Georg Friedrich Händel

Da Georg Friedrich Händel

Da Georg Friedrich Händel (laut Taufregista: Georg Friederich Händel, anglisiad: George Frideric Handel; * 23. Fewer^jul. / 5. Mäerz 1685^greg. z Halle (Saale); † 14. Aprui 1759 z London) wor a deitscha Komponist im Barock. Ea guit ois oana vo de bedeidnstn Komponistn vo oin Zeidn.

Da Händel hod in Deitschland und Italien Musi studiad und hod se anno 1712 z London niedaglossn. 1727 is a britischa Stootsbiaga worn.

Ea hod in England scho zu Lebzeidn ois Klassika goitn. Anno 1738 is fia eam z London in Vauxhall Gardens a lemsgrouß' Denkmoi baut worn.

Weake

Des is a Listn vo de Kompositiona vom Händel.

Opan

HWV	Titl	Premiere	Uaaffiahrung	Libretto	Notizn
01_11	Almira	1705-01-088 Jenna 1705	Theater am Gänsemarkt, Hamburg	FeustkingFriedrich Christian Feustking, after G. Pancieri	Singspui
02_12	Nero	1705-02-2525 Feba 1705	Theater am Gänsemarkt, Hamburg	FeustkingFriedrich Christian Feustking	Musi valoan
03_13	Florindo	1708-00-001708	Theater am Gänsemarkt, Hamburg	HinschHinrich Hinsch	Nua Fragmendt san dahoidn.
04_14	Daphne	1708-00-001708	Theater am Gänsemarkt, Hamburg	HinschHinrich Hinsch	Musi valoan
05_15	Rodrigo	1707-00-001707	Florenz	Salvaniafter F. Salvani
06_16	Agrippina	1710-00-00Late 1709 / Early 1710	Teatro San Giovanni Grisostomo, Venedig	GrimaniVincenzo Grimani
07_17a/b	Rinaldo	1711-01-2424 February 1711	Queen's Theatre, London	La Gerusalemme liberata
08_18a/b/c	Il pastor fido	1712-11-2222 Novemba 1712	Queen's Theatre, London	RossiGiacomo Rossi, after Giovanni Battista Guarini	The 1712 version is 8a. The 1734 revised versions are designated 8c. The prologue Terpsicore added to the final version is 8b.
09_19	Teseo	1713-01-1010 Jenna 1713	Queen's Theatre, London	HaymNicola Francesco Haym, after Philippe Quinault	5 acts
10_110	Silla	1713-06-00Juni 1713?	London?	RossiGiacomo Rossi, after Plutarch	Music reused in Amadigi
11_111	Amadigi di Gaula	1715-05-0025 Mai 1715	King's Theatre, London	RossiHaymRossi or Haym (?), after A.H. de la Motte, 1699
12_112a/b	Radamisto	1720-04-2727 Aprui 1720	King’s Theatre, London	HaymHaym (?), after D. Lalli
13_113	Muzio Scevola	1721-04-1515 Aprui 1721	King’s Theatre, London	RolliPaolo Antonio Rolli, after Silvio Stampiglia	only Act 3 by Handel
14_114	Floridante	1721-12-099 Dezemba 1721	King’s Theatre, London	RolliRolli, after Francesco Silvani La costanza in trionfo
15_115	Ottone	1723-01-1212 Jenna 1723	King’s Theatre, London	HaymHaym, after S B Pallavicino
16_116	Flavio	1723-05-1414 Mai 1723	King’s Theatre, London	HaymHaym, after M Norris
17_117	Giulio Cesare	1724-02-2020 Feba 1724	King’s Theatre, London	HaymHaym
18_118	Tamerlano	1724-10-3131 Oktoba 1724	King’s Theatre, London	HaymHaym, after Agostin Piovene and Nicholas Pradon
19_119	Rodelinda	1725-02-1313 Feba 1725	King’s Theatre, London	HaymHaym, after Antonio Salvi, after Pierre Corneille
20_120	Scipione	1726-03-1212 Meaz 1726	King’s Theatre, London	RolliRolli
