haymarket,London

Performed at thebenefit concert forMargherita Durastanti.

98Cuopre tal voltail cielo

Italy, 1708

99

Il delirio

amoroso or Daquel giornofatale

Rome, on or before14 January 1707. May 1707

Cardinal

Pamphili'spalazzo

100Da sete ardenteafflitto

Italy, 1708–09

Copied for Ruspoli,1709. (HWV 101a &

101b: Dal fatalemomento. Spurious, byF. Mancini).

102aDalla guerraamorosa

Italy, 1708–09

Version for bass.


102bDalla guerra

amorosa

Italy, 1708–09Version for soprano.Copied for Ruspoli,

1709

103Deh! lasciate evita e volo

London, c. 1722–25Libretto text byPaolo Antonio Rolli

104Del bell'idolo

mioRome, 1707–09

Copied for Ruspoli in1709, but possibly

written as early as1707.

105

Armidaabbandonata orDietro l'ormefuggaci

Rome, June 1707Possibly 26 June1707

PalazzoBonelli,Rome

Copied for Ruspoli,1707, 1709.

106

Dimmi, o mio

cor Italy, 1707–09 See note for HWV 132

107 Ditemi, o pianteRome, July/August1708


108Dolce mio ben,s'io taccio

No autograph. No

source attributed toHandel.

109aDolc' è purd'amor l'affanno

London, c. 1717–18Libretto ?Text byPaolo Antonio Rolli

109bDolc' è purd'amor l'affanno

London, ?after1718

Libretto: ?Text byPaolo Antonio Rolli

110

Agrippina

condotta amorire orDunque sarà

pur vero

Italy, 1707–08 Early in 1708 First performed by thecastrato soprano,Pasqualino Tiepoli

Libretto:Anonymous

111aE partirai, miavita?

Italy, 1707–09

111bE partirai, miavita?

London, c. 1725–28

112Figli del mestocor

Probably Italy,1707–09

No autograph or Italian-period copies

113Figlio d'alte

speranzeFlorence, 1706–07

114 Filli adorata ecara

Rome, 1707–08 Copied for Ruspoli,1709

115Fra pensieriquel pensiero

Italy, 1707–08


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116 Fra tante pene Florence, 1706–07Copied for Ruspoli,1709

117Hendel, non puòmia musa

July/August 1708Copied for Ruspoli,1708, 1709

Libretto by CardinalBenedetto Pamphili

118Ho fuggito

Amore anch'ioLondon, c. 1722–23

Printed without final

aria in HG.

Libretto by Paolo

Antonio Rolli

119

Echeggiate,

festeggiate,numi eterni or Io

languisco fra legioie

London, c. 1710–12Partly lost. Fragmentsprinted in wrong order

in HG.

120a Irene, idolo mio Italy, 1707–09No autographs orItalian-period copies.

120b Irene, idolo mio England, after 1710No autographs or

Italian-period copies.

121a

La Solitudine or

L'aure grate, ilfresco rio

London, c. 1722–23 fragment

121b

La Solitudine or

L'aure grate, ilfresco rio

London, before1718

122Apollo e Dafneor La terra èliberata

Hanover, 1710Probably begun Venice,

1709

123

Languia di

boccalusinghiera

Possibly composedin Hanover, 1710

?fragment

124Look down,harmonious

saint

c. 1736 February 1736


London

Recitative and aria;probably a discarded

fragment for"Alexander's Feast"

(HWV 75), 1736. Itappeared in the cantataHWV 89

Libretto byNewburgh Hamilton,from Cecilian Ode

1720.

125aLungi da me,pensier tiranno

Italy, July –

September 1708[3]

1st version; noautographs or Italian-

period copies; oneversion copied forFrancesco Ruspoli,

1708.

125bLungi da me,pensier tiranno

London, after 1710Second version; noautographs.

126aLungi da voi,che siete poli

Rome, July/August1708

126bLungi da voi,che siete poli

Rome, 1708

126cLungi da voi,

che siete poli

Probably London,

after 1710.

127aLungi dal miobel nume

Rome, 3 March1708

127bLungi dal miobel nume

?London, after1710

127cLungi dal miobel nume

London, c. 1725–28

128Lungi n'andò

FilenoRome, August 1708

Copied for Ruspoli,

1708

129Manca purquanto sai

Rome, July/August1708


130Mentre il tutto èin furore

Rome, August 1708Copied for Ruspoli,1708


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131Menzogneresperanze

Rome, September1707


132a Mi palpita il cor?London, after1710

Borrowings: Version of"Dimmi, o mio cor"(HWV 106) with newopening.

132b Mi palpita il cor?London, after

1718

132c Mi palpita il cor?London, after

1710

132d Mi palpita il cor?London, c.1711–12

133Ne' tuoi lumi, obella Clori

Rome, September1707

Copied for Ruspoli,1707, 1709

134Pensieri notturnidi Filli or Nel

dolce dell'oblio

Rome, 1707–08.Completed 1709

135a Nel dolce tempoProbably Naples,June/July 1708

135b Nel dolce tempo London, after 1710No autographs, and noearly Italian-periodcopies.

136aNell' Africaneselve

Naples, June/July1708

136bNell' Africaneselve

London, after 1710

137

Nella stagion

che di viole erose

Rome, April/May1707

Copied for Ruspoli,1707, 1709. Probably

composed for thesoprano, MargheritaDurastanti.

138Nice, che fa?

che pensa??Hanover, 1710

139a Ninfe e pastori Rome, 1707–09Copied for Ruspoli,1709

139b Ninfe e pastoriProbably London,after 1710

139c Ninfe e pastori London, c. 1725–28

140Nò seemenderá

jamás

Rome, September1707


141Non sospirar,

non piangere

Florence, Fall 1707

142Notte placida echeta

Rome, 1707–08 Libretto anonymous

143

Olinto pastore,Tebro fiume,Gloria or Ocome chiare e

belle

Rome,August/September1708

9 September 1708

MarquisRuspoli'sPalazzo

Bonelli

?Copied for Ruspoli,1708. First performedby the soprano Anna

Marie di Piedz

144O lucenti, o

sereni occhiRome, 1707

145

La Lucrezia or

Oh numi eterni August 1708

Copied for Ruspoli,1709. Probably

composed for thesoprano, MargheritaDurastanti.

Libretto by Cardinal

Benedetto Pamphili

146Occhi miei chefaceste?

Rome, 1707–08Copied for Ruspoli,1709


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147 Partì, l'idolo mio London, after 1710No autograph or earyItalian copies.

148Poichè giuraroamore

Rome, early 1707Copied for Ruspoli,1707, 1709

149Qual sento io

non conosciutoOnly source c. 1738–40

150

Ero e Leandro

or Qual tiriveggio, oh Dio

Rome, 1707Derived from the story

of Hero and Leander

Libretto ?Cardinal

Pietro Ottoboni.

151Qualor crudele,

sì ma vaga DoriLondon, after 1710

No autograph or early

Italian-period copies

152Qualor l'egrepupille

Rome, September1707


153Quandosperasti, o core

Probably Naples,June/July 1708


154Quel fior che

all'alba rideLondon, c. 1738–40

Published in Handel(ed. Burrows), "Songs

and Cantatas forSoprano."

155 Sans y penserRome, September1707

Composed in Italy.Copied for Ruspoli,1707, 1709.