21_121	Alessandro	1726-05-055 Mai 1726	King’s Theatre, London	MauroO Mauro
22_122	Admeto	1727-01-3131 Jenna 1727	King’s Theatre, London	HaymHaym
23_123	Riccardo Primo	1727-11-1111 Novemba 1727	King’s Theatre, London	RolliRolli, after Francesco Briani
23_2A2	Genserico (or Olibrio)	0000-00-00		BereganAfter N. Beregan	Drafted early 1728. Only part of Act I. Music mostly used in Siroe and Tolomeo.
24_124	Siroe	1728-02-1717 Feba 1728	King’s Theatre, London	HaymHaym, after Metastasio
25_125	Tolomeo	1728-04-3030 Aprui 1728	King’s Theatre, London	HaymHaym, adapted from Carlo Sigismondo Capece
26_126	Lotario	1729-12-022 Decemba 1729	King’s Theatre, London	SalviAfter Antonio Salvi
27_127	Partenope	1730-02-2424 Feba 1730	King’s Theatre, London	StampigliaAfter Silvio Stampiglia
28_128	Poro	1731-02-022 Feba 1731	King’s Theatre, London	MetastasioAfter Metastasio
28_2A5	Titus l'Empereur	0000-00-00		RacineAfter J. Racine: Bérénice	Only one act (first three scenes) with some music used in Ezio. Composed late 1731.
29_129	Ezio	1732-01-1515 Jenna 1732	King’s Theatre, London	MetastasioMetastasio
30_130	Sosarme	1732-02-1515 Feba 1732	King’s Theatre, London	SalviAfter Salvi
31_131	Orlando	1733-01-2727 Jenna 1733	King’s Theatre, London	CapeceAfter Capece, after Ludovico Ariosto's Orlando furioso
32_132	Arianna in Creta	1734-01-2626 Jenna 1734	King’s Theatre, London	PariatiAfter Pietro Pariati
32_2A11	Oreste	1734-12-1818 Dezemba 1734	Covent Garden Theatre, London	BarlocciAdapted from G.G. Barlocci	Pasticcio, composed in 1734. Music entirely by Handel. Overture published in HG volume 48 (p. 102).
33_133	Ariodante	1735-01-088 Jenna 1735	Covent Garden Theatre, London	SalviAfter Salvi, after Ariosto's Orlando Furioso
34_134	Alcina	1735-04-1616 Aprui 1735	Covent Garden Theatre, London	AriostoAfter Ariosto's Orlando Furioso
35_135	Atalanta	1736-05-1212 Mai 1736	Covent Garden Theatre, London	ValerianiAfter Belisario Valeriani
36_136	Arminio	1737-01-1212 Jenna 1737	Covent Garden Theatre, London	SalviAfter Salvi
37_137	Giustino	1737-02-1616 Feba 1737	Covent Garden Theatre, London	PariatiAdapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino
38_138	Berenice	1737-05-1818 Mai 1737	Covent Garden Theatre, London	SalviAfter Salvi
39_139	Faramondo	1738-01-033 Jenna 1738	King’s Theatre, London	ZenoAdapted from Apostolo Zeno's Faramondo
39_2A13	Alessandro Severo	1738-02-2525 Feba 1738	King’s Theatre, London	ZenoAdapted from Zeno	Pasticcio, composed in 1738. Music entirely by Handel. Overture published in HG volume 48 (page 104).
40_140	Serse (Xerxes)	1738-04-1515 Aprui 1738	King’s Theatre, London	StampigliaAfter Stampiglia
40_2A14	Giove in Argo	1739-05-011 Mai 1739	King’s Theatre, London	LucchiniAdapted from A.M. Lucchini	Pasticcio, composed in April 1739. Music entirely by Handel. Semi-staged.
41_141	Imeneo	1740-11-2222 Novemba 1740	Theatre in Lincoln's Inn Fields, London	StampigliaAfter Stampiglia's Imeneo
42_142	Deidamia	1741-01-1010 Jebba 1741	Theatre in Lincoln's Inn Fields, London	RolliRolli

Intermezzo

HWV	Titl	Premiere	Uaaffiahrung	Notiz
43	The Alchemist	1710-01-1414 Jenna 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	Comus	1745-06-00June 1745	Ludlow Castle, Shropshire	Three songs and a trio written as part of a private arrangement of John Milton's masque Comus.
45	Alceste	1750-00-00Not performed		A masque which was written for an unproduced play by Tobias Smollett. Music composed between December 1749 and January 1750.
218	Love's but the frailty of the mind	1740-03-1717 March 1740	Drury Lane Theatre, London	Sung by Mrs. Kitty Clive at her benefit performance of William Congreve's The Way of the World (Act III). Music composed in London, 1740

Oratorios

HWV	Title	Premiere	Venue	Libretto	Text	Notes
46a	Il trionfo del Tempo e del Disinganno	1707-06-00June 1707	Rome	Benedetto Pamphili
46b	Il trionfo del Tempo e della Verità	1737-03-1717 March 1737	London	Benedetto Pamphili
47	La resurrezione	1708-04-088 April 1708	Rome	Carlo Sigismondo Capece
48	Brockes Passion	1719-03-2323 March 1719	Hamburg Cathedral (possibly)	Barthold Heinrich Brockes
50a	Esther	1718-00-00?1718	probably Cannons	John Arbuthnot	IMSLP. Based on Alexander Pope's work.	Originally a masque.
50b	Esther	1732-05-021 May 1732	King's Theatre, London	John Arbuthnot	IMSLP. Based on Alexander Pope's work.	Contains additions by S. Humphreys
51	Deborah	1733-02-2121 February 1733	King's Theatre, London	Samuel Humphreys	Stanford
52	Athalia	1733-07-1010 July 1733	Sheldonian Theatre, Oxford	Jean Racine?	Stanford
53	Saul	1739-01-1616 January 1739	King's Theatre, London	Charles Jennens	Stanford
54	Israel in Egypt	1739-04-044 April 1739	King's Theatre, London	Charles Jennens?	Stanford
55	L'Allegro, il Penseroso ed il Moderato	1740-02-2727 February 1740	Theatre in Lincoln's Inn Fields, London	Charles Jennens	Stanford. Based on John Milton's work.
56	Messiah	1742-04-1313 April 1742	New Music Hall, Dublin	Charles Jennens	Stanford
57	Samson	1743-02-1818 February 1743	Covent Garden Theatre, London	Newburgh Hamilton	Stanford
58	Semele	1744-02-1010 February 1744	Covent Garden Theatre, London	William Congreve	Stanford	An opera catalogued as an oratorio
59	Joseph and his Brethren	1744-03-022 March 1744	Covent Garden Theatre, London	James Miller	Stanford
60	Hercules	1745-01-055 January 1745	King's Theatre, London	Thomas Broughton	Stanford
61	Belshazzar	1745-03-2727 March 1745	King's Theatre, London	Charles Jennens	Stanford
62	Occasional Oratorio	1746-02-1414 February 1746	Covent Garden Theatre, London	Newburgh Hamilton	Stanford
63	Judas Maccabaeus	1747-04-011 April 1747	Covent Garden Theatre, London	Thomas Morell	Stanford
64	Joshua	1748-03-099 March 1748	Covent Garden Theatre, London	Thomas Morell	Stanford
65	Alexander Balus	1748-03-2323 March 1748	Covent Garden Theatre, London	Thomas Morell	Stanford
66	Susanna	1749-02-1010 February 1749	Covent Garden Theatre, London	Newburgh Hamilton?	Stanford
67	Solomon	1749-03-1717 March 1749	Covent Garden Theatre, London	Newburgh Hamilton?	Stanford
68	Theodora	1750-03-1616 March 1750	Covent Garden Theatre, London	Thomas Morell	Stanford
69	The Choice of Hercules	1751-03-011 March 1751	Covent Garden Theatre, London	Thomas Morell?	Stanford
70	Jephtha	1752-02-2626 February 1752	Covent Garden Theatre, London	Thomas Morell	Stanford
71	The Triumph of Time and Truth	1757-03-1111 March 1757	Covent Garden Theatre, London	Thomas Morell?	Stanford

Odes and masques

HWV	Title	Premiere	Venue	Text
72	Aci, Galatea e Polifemo	1708-07-1919 July 1708	Naples
49a	Acis and Galatea (masque)	1718-00-00probably 1718	Cannons, near London
49b	Acis and Galatea (serenata)	1732-06-1010 June 1732	King's Theatre, London	Stanford
73	Parnasso in Festa	1734-03-1313 March 1734	King's Theatre, London
74	Ode for the Birthday of Queen Anne	1713-02-066 February 1713	Royal Palace in London
75	Alexander's Feast	1736-02-1919 February 1736	King's Theatre, London	Stanford
76	Ode for St. Cecilia's Day	1739-11-2222 November 1739	Theatre in Lincoln's Inn Fields, London	Stanford