156Sarai contentaun di

Florence, 1706–07

157Sarei troppo

felice

Rome, September

1707

Copied for Ruspoli,1707, 1708(incomplete)

Libretto by B.

Pamphili.

158aSe pari è la tua

fèRome, 1708

Copied for Ruspoli,

1708, 1709.

158bSe pari è la tuafè

Probably London,after 1710

158cSe pari è la tuafè

London, c. 1725–28

159Se per fataldestino


160a

La bianca rosa

or Sei pur bella,pur vezzosa


160bLa bianca rosaor Sei pur bella,

pur vezzosa

London, c. 1725–28

160c

La bianca rosa

or Sei pur bella,pur vezzosa

London, c. 1738–41

161aSento là che

ristrettoRome, 1708–09

161bSento là cheristretto

161cSento là cheristretto

London, c. 1725–28

162Siete roseruggiadose

London, c.1711–12.

Composed with variant

163Solitudini care,

amata libertàLondon, after 1710

No autographs or early

Italian-period copies

164aIl Gelsomino orSon Gelsomino

London, c. 1725–28

164bIl Gelsomino orSon Gelsomino

London, c. 1717–18


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165Spande ancor amio dispetto

Italy, 1707–08

166Splenda l'alba inoriente

London, c. 1711–12Survives only infragmentary form.

167aStanco di più

soffrireItaly, 1707–08

167bStanco di più

soffrire

Rome, July/August

1708

168Partenza di G.B. or Stelle,

perfide stelle

Rome, 1707

169Torna il core alsuo diletto

Probably Rome,1707–08

170Tra le fiamme (Ilconsiglio)

Rome, 1707Libretto by CardinalBenedetto Pamphili

171Tu fedel? Tucostante?

Florence/Rome,1706–07

Copied for Ruspoli,1707, 1708

172Udite il mio

consiglioFlorence, 1706–07

Copied for Ruspoli,

1707

173Un' almainnamorata

Rome, May 1707 June 1707ProbablyVignanello


174Un sospir a chisi muore

Florence, Fall 1707

175 Vedendo Amor Rome, 1707–08

176

Amoreuccellatore orVenne voglia adAmore

Rome, 1707–08

177Zeffiretto,arresta il volo

Italy, 1707–09?Copied for Ruspoli,1709

Italian duets


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HWV Title Composed Notes Text

178A mirarvi io son

intento

?Hanover, c.

1711

First movement reappeared 2 years later in the UtrechtJubilate (HWV 279) as "Be ye sure that Lord he is God.".

Slow middle section formed the basis for the final chorusof "Alcina" (HWV 34) in 1735.

179Ahi, nelle sortiumane

London, 31August 1745

180Amor, gioje mi

porge

Italy, c. 1707–09

181Beato in ver chi

pùo

London, 31

October 1742Italian version of Horace, "Beatus ille"

182aCaro autor dimia doglia

Probably Italy, c.1707–09

182bCaro autor dimia doglia

London, c. 1742

183Caro autor dimia doglia

Hanover, c.1710–12

Spurious, by Reinhard Keiser.

184Che viapensando, follepensier

Italy, c. 1707–09

185Conservate,raddoppiate

?Hanover, c.1711

The 2nd movement, "Nodi voi" can be found later in theOpus 1 sonatas and also in the concerti grossi as well as

various operas and oratorios.

186Fronda leggierae mobile

London, c. 1745The opening theme also appears in "Belshazzar" (HWV61) as well as the Concerto a due cori No. 1 (HWV 332)

187Giù nei Tartareiregni

Composed: Italy,c. 1707

188Langue, geme,e sospira

London, c. 1722Theme of the 2nd movement later appeared as "Thouhast prevented him" in the Coronation Anthem, "The Kingshall rejoice" (HWV 260)

Libretto by G.D. de Totis(from opera, "La cadutadel regno dell'Amazzoni"; 1690)

189Nò, di voi nonvo' fidarmi

London, 3 July1741

Thematic ideas from 2 movements used in "Messiah"(HWV 56)

190Nò, di voi non

vo' fidarmi

London, 2

November 1742

191Quando incalma ride ilmare

Italy or Hanover,

c. 1707–11

192Quel fior cheall'alba ride

London, 1 July1741

3rd movement uses theme from, "Quel fior che all'alba

ride," (HWV 154). Thematic ideas from 2 movementsused in "Messiah" (HWV 56)

193Se tu non lasci

amore

London, c. 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 Airfrom the "Water Music."

194Sono liete,fortunate

?Hanover, c.1710–11

The final movement was later used in the overture to"Judas Maccabeus" (HWV 63).

195 Spero indarnoLondon, c.

1730–40

Single movement, known only from copies. Authenticity

uncertain.

196Tacete, ohimè,tacete

Italy, c. 1707–09Libretto by Francesco de Lemene (1692) which appearsunder the title "Amor dorme" in his "Poesie Diverse."

197Tanti strali alsen mi scocchi

?Hanover, c.1711

Fugal movement later used in "Solomon" (HWV 67) for"Take him all."

198Troppo cruda,

troppo fiera

?Hanover, c.

1711

Autograph lost.

199Va', speme

infida

?Hanover, c.

1711Autograph lost.

Italian trios


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HWV Title Composed Notes Text

200 Quel fior che all'alba ride ?Italy, c. 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

HWV Title Voice Composed Notes Text

202 Künft'ger Zeiten eitler Kummer SopranoLondon, c.1724–26

by B.H. Brockes from"Irdisches Vergnügen in Gott."

203Das zitternde Glänzen der

spielenden WellenSoprano

London, c.

1724–26

by B.H. Brockes from

"Irdisches Vergnügen in Gott."

204 Süsser Blumen Ambraflocken SopranoLondon, c.1724–26


205Süsse Stille, sanfte Quelleruhiger Gelassenheit

SopranoLondon, c.1724–26


206 Singe, Seele, Gott zum Preise SopranoLondon, c.1724–26


207 Meine Seele hört im Sehen SopranoLondon, c.

1724–26

by B.H. Brockes from

"Irdisches Vergnügen in Gott."

208 Die ihr aus dunkeln Grüften SopranoLondon, c.1724–26


209 In den angenehmen Büschen SopranoLondon, c.1724–26


210Flammende Rose, Zierde derErden

SopranoLondon, c.1724–26


284Sinners obey the Gospel word

(The Invitation)Soprano c. 1747

Probably at the request

of Priscilla Rich.by Charles Wesley.

285O Love divine, how sweet thouart (Desiring to Love)

Soprano c. 1747Probably at the requestof Priscilla Rich.

by Charles Wesley.

286 Rejoice, the Lord is King (On theResurrection)

Soprano c. 1747 Probably at the requestof Priscilla Rich.

by Charles Wesley.

Italian arias

HWV Title Voice Composed Text

211 Aure dolci, deh, spirate Alto London, c. 1722–26

212 Con doppia gloria mia Soprano London, c. 1722–26

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

214 Dell'onda instabile Alto London, c. 1749

215 Col valor del vostro brando Soprano London, c. 1711–13216 Impari del mio core Soprano London, c. 1749

217 L'odio, sì, ma poi ritrovò Alto London, c. 1722–26

219 Non so se avrai mai bene Soprano London, c. 1710–18

220 Per dar pace al mio tormento Soprano London, c. 1749

221 Quant'invidio tua fortuna Soprano London, c. 1749

222 Quanto più amara fu sorte crudele Soprano London, c. 1721–23

223 S'un di m'appaga, la mia crudele Soprano London, c. 1738–41

224 Si, crudel, tornerà Soprano London, c. 1738–41

225 Spera chi sa perchè la sorte Alto London, c. 1717–18

227 Vo' cercando tra fiori Soprano London, c. 1726

English songs


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226Hunting Song or The morning

is charmingTenor 1743

Voice in treble clef. Autograph, which

survives, presented to Legh in 1751

by CharlesLegh.