Cantatas

HWV	Title	Composed	Premiere	Venue	Notes	Text
77	Ah che pur troppo è vero	1707-00-00Florence, ca. 1707	0000-00-00
78	Ah! crudel, nel pianto mio	1708-08-00Rome, August 1708	1708-09-022 September 1708	Palazzo Bonelli, Rome
79	Diana cacciatrice or Alla caccia	1707-05-00Rome, May 1707	1707-06-00May – June 1707	Vignanello	Copied for Francesco Ruspoli, 1707
80	Allor ch'io dissi addio	1708-00-00Rome, 1707–08	0000-00-00
81	Alpestre monte	1707-00-00Florence, circa 1707	0000-00-00
82	Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso	1708-08-00Rome, August 1708	1708-10-28Probably 28 October 1708		Copied for Ruspoli, 1708
83	Aminta e Fillide or Arresta il passo	1708-00-00Early 1708	1708-07-1414 July 1708	Rome	Copied for Ruspoli, 1708. The section, "Chi ben ama" printed separately in HG 52b
84	Aure soavi e lieti	1707-05-00Rome, May 1707	0000-00-00		Copied for Ruspoli, 1707
85	Venus and Adonis or Behold where weeping Venus stands	1711-00-00London, circa 1711	0000-00-00		No autograph, authenticity uncertain
86	Bella ma ritrosetta	1718-00-00London, circa 1717–18	0000-00-00
87	Carco sempre di gloria	1737-00-00London, 1737	1737-03-1616 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 Domenico Annibali
88	Care selve, aure grate	1708-00-00Rome, 1707–08	0000-00-00
89	Cecilia, volgi un sguardo	1736-01-00London, January 1736	1736-02-2519 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	1707-00-00Florence, circa 1706–07	0000-00-00		Copied for Ruspoli, 1709
91a	Clori, degli occhi miei	1707-13-00Florence, late 1707	0000-00-00
91b	Clori, degli occhi miei	1710-00-00London, after 1710	0000-00-00
92	Clori, mia bella Clori	1708-00-00Rome, 1707–08	0000-00-00
93	Clori, ove sei?	1708-00-00Italy, 1707–08	0000-00-00
94	Clori, si, ch'io t'adoro	0000-00-00	0000-00-00		No autograph, earliest source circa 1738–40
95	Clori, vezzosa Clori	1708-08-00Rome, July/August 1708	0000-00-00		Copied for Ruspoli, 1708
96	Clori, Tirsi e Fileno or Cor fedele in vano speri	1707-09-00Rome, July/September 1707	0000-00-00		Copied for Ruspoli, 14 October 1707.
97	Crudel tiranno Amor	1721-06-00London, June 1721	1721-07-05Probably 5 July 1721	King's Theatre, Haymarket, London	Performed at the benefit concert for Margherita Durastanti.
98	Cuopre tal volta il cielo	1708-00-00Italy, 1708	0000-00-00
99	Il delirio amoroso or Da quel giorno fatale	1707-01-14Rome, on or before 14 January 1707.	1707-05-00May 1707	Cardinal Pamphili's palazzo
100	Da sete ardente afflitto	1709-00-00Italy, 1708–09	0000-00-00		Copied for Ruspoli, 1709. (HWV 101a & 101b: Dal fatale momento. Spurious, by F. Mancini).
102a	Dalla guerra amorosa	1709-00-00Italy, 1708–09	0000-00-00		Version for bass. Copied for Ruspoli, 1709
102b	Dalla guerra amorosa	1709-00-00Italy, 1708–09	0000-00-00		Version for soprano. Copied for Ruspoli, 1709
103	Deh! lasciate e vita e volo	1725-00-00London, circa 1722–25	0000-00-00			Libretto text by Paolo Antonio Rolli
104	Del bell'idolo mio	1709-00-00Rome, 1707–09	0000-00-00		Copied for Ruspoli in 1709, but possibly written as early as 1707.
105	Armida abbandonata or Dietro l'orme fuggaci	1707-06-00Rome, June 1707	1707-26-26Possibly 26 June 1707	Palazzo Bonelli, Rome	Copied for Ruspoli, 1707, 1709.
106	Dimmi, o mio cor	1709-00-00Italy, 1707–09	0000-00-00		See note for HWV 132
107	Ditemi, o piante	1708-08-00Rome, July/August 1708	0000-00-00		Copied for Ruspoli, 1708
108	Dolce mio ben, s'io taccio	0000-00-00	0000-00-00		No autograph. No source attributed to Handel.
109a	Dolc' è pur d'amor l'affanno	1718-00-00London, circa 1717–18	0000-00-00			Libretto ?Text by Paolo Antonio Rolli
109b	Dolc' è pur d'amor l'affanno	1718-00-00London, ?after 1718	0000-00-00			Libretto: ?Text by Paolo Antonio Rolli
110	Agrippina condotta a morire or Dunque sarà pur vero	1708-00-00Italy, 1707–08	1708-00-00Early in 1708		First performed by the castrato soprano, Pasqualino Tiepoli	Libretto: Anonymous
111a	E partirai, mia vita?	1709-00-00Italy, 1707–09	0000-00-00
111b	E partirai, mia vita?	1728-00-00London, circa 1725–28	0000-00-00
112	Figli del mesto cor	1709-00-00Probably Italy, 1707–09	0000-00-00		No autograph or Italian-period copies
113	Figlio d'alte speranze	1707-00-00Florence, 1706–07	0000-00-00
114	Filli adorata e cara	1708-00-00Rome, 1707–08	0000-00-00		Copied for Ruspoli, 1709
115	Fra pensieri quel pensiero	1708-00-00Italy, 1707–08	0000-00-00
116	Fra tante pene	1707-00-00Florence, 1706–07	0000-00-00		Copied for Ruspoli, 1709
117	Hendel, non può mia musa	1708-08-00July/August 1708	0000-00-00		Copied for Ruspoli, 1708, 1709	Libretto by Cardinal Benedetto Pamphili
118	Ho fuggito Amore anch'io	1723-00-00London, circa 1722–23	0000-00-00		Printed without final aria in HG.	Libretto by Paolo Antonio Rolli
119	Echeggiate, festeggiate, numi eterni or Io languisco fra le gioie	1712-00-00London, circa 1710–12	0000-00-00		Partly lost. Fragments printed in wrong order in HG.
120a	Irene, idolo mio	1709-00-00Italy, 1707–09	0000-00-00		No autographs or Italian-period copies.
120b	Irene, idolo mio	1710-00-00England, after 1710	0000-00-00		No autographs or Italian-period copies.
121a	La Solitudine or L'aure grate, il fresco rio	1723-00-00London, circa 1722–23	0000-00-00		fragment
121b	La Solitudine or L'aure grate, il fresco rio	1718-00-00London, before 1718	0000-00-00
122	Apollo e Dafne or La terra è liberata	1710-00-00Hanover, 1710	0000-00-00		Probably begun Venice, 1709
123	Languia di bocca lusinghiera	1710-00-00Possibly composed in Hanover, 1710	0000-00-00		?fragment
124	Look down, harmonious saint	1736-00-00circa 1736	1736-00-00February 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	1708-07-00Italy, July – September 1708	0000-00-00		1st version; no autographs or Italian-period copies; one version copied for Francesco Ruspoli, 1708.
125b	Lungi da me, pensier tiranno	1710-00-00London, after 1710	0000-00-00		Second version; no autographs.
126a	Lungi da voi, che siete poli	1708-08-00Rome, July/August 1708	0000-00-00
126b	Lungi da voi, che siete poli	1708-00-00Rome, 1708	0000-00-00
126c	Lungi da voi, che siete poli	1710-00-00Probably London, after 1710.	0000-00-00
127a	Lungi dal mio bel nume	1708-03-03Rome, 3 March 1708	0000-00-00
127b	Lungi dal mio bel nume	1710-00-00?London, after 1710	0000-00-00
127c	Lungi dal mio bel nume	1728-00-00London, circa 1725–28	0000-00-00
128	Lungi n'andò Fileno	1708-08-00Rome, August 1708	0000-00-00		Copied for Ruspoli, 1708
129	Manca pur quanto sai	1708-08-00Rome, July/August 1708	0000-00-00		Copied for Ruspoli, 1708
130	Mentre il tutto è in furore	1708-08-00Rome, August 1708	0000-00-00		Copied for Ruspoli, 1708
131	Menzognere speranze	1707-09-00Rome, September 1707	0000-00-00		Copied for Ruspoli, 1707
132a	Mi palpita il cor	1710-00-00?London, after 1710	0000-00-00		Borrowings: Version of "Dimmi, o mio cor" (HWV 106) with new opening.
132b	Mi palpita il cor	1718-00-00?London, after 1718	0000-00-00
132c	Mi palpita il cor	1710-00-00?London, after 1710	0000-00-00
132d	Mi palpita il cor	1712-00-00?London, circa 1711–12	0000-00-00
133	Ne' tuoi lumi, o bella Clori	1707-09-00Rome, September 1707	0000-00-00		Copied for Ruspoli, 1707, 1709
134	Pensieri notturni di Filli or Nel dolce dell'oblio	1709-00-00Rome, 1707–08. Completed 1709	0000-00-00
135a	Nel dolce tempo	1708-07-00Probably Naples, June/July 1708	0000-00-00
135b	Nel dolce tempo	1710-00-00London, after 1710	0000-00-00		No autographs, and no early Italian-period copies.
136a	Nell' Africane selve	1708-07-00Naples, June/July 1708	0000-00-00
136b	Nell' Africane selve	1710-00-00London, after 1710	0000-00-00
137	Nella stagion che di viole e rose	1707-05-00Rome, April/May 1707	0000-00-00		Copied for Ruspoli, 1707, 1709. Probably composed for the soprano, Margherita Durastanti.
138	Nice, che fa? che pensa?	1710-00-00?Hanover, 1710	0000-00-00
139a	Ninfe e pastori	1709-00-00Rome, 1707–09	0000-00-00		Copied for Ruspoli, 1709
139b	Ninfe e pastori	1710-00-00Probably London, after 1710	0000-00-00
139c	Ninfe e pastori	1728-00-00London, circa 1725–28	0000-00-00
140	Nò se emenderá jamás	1707-09-00Rome, September 1707	0000-00-00		Copied for Ruspoli, 1707
141	Non sospirar, non piangere	1707-00-00Florence, Fall 1707	0000-00-00
142	Notte placida e cheta	1708-00-00Rome, 1707–08	0000-00-00			Libretto anonymous