Composed inLondon

228-1The unhappy Lovers: AsCelia's fatal arrows flew

Soprano c. 1730

228-2

Charming Cloris: Ask not the

cause / The poor Shepherd:The Sun was sunk beneaththe Hills

Soprano c. 1730

228-3As on a Sunshine Summer'sDay

Soprano c. 1729

228-4

Bacchus Speech in Praise of

Wine: Bacchus one day gaylystriding

Soprano c. 1730

228-5

The Polish Minuet or MissKitty Grevil's Delight:

Charming is your shape andair

Soprano c. 1720

228-6The Sailor's Complaint: Comeand listen to my ditty / Hosier'sGhost: As near Portobellolying

Soprano c. 1735

228-7Di godere ha speranza il miocore / Oh my dearest, my

lovely creature

Soprano c. 1719

228-8

The forsaken Maid'sComplaint: Faithlessungrateful / The slighted

Swain: Cloe proves false

Soprano c. 1720

228-9

From scourging rebellion or A

Song on the Victory obtained

over the Rebels by His RoyalHighness the Duke ofCumberland

Tenor 1746

First performance: Sung by Thomas Lowe at

Vauxhall Gardens, 15 May 1746. Composed

to celebrate the Duke of Cumberland's defeatof the Jacobite forces at Culloden on 16 April1746

228-10The forsaken Nymph:Guardian Angels now protectme

Soprano c. 1735

228-11I like the am'rous Youth that'sfree

Soprano 1737

First performance: 28 February 1737:

London, Drury Lane Theatre. Published:1741. Sung by Catherine ("Kitty") Clive inJames Miller's comedy, "The Universal

Passions" (Act II)

228-12Phillis: My fair, ye Swains, is

gone astraySoprano c. 1725

228-13 Not, Cloe, that I better am Soprano c. 1730

228-14Strephon's Complaint of Love:Oh cruel Tyrant Love

Soprano c. 1730

228-15

The Satyr's Advice to a Stock-Jobber: On the shore of a low

ebbing sea / Ye Swains thatare courting a Maid / MollyMogg: Says my uncle, I prayyou discover

Soprano c. 1730

228-16 Phillis be kind and hear Soprano c. 1730

228-17

Phillis advised: Phillis the

lovely Soprano c. 1739

228-18

Stand round, my brave boysor Song made for theGentlemen Volunteers of theCity 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.


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Published as "A Song made for theGentlemen Volunteers of the City of London"

(1745)

228-19The faithful Maid / TheMelancholy Nymph: 'Twas

when the seas were roaring

Soprano 1715

First performance: 23 February 1715:

London, Drury Lane Theatre. Incidentalmusic; sung in Gay's "The Beggar's Opera" -Lucy's song XXVIII "How Cruel are the

Traytors," probably sung in John Gay's

"Comic Tragick Pastoral Farce" or "WhatD'ye Call it," (Act II)

228-20

The Rapture / Matchless

Clarinda: When I surveyClarinda's charms / Venusnow leaves

Soprano c. 1725

228-21The Death of the Stag: WhenPhoebus the tops of the Hillsdoes adorn

Soprano c. 1740

228-22 Who to win a Woman's favour Soprano c. 1746

228-23An Answer to Collin'sComplaint: Ye winds to

whome Collin complains

Soprano c. 1716

228-24 Yes, I'm in love Soprano c. 1740

German church cantatas

HWV Title Composed

229-1 Das gantze Haupt ist krank à 8 Halle, c. 1700–03

229-2 Es ist der alte Bund, Mensch à 12 Halle, c. 1700–03

229-3 Führwahr, er trug unsere Krankheit à 15 Halle, c. 1700–03

229-4 Thue Rechnung von deinem Haußhalten à 13 Halle, c. 1700–03

229-5 Victoria. Der Tod ist verschlungen à 14 Halle, c. 1700–03229-6 Was werden wir essen à 10/12 Halle, c. 1700–03

229-7 Wer ist der, so von Edom kömmt à 12 Halle, c. 1700–03

Italian sacred cantatas

HWV Title Voice Composed Notes

230Ah! che troppo inegualior O del ciel! Mariaregina

Soprano?Rome1707–08

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 thePurification of the Virgin."

234Il pianto di Maria orGiunta l'ora fatal

SopranoSpurious. Misattributed to Handel; composed by Giovanni BattistaFerrandini (1710–91).

Latin church music

Handel wrote the following Latin church music (including motets, Psalm settings, and antiphons):[4]


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HWV Type Title Voice Key Composed Premiere Venue Notes Text

231 MotetCoelestis dum

spirat auraSoprano

Dmajor/Gmajor

?Rome, 1707 13 June 1707 Vignanello

Motet for theFeast of St.

Anthony ofPadua

232Psalmsetting

Dixit Dominus

Soprano,Alto,Tenor,

BassChorus

G minorRome, April

1707

Dixit DominusrepresentsHandel'searliest dated

autograph,and it is theearliestsurviving

autographfrom hislarge-scale

compositions.

Psalm110(Vulgate109)

235 Antiphon

Haec est Regina

virginum Soprano G major ?Rome, 1707 ?15/16 July 1707 Rome

Probablywritten forservices held

at the churchof S. Maria di

Monte Santoto celebratethe feast dayof "Madonnadel Carmine".

236Psalmsetting

Laudate pueridominum

Soprano F major?Hamburg, c.

1706

Laudate pueridominum in F

major isHandel'searliestsurvivingautograph.Might have

beencomposed inHalle, 1701-2.

Psalm113(Vulgate

112)

237Psalmsetting

Laudate pueridominum

Soprano,Chorus

D majorRome, 8 July

1707

Psalm113(Vulgate112)

238 Psalmsetting Nisi Dominus

Alto,

Tenor,Bass,Chorus

G major Rome, 13July 1707 ?16 July 1707 Rome

Probably

written for agrandVespersservice heldat the church

of S. Maria diMonte Santoin Rome, the

feast day of"Our Lady ofMountCarmel".

Psalm

127(Vulgate126)

239 MotetO qualis de coelosonus

Soprano G major?Rome, May – June 1707

12 June 1707 Vignanello For Pentecost

240 MotetSaeviat tellusinter rigores

Soprano D major ?Rome, 1707 ?16 July 1707 Rome

Motet for theFeast ofMadonna delCarmine

241 Antiphon Salve Regina Soprano G minor ?Rome, 1707 ?19 June 1707 Vignanello

Probably firstperformed onTrinity

Sunday atFrancesco


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HWV Type Title Voice Key Composed Premiere Venue Notes Text

Ruspoli'sprivate

chapel.

242 Motet Silete venti SopranoB-flat

major

London, c.

1723-25

243 AntiphonTe decusvirgineum

Alto G minor Rome, 1707 ?15/16 July 1707 Rome

Probablywritten forservices held

at the churchof S. Maria diMonte Santo

to celebratethe feast dayof "Our Ladyof MountCarmel".

244 Cantata Kyrie eleison Chorus

Misattributedto Handel; by

A. Lotti("Missa

Sapientiae"),but copied byHandel c.1749.

245 CantataGloria in excelsisdeo

Chorus

Misattributedto Handel; byA. Lotti

("MissaSapientiae"),but copied byHandel c.1749.

269 Amen...alleluja

Soprano,

Bass D minor 1735-46

Probably

intended as avocal study.

270 AmenSoprano,Bass

F major 1735-46Probablyintended as avocal study.

271 Amen...allelujaSoprano,Bass

G minor 1735-46Probablyintended as a

vocal study.

272 Alleluja...amenSoprano,Bass

D minor 1735-46Probablyintended as avocal study.

273 Alleluja...amen

Soprano,

Bass G major 1735-46

Probably

intended as avocal study.

274 Alleluja...amenSoprano,Bass

A minor 1735-46Probablyintended as a

vocal study.

276 Amen...hallelujahSoprano,Bass


277 Hallelujah...amenSoprano,Bass


Anthems


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246O be joyful in

the Lord

Cannons,

1717–18

St. Lawrence,Whitchurch,London

Chandos Anthem No. 1 orJubilate ('Cannons') in D

major. Also considered aCanticle.

Psalm 100 (the

Jubilate ).

247In the Lord put Imy trust

Cannons,1717–18


Chandos Anthem No. 2.Transcribed for orchestra byEdward Elgar in 1923 as theOverture in D minor, and by

Stokowski in 1924

Psalm 9, 11, 12, &13 from Tate andBrady's New Version of the

Psalms of David .

248Have mercyupon me

Cannons,1717–18

St. Lawrence,

Whitchurch,London

Chandos Anthem No. 3.Psalm 51 (theMiserere ).

249a

O come, let us

sing unto theLord

1714?26 September

1714

ChapelRoyal, St.

James'sPalace,London.

Psalm 96

249b

O come, let us

sing unto theLord

Cannons,

1717–18

St. Lawrence,

Whitchurch,London

Chandos Anthem No. 4.

Partly based on "O singunto the Lord a new song"

(HWV 249a). The overturewas later reused in Handel'soboe concerto No. 2.

"Prayer Book"

version of Psalms93 & 96.

250aI will magnifythee

Cannons,1717–18

St. Lawrence,

Whitchurch,London

Chandos Anthem No. 5.Two movements added

later. The overture was laterreused in Handel's oboeconcerto No. 2.

Psalms 144 & 145

250bI will magnify

thee1724 ?5 January 1724

ChapelRoyal, St.James'sPalace,London

Psalms 89, 96, 145

251aAs pants the

hart

c. December

1712 to May1713

1713King's Chapel

Royal

Scored for organ and basso

continuo alone.Psalm 42

251bAs pants thehart

Cannons,1717–18

1718St. Lawrence,Whitchurch,

London

Chandos Anthem No. 6(although believed to be one

of the first ChandosAnthems composed).

Orchestrated version ofHWV 251a.

Psalm 42

251cAs pants thehart

c. 1722 ?7 October 1722

ChapelRoyal, St.James's

Palace,London

Orchestrated version ofHWV 251d.

Psalm 42

251dAs pants the

hartc. 1722

Scored for organ and bassocontinuo alone. There is noevidence that the work wasperformed during Handel's

lifetime.

Psalm 42

251eAs pants thehart

1738 28 March 1738[5]King’s

Theatre,Haymarket

Written for a benefit evening Psalm 42

252My song shall

be alway

Cannons,

1717–18


Chandos Anthem No. 7.Partly derived from the "Te

Deum in D" (HWV 280). The

trio "Thou rulest the ragingsea" performed at Cannons

but probably spurious;possibly composed byJohann Christoph Pepusch

Psalm 89


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or Nicola Francesco Hayminstead.

253O come, let ussing unto theLord

Cannons,

1717–18



"Prayer Book"psalms 95 (the

venite), 96, 97, 99,103

254O praise theLord with oneconsent

Cannons,

1717–18



Psalms 117, 135,148 in metrical

versions of NahumTate and NicolasBrady's "New

Version of thePsalms" (1696).

255The Lord is mylight

Cannons,1717–18


Chandos Anthem No. 10.Psalms 18, 20,27–30, 34, 45

256a Let God ariseCannons,

1717–18


Chandos Anthem No. 11.1st movement of 'symphony'added later.

Psalms 68 & 76

256b Let God arise 1726 ?16 January 1726

Chapel

Royal, St.James'sPalace,

London

Psalm 58

257

O praise the

Lord, ye angelsof his

Spurious. Misattributed toHandel in Arnold's editionand in HG 36. By Maurice

Greene, before 1728.

258 Zadok the Priest?9 September1727 – 11October 1727

11 October 1727WestminsterAbbey

Coronation Anthem No. 1.For the Coronation of KingGeorge II and QueenCaroline. Performed at theAnointing.

English version ofantiphon "UnxeruntSalomonem Sadocsacerdos," after IKings 1, 39–48.

259Let Thy HandBe

Strengthened

?9 September1727 – 11

October 1727


Coronation Anthem No. 2.For the Coronation of KingGeorge II and QueenCaroline. Sung at theRecognition (the King beingpresented to the people).

Psalm 89: 13–14.

260The King ShallRejoice

?9 September

1727 – October 1727


Coronation Anthem No. 3.For the Coronation of KingGeorge II and Queen

Caroline. Should have beensung at the Recognition, butinstead it was performed at

the Crowning.

Psalm 21: 1,2,3,5

261My Heart is

Inditing

?9 September1727 – 11October 1727

11 October 1727Westminster

Abbey

Coronation Anthem No. 4.For the Coronation of KingGeorge II and Queen

Caroline. Performed duringthe coronation of theQueen.

After Psalm 45: 1,10, 12 and Isaiah49:23.

262

This is the day

which the Lordhath made orAnthem for

Wedding ofPrincess Anne

1734 14 March 1734

FrenchChapel, St.James's

Palace

Performed during thewedding of William, Princeof Orange, and Anne,

Princess Royal.

Psalms 45, 118,Proverbs,Ecclesiasticus

263

Sing unto Godor Anthem forWedding ofPrince Frederick

1736 27 April 1736

German

Chapel, St.James'sPalace,

London

For the wedding ofFrederick, Prince of Wales,

and Princess Augusta ofSaxe-Coburg. Revised forthe wedding of Princess

Psalms 68, 106,128


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Mary.

264

The ways ofZion do mourn

or FuneralAnthem forQueen Caroline

5(?) – 12

December1737

17 December 1737

King HenryVII's Chapel,WestminsterAbbey

Probably first performed

fully choral without solomovements. The Sinfoniawas not performed at thefuneral and was probablyadded later.

FromLamentations,Samuel, Job,

Ecclesiasticus,Philippians,Wisdom, and

Psalms 103, 112.

265

DettingenAnthem ("TheKing ShallRejoice")

30 July – 3August 1743

27 November 1743

ChapelRoyal, St.

James'sPalace,London

Performed during a servicein King George II's presenceto celebrate his safe return

to England. Also, tocelebrate the combinedAustrian and British armiesover the French atDettingen in LowerFranconia on 27 June 1743.Entirely different setting ofthe text than "The King Shall

Rejoice" from theCoronation Anthems of

1727.