143	Olinto pastore, Tebro fiume, Gloria or O come chiare e belle	1708-09-00Rome, August/September 1708	1708-09-099 September 1708	Marquis Ruspoli's Palazzo Bonelli	?Copied for Ruspoli, 1708. First performed by the soprano Anna Marie di Piedz
144	O lucenti, o sereni occhi	1707-00-00Rome, 1707	0000-00-00
145	La Lucrezia or Oh numi eterni	1708-08-00August 1708	0000-00-00		Copied for Ruspoli, 1709. Probably composed for the soprano, Margherita Durastanti.	Libretto by Cardinal Benedetto Pamphili
146	Occhi miei che faceste?	1708-00-00Rome, 1707–08	0000-00-00		Copied for Ruspoli, 1709
147	Partì, l'idolo mio	1710-00-00London, after 1710	0000-00-00		No autograph or eary Italian copies.
148	Poichè giuraro amore	1707-00-00Rome, early 1707	0000-00-00		Copied for Ruspoli, 1707, 1709
149	Qual sento io non conosciuto	0000-00-00	0000-00-00		Only source circa 1738–40
150	Ero e Leandro or Qual ti riveggio, oh Dio	1707-00-00Rome, 1707	0000-00-00		Derived from the story of Hero and Leander	Libretto ?Cardinal Pietro Ottoboni.
151	Qualor crudele, sì ma vaga Dori	1710-00-00London, after 1710	0000-00-00		No autograph or early Italian-period copies
152	Qualor l'egre pupille	1707-00-00Rome, September 1707	0000-00-00		Copied for Ruspoli, 1707
153	Quando sperasti, o core	1708-07-00Probably Naples, June/July 1708	0000-00-00		Copied for Ruspoli, 1708
154	Quel fior che all'alba ride	1740-00-00London, circa 1738–40	0000-00-00		Published in Handel (ed. Burrows), "Songs and Cantatas for Soprano."
155	Sans y penser	1707-09-00Rome, September 1707	0000-00-00		Composed in Italy. Copied for Ruspoli, 1707, 1709.
156	Sarai contenta un di	1707-00-00Florence, 1706–07	0000-00-00
157	Sarei troppo felice	1707-09-00Rome, September 1707	0000-00-00		Copied for Ruspoli, 1707, 1708 (incomplete)	Libretto by B. Pamphili.
158a	Se pari è la tua fè	1708-00-00Rome, 1708	0000-00-00		Copied for Ruspoli, 1708, 1709.
158b	Se pari è la tua fè	1710-00-00Probably London, after 1710	0000-00-00
158c	Se pari è la tua fè	1728-00-00London, circa 1725–28	0000-00-00
159	Se per fatal destino	1707-00-00Rome, early 1707	0000-00-00		Copied for Ruspoli, 1707, 1709
160a	La bianca rosa or Sei pur bella, pur vezzosa	1707-00-00Rome, early 1707	0000-00-00		Copied for Ruspoli, 1707, 1709
160b	La bianca rosa or Sei pur bella, pur vezzosa	1728-00-00London, circa 1725–28	0000-00-00
160c	La bianca rosa or Sei pur bella, pur vezzosa	1741-00-00London, circa 1738–41	0000-00-00
161a	Sento là che ristretto	1709-00-00Rome, 1708–09	0000-00-00
161b	Sento là che ristretto	0000-00-00	0000-00-00
161c	Sento là che ristretto	1728-00-00London, circa 1725–28	0000-00-00
162	Siete rose ruggiadose	1712-00-00London, circa 1711–12.	0000-00-00		Composed with variant
163	Solitudini care, amata libertà	1710-00-00London, after 1710	0000-00-00		No autographs or early Italian-period copies
164a	Il Gelsomino or Son Gelsomino	1728-00-00London, circa 1725–28	0000-00-00
164b	Il Gelsomino or Son Gelsomino	1718-00-00London, circa 1717–18	0000-00-00
165	Spande ancor a mio dispetto	1708-00-00Italy, 1707–08	0000-00-00
166	Splenda l'alba in oriente	1712-00-00London, circa 1711–12	0000-00-00		Survives only in fragmentary form.
167a	Stanco di più soffrire	1708-00-00Italy, 1707–08	0000-00-00
167b	Stanco di più soffrire	1708-08-00Rome, July/August 1708	0000-00-00
168	Partenza di G. B. or Stelle, perfide stelle	1707-00-00Rome, 1707	0000-00-00
169	Torna il core al suo diletto	1708-00-00Probably Rome, 1707–08	0000-00-00
170	Tra le fiamme (Il consiglio)	1707-00-00Rome, 1707	0000-00-00			Libretto by Cardinal Benedetto Pamphili
171	Tu fedel? Tu costante?	1707-00-00Florence/Rome, 1706–07	0000-00-00		Copied for Ruspoli, 1707, 1708
172	Udite il mio consiglio	1707-00-00Florence, 1706–07	0000-00-00		Copied for Ruspoli, 1707
173	Un' alma innamorata	1707-05-00Rome, May 1707	1707-06-00June 1707	Probably Vignanello	Copied for Ruspoli, 1707
174	Un sospir a chi si muore	1707-00-00Florence, Fall 1707	0000-00-00
175	Vedendo Amor	1708-00-00Rome, 1707–08	0000-00-00
176	Amore uccellatore or Venne voglia ad Amore	1708-00-00Rome, 1707–08	0000-00-00
177	Zeffiretto, arresta il volo	1709-00-00Italy, 1707–09	0000-00-00		?Copied for Ruspoli, 1709