Psalms 20, 21

266

How beautifulare the feet ofthem or HisAnthem on the

Peace or PeaceAnthem

1749 25 April 1749

ChapelRoyal, St.

James'sPalace,London

To celebrate the peace ofAix-la-Chapelle (Aachen).

Performed with the "QueenCaroline" Te Deum (HWV280).

Isaish, Psalms 29,96, Revelation

267

(?) First draft ofthe "PeaceAnthem" (SeeHWV 266)

Probably early1749

A 209-measure compositionof which the last 19measures are incomplete.

268

Blessed are

they thatconsidereth thepoor orFoundlingHospital Anthem

1749 27 May 1749FoundlingHospitalChapel,London

First performance probablyin fully choral version. Thesolo movements wereprobably added c. 1751.

Psalms 8, 41, 72,112, Daniel,

Revelation

Canticles


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HWV Title Key Composed Premiere Venue Notes Text

278Utrecht Te

Deum

D

major

14 January

17137 July 1713

St Paul'sCathedral,London

"We praisethee, O God"

(Ambrosianhymn)

279UtrechtJubilate

Dmajor

?January – February 1713.

7 July 1713St Paul'sCathedral,London

"O be joyful inthe Lord"(Psalm 100)

280Te Deum("QueenCaroline")

Dmajor

1714?26 September

1714

Chapel Royal,St. James'sPalace,

London

"We praisethee, O God"(Ambrosian

hymn)

281Te Deum("Chandos" or"Cannons")

B-flatmajor

c. 1717–18 c. 1717–18St. Lawrence,Whitchurch,London

Composed by Handelduring his stay with theDuke of Chandos at

Cannons.

"We praisethee, O God"(Ambrosian

hymn)

282 Te DeumAmajor

1726 ?16 January 1726

Chapel Royal,

St. James'sPalace,

London

"We praise

thee, O God"(Ambrosian

hymn)

283Te Deum("Dettingen")

Dmajor

17 July – c. 29July 1743

27 November 1743

Chapel Royal,

St. James'sPalace,

London

Performed during a service,

in King George II'spresence, to celebrate hissafe return to England.

Also, to celebrate thecombined Austrian and

British armies over theFrench at Dettingen inLower Franconia on 27

June 1743.

"We praise

thee, O God"(Ambrosian

hymn)

Concertos


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HWV Instrument Key Composed Premiere Venue Published Opus Notes

287 OboeGminor

?Hamburg?c.1704–05

1863"Oboe concerto No.3"

288 ViolinB-flatmajor

Italy, c. 1707

“Sonata a 5”.

Possibly for

Corelli in Rome

289 OrganGminor

1735–36 19 February 1736

London,

CoventGardenTheatre

1738Opus 4No. 1

First performed with"Alexander's Feast"(HWV 75)

290 OrganB-flat

major1735 5 March 1735

London,Covent

GardenTheatre

1738Opus 4

No. 2

First performed withthe oratorio "Esther"(HWV 50b)

291 OrganGminor

1735 5 March 1735

London,CoventGardenTheatre

1738Opus 4No. 3

Variant versions oflast movement. First

performed with theoratorio "Esther"(HWV 50b)

292 OrganFmajor

25 March1735

1 April 1735

London,CoventGarden

Theatre

1738Opus 4No. 4

Originally concludedwith 'Alleluja' chorus(HG 20, p. 161),short instrumental

ending probablywritten by Handel forWalsh publication.

First performed with"Athalia" (HWV 52)

293 OrganF

major?26 March 1735

London,Covent

GardenTheatre

1738Opus 4

No. 5

Performed withrevival of "Deborah"(HWV 51).

294 OrganB-flatmajor

1736 19 February 1736


1738Opus 4No. 6

Originally composedfor the harp, but laterrearranged for theorgan

295 OrganFmajor

2 April 1739 4 April 1739

London,

King'sTheatre,Haymarket

1740"2ndSet" No.1

Referred to as OrganConcerto "No. 13".

The bird-songmotives of the 2ndmovement earnedthe concerto thenickname, "The

Cuckoo and theNightingale"

296a OrganAmajor

1739 20 March 1739

London,King'sTheatre,

Haymarket

1740

"2nd

Set" No.2

Referred to as organconcerto "No. 14"

296b OrganAmajor

c. 1743–46Pasticcio. Arrangedby Handel

297 OrganDminor

1740"2ndSet" No.

3

Referred to as organconcerto "No. 15".Arranged fromConcerto GrossoOp.6 No.10 (HWV

328).

298 OrganGmajor

1740"2ndSet" No.4

Referred to as organconcerto "No. 16".Arranged fromConcerto GrossoOp.6 No.1 (HWV319).


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299 OrganDmajor

1740"2ndSet" No.

5

Referred to as organconcerto "No. 17".

Arranged fromConcerto GrossoOp.6 No.5 (HWV323).

300 Organ Gminor

1740 "2ndSet" No.6

Referred to as organconcerto "No. 18".

Arranged fromConcerto Grosso inG minor Op.6 No.6(HWV 324).

301 OboeB-flat

major1740

"Oboe concerto No.

1"

302a OboeB-flat

major1740

"Oboe concerto No.

2"

303 Organ Dminor

c. 1738

An adagio for twoorgans. Endingadapted by Handel to

lead into another

movement. Laterpublished as the firstmovement of OrganConcerto in D minor,Op 7 No 4 (HWV309)

304 OrganD

minorc. 1746 ?14 February 1746 1797

Sometimes referredto as organ concerto"No. 15". Firstperformed with thepremiere of TheOccasional Oratorio(HWV 62).

305 OrganFmajor

c. 1747–48

Sometimes referredto as organ concerto

"No. 16". Arrangedby Handel from theConcerto a due coriin F major (HWV334) (3 movements)and Marche in F.


17 February1740

27 February 1740

London,

Lincoln'sInn FieldsTheatre

1761Opus 7No. 1

First movement

includes anindependent pedalpart

307 OrganAmajor

5 February1743

18 February 1743

London,

CoventGardenTheatre

1761Opus 7No. 2

Performed with theoratorio Samson(HWV 57)


1–4 January1751

1 March 1751

London,

CoventGardenTheatre

1761Opus 7No. 3

Two variant

autographs of 1stmovement. Handel'slast orchestral work

309 OrganDminor

?c. 1744 ?14 February 1746 1761Opus 7No. 4

?Performed withpremiere of "TheOccasional Oratorio"(HWV 62)

310 OrganGminor

31 January1750

16 March 1750


1761Opus 7No. 5

Performed with

"Theodora" (HWV68). Final gavotte inpublished versionprobably added laterby Smith Jr.


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c. 1748–49 1761 1749Opus 7No. 6

Assembled by JohnChristopher Smith

junior followingHandel's death forJohn Walsh theyounger's publication

343 Organ Gmajor c. 1738–39

Ritornello forChaconne (HWV

435). Part of afragmentary outlineof an organ concerto

Concerti grossi


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HWV Key Composed Premiere Venue Published Opus Notes

312 B-flat major?Hanover, c.

17101734 Opus 3 No. 1

No Handel autograph.Earliest surviving

manuscript score fromc. 1724. Probably theearliest concerto in the

Op. 3 set

313 B-flat major c. 1715–1718 1734 Opus 3 No. 2

314 G major c. 1717–1718 c. 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 OrchestraConcerto" or "TheSecond Overture inAmadigi"

316 D minor 1717–1718 1734 Opus 3 No. 5

In Walsh's 2nd editionof the Op. 3 concertos,the 3rd, 4th, & 5th

movements wereadded

317 D major (?) 1733–1734 1734 Opus 3 No. 6Published by Walsh in1734 as an organ

concerto

318 C major25 January

1736February 1736 1740

First performancebetween the acts ofthe oratorio,

Alexander's Feast(HWV 75)

319 G major29 September

17391740 Opus 6 No. 1

320 F major4 October

17391740 Opus 6 No. 2

321 E minor6 October

17391740 Opus 6 No. 3

322 A minor8 October

17391740 Opus 6 No. 4

323 D major10 October

17391740 Opus 6 No. 5

Known as the "St.Cecilia's Concerto," asthe first twomovements and thelast use thematic

material from theoverture to the Ode forSt. Cecilia's Day (HWV

76)

324 G minor15 October

17391740 Opus 6 No. 6

325 B-flat major12 October

17391740 Opus 6 No. 7

326 C minor18 October

17391740 Opus 6 No. 8

327 F major

Probably

between 10–11October 1739

1740 Opus 6 No. 9

The second two

movements wereborrowed from theOrgan Concerto in Fmajor, HWV 295, andthe minuet and allegro

fugue from theoverture to Imeneo.The newly composed

Gigue was originallyintended for theConcerto Grosso in F

major (HWV 320)


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HWV Key Composed Premiere Venue Published Opus Notes

328 D minor22 October

17391740 Opus 6 No. 10

The gavotte-like lastmovement was

originally intended byHandel for theConcerto Grosso in Bminor (HWV 330)

329 A major30 October

1739

1740 Opus 6 No. 11A reworking of theOrgan Concerto in A

major, HWV 296.

330 B minor20 October

17391740 Opus 6 No. 12

331 F major 20 March 1723London,Drury LaneTheatre

Two movements,

thematically related tothe Water Music Suitein F major (HWV 348)

331-1 F major

Water Music, Suite

Variant No 1. Twomovements,thematically related to

the Suite No 1 in F

major from The WaterMusic (HWV 348)

331-2 F major

Water Music, Suite

Variant No 2. Twomovements,thematically related to

the Suite No 1 in Fmajor from The WaterMusic (HWV 348)

332 B-flat major 1747–1748 (?) 9 March 1748

London,

CoventGarden

Theatre

Concerto a due cori inB-flat major, No. 1.Composed for

performances with

oratorios; probablyperformed during

Joshua (HWV 64)

333 F major 1747–1748 (?) 23 March 1748

London,

CoventGardenTheatre

Concerto a due cori inF major, No. 2.Composed for

performances withoratorios; probablyperformed during

Alexander Balus (HWV65)

334 F major 1747–1748 (?) 1 April 1748

London,CoventGarden

Theatre

Concerto a due cori inF major, No. 3.

Composed forperformances withoratorios; probably

performed duringJudas Maccabaeus(HWV 63)

335a D major c. 1746Version of the overture

to the Fireworks music.

335b F major c. 1746Version of the overtureto the Fireworks music.

Orchestral works


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HWV Type Key Composed Premiere Published Notes

302b Largo F major c. 1738Autograph headed "Suite de pieces"(presumably this was the opening

movement)

336 OvertureB-flatmajor

Autograph lost. Probably completed inGermany or Italy

337 Overture D major c. 1722–1725

Probably intended as an introductorymovement. Possibly intended to be

coupled with the concerto grosso in Dmajor Op. 3 No. 6 (HWV 317) as theadagio movement.

338 Adagio/AllegroBminor/D

major

1722

Originally, with the 1st movement of theOrgan Concerto, Allegro in D minor(HWV 317), a 3-movement orchestralconcerto. The 1st movement was used

as the sinfonia in Ottone (HWV 15); andthe theme of the last movement wasreworked for the overture of Ottone

339 SinfoniaB-flat

majorc. 1706–1707 1979

No autograph. First published in 1979 in

the Halle Edition (IV/15) and is knownonly from a copy by Christopher

Graupner (1683–1760). Probablycompleted in Hamburg or Italy

340 Allegro G major?c.

1710–1715No autograph

341 Suite D major 1733 Almost certainly spurious

342 Overture F major c. 1736

344Chorus andMinuet

B-flatmajor

1708No autograph. Apparently movementsfrom the Hamburg opera Florindo (HWV3) (See HWV 354)

345 March D major before 1738 No autograph

347 SinfoniaB-flat

major

c. 1747

348Suite. WaterMusic suite No.1

F major 1717 17 July 1717 1788

Autograph lost. Performed for King

George I on The Thames from a bargecontaining about 50 musicians. The Kinginsisted on the performance beingrepeated more than once

349Suite. WaterMusic suite No.

2

D major 1717 17 July 1717 1788

Autograph lost. Performed for KingGeorge I on The Thames from a bargecontaining about 50 musicians. The King

insisted on the performance beingrepeated more than once

350

Suite. Water

Music suite No.3

G major 1717 17 July 1717 1788

Autograph lost. Performed for KingGeorge I on The Thames from a barge

containing about 50 musicians. The Kinginsisted on the performance beingrepeated more than once

351Suite. Music forthe RoyalFireworks

D major 1749 27 April 1749

Composed for the celebration of Peace

of Aix-la-Chapelle (Aachen) whichbrought to an end the War of Austriansuccession. First performed in Green

Park, London

352 SuiteB-flatmajor

1706 No autograph

353 Suite G major 1706 No autograph

354 Suite

B-flat

major 1708 No autograph

355 Hornpipe aria C minor?c.

1710–1715No autograph

356 Hornpipe D major 1740No autograph. Composed for VauxhallGardens


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HWV Type Key Composed Premiere Published Notes

413 GigueB-flatmajor

1736

Solo sonatas

The following table details the sonatas for various solo instruments (with keyboard accompaniment):


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HWV Instrument Key Composed Published Opus Notes

357 Oboe B-flat major c. 1707–10One of Handel's earliest extantcompositions. Probably written during

his years in Italy

358 Unspecified G major c. 1707–10

A "Fitzwilliam" sonata. Theautographed manuscript, located in theFitzwilliam Museum, does not mentioninstrumentation, nor are there tempomarkings for the movements. It is

tentatively assigned to the violin in theHHA, however the recorder is also apossibility.

359a Violin D minor c. 1724

The D minor sonata, headed "Sonata2", follows the G major sonata (HWV358) in the Fitzwilliam Museumautograph. Originally written for violinand published in two different E minor

versions for the flute. See flute sonatain E minor (HWV 359b)

359b Flute E minor c. 1724 1732 Opus 1 No. 1b

Of the two sonatas published byChrysander as Opus 1 Sonata I , this

one (Sonata I

b

) is the one in Walsh'soriginal edition (where it is called

Sonata I ).

360 Recorder G minor c. 1712 1732 Opus 1 No. 2

361 Violin A major c. 1725–26 1732 Opus 1 No. 3The only violin sonata to have beenpublished exactly as written by Handel.

362 Recorder A minor c. 1712 1732 Opus 1 No. 4

363a Oboe F major c. 1711–16

363b Flute G major c. 1711–16 1732 Opus 1 No. 5

364a Violin G minor c. 1722–24 1732 Opus 1 No. 6Both Walsh and Chrysander publishedthe work as an oboe sonata.

364bViola dagamba

G minor c. 1724A transcription of HWV 364a—assuggested by Handel on themanuscript.