Italian duets

HWV	Title	Composed	Notes	Text
178	A mirarvi io son intento	1711-00-00?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	1745-08-31London, 31 August 1745
180	Amor, gioje mi porge	1709-00-00Italy, circa 1707–09
181	Beato in ver chi pùo	1742-10-31London, 31 October 1742	Italian version of Horace, "Beatus ille"
182a	Caro autor di mia doglia	1709-00-00Probably Italy, circa 1707–09
182b	Caro autor di mia doglia	1742-00-00London, circa 1742
183	Caro autor di mia doglia	1712-00-00Hanover, circa 1710–12	Spurious, by Reinhard Keiser.
184	Che via pensando, folle pensier	1709-00-00Italy, circa 1707–09
185	Conservate, raddoppiate	1711-00-00?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	1745-00-00London, 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	1707-00-00Composed: Italy, circa 1707
188	Langue, geme, e sospira	1722-00-00London, 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	1741-07-03London, 3 July 1741	Thematic ideas from 2 movements used in "Messiah" (HWV 56)
190	Nò, di voi non vo' fidarmi	1742-11-02London, 2 November 1742
191	Quando in calma ride il mare	1711-00-00Italy or Hanover, circa 1707–11
192	Quel fior che all'alba ride	1741-07-01London, 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	1722-00-00London, 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	1711-00-00?Hanover, circa 1710–11	The final movement was later used in the overture to "Judas Maccabeus" (HWV 63).
195	Spero indarno	1740-00-00London, circa 1730–40	Single movement, known only from copies. Authenticity uncertain.
196	Tacete, ohimè, tacete	1709-00-00Italy, 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	1711-00-00?Hanover, circa 1711	Fugal movement later used in "Solomon" (HWV 67) for "Take him all."
198	Troppo cruda, troppo fiera	1711-00-00?Hanover, circa 1711	Autograph lost.
199	Va', speme infida	1711-00-00?Hanover, circa 1711	Autograph lost.

Italian trios

HWV	Title	Composed	Notes	Text
200	Quel fior che all'alba ride	1709-00-00?Italy, circa 1707–09	Two versions, slightly different texts.
201a	Se tu non lasci amore	1708-07-12Naples, 12 July 1708
201b	Se tu non lasci amore	1708-00-001708	First movement longer in Naples autograph than in most copies.

Hymns

HWV	Title	Voice	Composed	Notes	Text
202	Künft'ger Zeiten eitler Kummer	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
203	Das zitternde Glänzen der spielenden Wellen	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
204	Süsser Blumen Ambraflocken	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
205	Süsse Stille, sanfte Quelle ruhiger Gelassenheit	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
206	Singe, Seele, Gott zum Preise	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
207	Meine Seele hört im Sehen	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
208	Die ihr aus dunkeln Grüften	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
209	In den angenehmen Büschen	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
210	Flammende Rose, Zierde der Erden	Soprano	1726-00-00London, circa 1724–26		by B.H. Brockes from "Irdisches Vergnügen in Gott."
284	Sinners obey the Gospel word (The Invitation)	Soprano	1747-00-00circa 1747	Probably at the request of Priscilla Rich.	by Charles Wesley.
285	O Love divine, how sweet thou art (Desiring to Love)	Soprano	1747-00-00circa 1747	Probably at the request of Priscilla Rich.	by Charles Wesley.
286	Rejoice, the Lord is King (On the Resurrection)	Soprano	1747-00-00circa 1747	Probably at the request of Priscilla Rich.	by Charles Wesley.

Italian arias

HWV	Title	Voice	Composed	Text
211	Aure dolci, deh, spirate	Alto	1726-00-00London, circa 1722–26
212	Con doppia gloria mia	Soprano	1726-00-00London, circa 1722–26
213	Con lacrime si belle	Alto	1718-00-00London, circa 1717–18
214	Dell'onda instabile	Alto	1749-00-00London, circa 1749
215	Col valor del vostro brando	Soprano	1713-00-00London, circa 1711–13
216	Impari del mio core	Soprano	1749-00-00London, circa 1749
217	L'odio, sì, ma poi ritrovò	Alto	1726-00-00London, circa 1722–26
219	Non so se avrai mai bene	Soprano	1718-00-00London, circa 1710–18
220	Per dar pace al mio tormento	Soprano	1749-00-00London, circa 1749
221	Quant'invidio tua fortuna	Soprano	1749-00-00London, circa 1749
222	Quanto più amara fu sorte crudele	Soprano	1723-00-00London, circa 1721–23
223	S'un di m'appaga, la mia crudele	Soprano	1741-00-00London, circa 1738–41
224	Si, crudel, tornerà	Soprano	1741-00-00London, circa 1738–41
225	Spera chi sa perchè la sorte	Alto	1718-00-00London, circa 1717–18
227	Vo' cercando tra fiori	Soprano	1726-00-00London, circa 1726