365 Recorder C major c. 1712 Opus 1 No. 7

366 Oboe C minor c. 1711–12 1732 Opus 1 No. 8

367a Recorder D minor c. 1712 Opus 1 No. 9a

Movements 1–5 constitute the"Fitzwilliam Sonata III" in ThurstonDart's arrangement. Originallypublished Flute Sonata in B minor, Op 1

No 9b (HWV 367b). The contemporaryedition of Handel attributes it to thetransverse flute, but the autograph

manuscript is clearly for the recorder.

367b Flute B minor c. 1725–26 1732 Opus 1 No. 9bIn the 'Aylesford' collection the Allabreve appears with the title of FUGE

368 Violin G minor 1732 Opus 1 No. 10 Probably spurious

369 Recorder F major c. 1712 1732 Opus 1 No. 11

370 Violin F major 1732 Opus 1 No. 12 Probably spurious

371 Violin D major c. 1749-50 Opus 1 No. 13

This sonata represents Handel's last

piece of chamber music. The piece wasnot published by Walsh; the designationOp 1 No.13 is Chrysander's

372 Violin A major 1732 Opus 1 No. 14

Probably spurious. The piece was

published by Walsh as Op 1 No. 10 in

the original edition that had a faked titlepage naming Roger as the publisher;

the designation Op 1 No.14 isChrysander's


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HWV Instrument Key Composed Published Opus Notes

373 Violin E major 1732 Opus 1 No. 15

Probably spurious. The piece waspublished by Walsh as Op 1 No. 12 in

the original edition that had a faked titlepage naming Roger as the publisher;the designation Op 1 No.15 isChrysander's

374 Flute A minor 1730"Halle sonata No. 1". Authenticityuncertain

375 Flute E minor 1730

"Halle sonata No. 2". Authenticityuncertain. The first two movements are

identical to those of HWV 366, and thelast also appears (out of context) at theend of Walsh's printing of HWV 434

376 Flute B minor 1730"Halle sonata No. 3". Authenticityuncertain

377 Recorder B-flat major c. 1712All three movements appear as parts of

other works

378 Flute D major c. 1707? 1979

No autograph, but now consideredauthentic. It appears in an importantmanuscript of 18th century solo sonatas

in the Brussels Royal Conservatory,and is there attributed to 'Sr Weisse'

379 Flute E minor c. 1727–28 1879 Opus 1 No. 1a

The work's authenticity is unquestioned,but the sonata is not part of Handel's

Opus 1 as published by Walsh—havingbeen added by Chrysander.

406 Violin A major c. 1751Adagio and Allegro. Three–partaccompaniment (? orchestral short

score)

407 Violin G major c. 1738 Allegro

408 Violin C minor c. 1725–29

Allegro. It may be the only surviving

fragment of a completed sonata in C

minor. Used as the finale to theRecorder sonata in A minor (HWV 362).

409 Recorder D minor c. 1712Andante. Variant of movement from theRecorder Sonata in D minor (HWV367a)

412 Violin A minor c. 1725–26 Andante

419-1 c. 1710–20

HWV 419 1-6 are six marches. Theyare known only from printed sources;

were published as separate treble andbass parts; with instrumentationunspecified, though title pages mention

flute and violin for treble parts. May

have originated as a keyboard work.419-2 G major c. 1710–20

419-3 G major c. 1710–20

419-4 F major c. 1710–20

419-5 C major c. 1710–20

419-6 C major c. 1710–20

420 D major c. 1743–44

Minuet. Two–stave versions inautograph; instrumentation unspecified,upper stave ? violins. May haveoriginated as a keyboard work

421 D major c. 1743–44

Minuet. Two–stave versions in

autograph; instrumentation unspecified,upper stave ? violins. May haveoriginated as a keyboard work

Trio sonatas


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HWV Key Composed Published Opus Notes

380B-flatmajor

Authenticity doubtful

381 D minor Authenticity doubtful

382E-flatmajor

Authenticity doubtful

383 F major Authenticity doubtful

384 G major Authenticity doubtful

385 D major Authenticity doubtful

386a C minor c. 1717–1719 1879In Chrysander's "G. F. Handel's Werke" (1879) this piece wasreferred to as Op. 2 No. 1a; Variant form of Op. 2 No 1, notpublished by Walsh, but found in manuscripts

386b B minor before 1727 1733Opus 2No. 1

In Chrysander's "G. F. Handel's Werke" this piece referred to asOp. 2 No 1b

387 G minor ?1699 1733Opus 2No. 2

Handel's earliest datable composition. In Chrysander's "G. F.Handel's Werke" this piece referred to as Op. 2 No 2

388B-flatmajor

c. 1717–1718 1733Opus 2No. 3

In Chrysander's "G. F. Handel's Werke" this piece referred to asOp. 2 No 4. The finale appears in the overture to Athalia (HWV 52)

389 F major c. 1718–1722 1733 Opus 2No. 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 (HWV50a)

390a G minor c. 1717–1722 1733Opus 2No. 5

In Chrysander's "G. F. Handel's Werke" this piece referred to asOp. 2 No 6

390b G minor Published in HG volume 48. Unlikely to be Handel's work

391 G minor c. 1707 1733Opus 2No. 6

In Chrysander's "G. F. Handel's Werke" this piece referred to asOp. 2 No 7

392 F major c. 1706–1707In Chrysander's "G. F. Handel's Werke" (1879) this compositionreferred to as Op. 2 No 3. One of the "Dresden" sonatas. Noautograph

393 G minorprobably c.

1719

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

piece referred to as Op. 2 No 8

394 E majorAuthenticity uncertain. In Chrysander's "G. F. Handel's Werke" this

piece referred to as Op. 2 No 9

395 E minorAuthenticity uncertain. Probably composed by Johann Adolph

Hasse (1699–1783)

396 A major 1739Opus 5No. 1

397 D major 1739Opus 5No. 2

398 E minor 1739Opus 5

No. 3

399 G major 1739Opus 5

No. 4

400 G minor 1739Opus 5No. 5

401 F major 1739Opus 5No. 6

402B-flat

major1739

Opus 5

No. 7

403 C major c. 1738

404 G minor No autograph

405 F major c. 1707–1710

Wind ensemble works


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HWV Type Key Composed Notes

346 March F major ?before 1729

410 Aria F major c. 1725

411 Aria F major c. 1725

414March forFife

C major c. 1747

415March forFife

D major c. 1747

416 March D major c. 1734

417 March D major c. 1746–1747May have originated as a keyboard work as a two-stave version of the marchexists

418 MarchG

major?c. 1741

422 MinuetG

majorc. 1746–1747

423 MinuetGmajor

c. 1746–1747

424 Overture D major c. 1741 'Fitzwilliam' Overture

Keyboard works


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HWV Type Key Composed Published Notes

305b Arrangement F minor c. 1747Used as an overture. Solo keyboard arrangementof 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. 1740–50includes Handel's transcription of openingmelody

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

I. Adagio (2:45):

II. Allegro (1:53):

III. Adagio (1:55):

IV. Allegro (2:04):

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 andVariations 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. 6F-sharpminor

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. 1B-flatmajor

?1710–1717 1733

434-4: minuet in G minor which is also used inthe flute sonata in E minor (HWV 375). Not partof the Suite de piece in B-flat major. 434-3 hasthe theme used by Johannes Brahms for hisHandel Variations.

435 Suite de pièce Vol. 2 No. 2 G major ?1705–1717 173321 variations. A chaconne. The Ritornello in Gmajor (HWV 343) was added to this composition

436 Suite de pièce Vol. 2 No. 3 D minorNowrap|c.

1721–17261733

437 Suite de pièce Vol. 2 No. 4 D minor c. 1703–1706 1733

438 Suite de pièce Vol. 2 No. 5 E minor c. 1710–1717 1733

439 Suite de pièce Vol. 2 No. 6 G minor c. 1703–1706 1733

440 Suite de pièce Vol. 2 No. 7B-flat

majorc. 1703–1706 1733 revised 1717-18

441 Suite de pièce Vol. 2 No. 8 G major c. 1703–1706 1733

442 Suite de piece Vol. 2 No. 9 G major c. 1703–1706 1733

62 variations. Prelude and Chaconne. Two

different preludes noted in sources (HWV 442/1bin Walsh)

443 Suite C major 1700–1703Includes Chaconne (of which there are 26variations)

444 Partita C minor c. 1705–1706

445 Suite C minor 1705–1706

446 Suite C minor c. 1703–1706Composed for two harpsichords, but the musicfor only one harpsichord survives

447 Suite D minor c. 1738–1739Written for Princess Louisa. Companion piece to

the Suite in G minor (HWV 452)

448 Suite D minor c. 1705–1706

449 Suite D minor c. 1705450 Partita G major c. 1700–1705

451 Suite G minor c. 1703–1706 Allemande and Courante only

452 Suite G minor c. 1738–1739Written for Princess Louisa. Companion piece tothe Suite in D minor (HWV 447)

0:00 MENU

0:00 MENU

0:00 MENU

0:00 MENU


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453 Suite G minor c. 1705–1706

454 Partita A major c. 1703–1706

455 SuiteB-flatmajor

c. 1705Keyboard version of the overture in B-flat major(HWV 336) and the suite in B-flat major (HWV354)

456-1 Arrangement c. 1720–1727Arrangement of the overture to the Italian opera“Il pastor fido"

456-2 Arrangement c. 1720–1727Arrangement of the overture to the Italian opera

"Amadigi"

456-3 Arrangement c. 1720–1727Arrangement of the overture to the Italian opera"Flavio"

456-4 Arrangement c. 1720–1727Arrangement of the overture to the Italian opera"Rodelinda"

456-5 Arrangement c. 1720–1727Arrangement of the overture to the Italian opera"Riccardo Primo"

457 Air C major c. 1720–1721

458 Air C minor ?c. 1710–1720 Authenticity uncertain

459 Air C minor ?c. 1710–1720 Authenticity uncertain

460 Air (March) D major c. 1720–1721

461 Air (Hornpipe) D minor c. 1717–1718

462 Air and minuet D minor c. 1724–1726

463 Air F major c. 1707–1709

464 Air F major c. 1724–1726A version of the air from the "Water Music" (HWV348–350)

465 Air and two Doubles F major c. 1710–1720

466 Air G minor c. 1710–1720 For two-manual harpsichord (or possibly organ)

467 Air Lentement G minor c. 1710–1720

468 Air A major c. 1727–1728

469 AirB-flat

majorc. 1738–1739

Re-used in orchestral form in the Sinfonia in

B-flat major (HWV 347) and the Organ Concertoin B-flat major (HWV 311)

470 AirB-flatmajor

c. 1710–1720 For two-manual harpsichord (or possibly organ)

471 AirB-flat

majorc. 1710–1720

472 Allegro C major c. 1705

473 Allegro C major25 August

1738Clock-Organ

474 Air G major c. 1736–1738Based on the first chorus of "Acis and Galatea"

(HWV 49a). Possibly for organ475 Allegro D minor c. 1710–1720

476 Allemande F major c. 1730–1735

477 Allemande A major c. 1724–1726

478 Allemande A minor c. 1705

479 Allemande B minor c. 1721–1722

480 Chorale G minor c. 1736–1740

Chorale melody "Jesu, meine Freude" in the

middle part. Possibly for organ. A two-barepilogue may represent a planned variation

481 Capriccio F major c. 1703–1706

482-1 Arrangement c. 1720–1725Arrangement of the overture to the Italian opera'Rinaldo'

482-2 Arrangement c. 1720–1725Arrangement of the overture to the Italian opera

'Floridante'


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482-3 Arrangement c. 1720–1725Arrangement of the overture to the Italian opera'Radamisto'

482-4 Arrangement c. 1720–1725Arrangement of the overture to the Italian opera'Muzio Scevola'

483 Capriccio G minor c. 1720–1721

484Chaconne with 49variations

C major c. 1700–1705 Version of the Chaconne in Suite HWV 443

485 Chaconne F major c. 1705 For a two-manual harpsichord

486 Chaconne G minor c. 1705

487 Concerto G major c. 1710–1720 Two movements

488 Allegro (Courante) F major c. 1717–1718In G major for the Suite de piece in G major, Vol.2 No. 9 (HWV 442)

489 Courante B minor c. 1722

490 Fantasie pour le clavecin, C major c. 1703–1706

491 Gavotte G major c. 1705

492 Gigue F major c. 1726–1727

493 Gigue G minor c. 1704–1705 Two versions

494 Impertinence (Bourée) G minor c. 1705

495 Lesson D minor c. 1705–1710Early form (two variants) of the Suite de pièce inD minor, Vol. 1 No. 3 (HWV 428), movement six

496 Lesson A minor c. 1715–1720

497 to558

62 Minuets VariousTwo-stave pieces, probably for keyboard. Somerelated to minuets in other works

559 Passepied C major c. 1721–1722

560 Passepied A major c. 1705

561 Prelude D minor c. 1705–1706Version of the prelude to the Suite de pièce in Dminor, Vol. 2 No. 4 (HWV 437)

562 Prelude (Harpeggio) D minor c. 1711–1712

563 Prelude D minor c. 1700–1703

564 Prelude D minor c. 1705

565 Prelude D minor c. 1710–1720An early version of the Prelude to the Suite depièce in D minor, Vol. 1 No. 3 (HWV 428)

566 Prelude E major c. 1710–1720Associated in some manuscripts with movementsin the Suite de pièce in F minor, Vol. 1 No. 8

(HWV 433)

567 Preludium F major c. 1710–1720

568 Preludium F minor c. 1710–1720Associated in some manuscripts with movementsin the Suite de pièce in F minor, Vol. 1 No. 8(HWV 433)

569 Preludium F minor ?c. 1710–1720 Arpeggio del Cook. Authorship uncertain

570 Prelude (Harpeggio)F-sharpminor

c. 1717–1718Originally associated with the Suite de pièce inF-sharp minor, Vol. 1 No. 6 (HWV 431)

571 Prelude and Capriccio G major c. 1703–1706 Two movements

572 Prelude G minor c. 1710–1717Originally associated with the Suite de pièce in G

minor, Vol. 1 No. 7 (HWV 432)

573 Prelude (Harpeggio) G minor c. 1705

574Prelude and Allegro

(Sonata)G minor c. 1705 Two movements

575 Prelude (Harpeggio) A minor c. 1717–1718 Coupled with the "Lesson in A minor"; HWV 496

576 Prelude and Allegro A minor c. 1705–1706 Two movements

577Sonata (Fantasia) pour le

clavecin,C major c. 1703–1705


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