English songs

HWV	Title	Voice	Composed	Notes	Text
226	Hunting Song or The morning is charming	Tenor	1743-00-001743	Voice in treble clef. Autograph, which survives, presented to Legh in 1751	by Charles Legh. Composed in London
228-01228-1	The unhappy Lovers: As Celia's fatal arrows flew	Soprano	1730-00-00circa 1730
228-02228-2	Charming Cloris: Ask not the cause / The poor Shepherd: The Sun was sunk beneath the Hills	Soprano	1730-00-00circa 1730
228-03228-3	As on a Sunshine Summer's Day	Soprano	1729-00-00circa 1729
228-04228-4	Bacchus Speech in Praise of Wine: Bacchus one day gayly striding	Soprano	1730-00-00circa 1730
228-05228-5	The Polish Minuet or Miss Kitty Grevil's Delight: Charming is your shape and air	Soprano	1720-00-00circa 1720
228-06228-6	The Sailor's Complaint: Come and listen to my ditty / Hosier's Ghost: As near Portobello lying	Soprano	1735-00-00circa 1735
228-07228-7	Di godere ha speranza il mio core / Oh my dearest, my lovely creature	Soprano	1719-00-00circa 1719
228-08228-8	The forsaken Maid's Complaint: Faithless ungrateful / The slighted Swain: Cloe proves false	Soprano	1720-00-00circa 1720
228-09228-9	From scourging rebellion or A Song on the Victory obtained over the Rebels by His Royal Highness the Duke of Cumberland	Tenor	1746-00-001746	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	1735-00-00circa 1735
228-11	I like the am'rous Youth that's free	Soprano	1737-00-001737	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	1725-00-00circa 1725
228-13	Not, Cloe, that I better am	Soprano	1730-00-00circa 1730
228-14	Strephon's Complaint of Love: Oh cruel Tyrant Love	Soprano	1730-00-00circa 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	1730-00-00circa 1730
228-16	Phillis be kind and hear	Soprano	1730-00-00circa 1730
228-17	Phillis advised: Phillis the lovely	Soprano	1739-00-00circa 1739
228-18	Stand round, my brave boys or Song made for the Gentlemen Volunteers of the City of London	Tenor	1745-00-001745	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	1715-00-001715	First performance: 23 February 1715: London, Drury Lane Theatre. Incidental music; 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 "What D'ye Call it," (Act II)
228-20	The Rapture / Matchless Clarinda: When I survey Clarinda's charms / Venus now leaves	Soprano	1725-00-00circa 1725
228-21	The Death of the Stag: When Phoebus the tops of the Hills does adorn	Soprano	1740-00-00circa 1740
228-22	Who to win a Woman's favour	Soprano	1746-00-00circa 1746
228-23	An Answer to Collin's Complaint: Ye winds to whome Collin complains	Soprano	1716-00-00circa 1716
228-24	Yes, I'm in love	Soprano	1740-00-00circa 1740

German church cantatas

HWV	Title	Composed
229-1	Das gantze Haupt ist krank à 8	1703-00-00Halle, circa 1700–03
229-2	Es ist der alte Bund, Mensch à 12	1703-00-00Halle, circa 1700–03
229-3	Führwahr, er trug unsere Krankheit à 15	1703-00-00Halle, circa 1700–03
229-4	Thue Rechnung von deinem Haußhalten à 13	1703-00-00Halle, circa 1700–03
229-5	Victoria. Der Tod ist verschlungen à 14	1703-00-00Halle, circa 1700–03
229-6	Was werden wir essen à 10/12	1703-00-00Halle, circa 1700–03
229-7	Wer ist der, so von Edom kömmt à 12	1703-00-00Halle, circa 1700–03

Italian sacred cantatas

HWV	Title	Voice	Composed	Notes
230	Ah! che troppo ineguali or O del ciel! Maria regina	Soprano	1708-00-00?Rome 1707–08	Recitative and aria.
233	Donna, che in ciel	Soprano	0000-00-00	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	0000-00-00	Spurious. Misattributed to Handel; composed by Giovanni Battista Ferrandini (1710–91).

Latin church music

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

HWV	Type	Title	Voice	Key	Composed	Premiere	Venue	Notes	Text
231	Motet	Coelestis dum spirat aura	Soprano	D major/G major	1707-00-00?Rome, 1707	1707-06-1313 June 1707	Vignanello	Motet for the Feast of St. Anthony of Padua
232	Psalm setting	Dixit Dominus	Soprano, Alto, Tenor, Bass Chorus	G minor	1707-04-00Rome, April 1707			Dixit Dominus represents Handel's earliest dated autograph, and it is the earliest surviving autograph from his large-scale compositions.	Psalm 110 (Vulgate 109)
235	Antiphon	Haec est Regina virginum	Soprano	G major	1707-00-00?Rome, 1707	1707-07-16?15/16 July 1707	Rome	Probably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Madonna del Carmine".
236	Psalm setting	Laudate pueri dominum	Soprano	F major	1706-00-00?Hamburg, circa 1706	0000-00-00		Laudate pueri dominum in F major is Handel's earliest surviving autograph. Might have been composed in Halle, 1701-2.	Psalm 113 (Vulgate 112)
237	Psalm setting	Laudate pueri dominum	Soprano, Chorus	D major	1707-07-08Rome, 8 July 1707	0000-00-00			Psalm 113 (Vulgate 112)
238	Psalm setting	Nisi Dominus	Alto, Tenor, Bass, Chorus	G major	1707-07-13Rome, 13 July 1707	1707-07-16?16 July 1707	Rome	Probably written for a grand Vespers service held at the church of S. Maria di Monte Santo in Rome, the feast day of "Our Lady of Mount Carmel".	Psalm 127 (Vulgate 126)
239	Motet	O qualis de coelo sonus	Soprano	G major	1707-06-00?Rome, May – June 1707	1707-06-1212 June 1707	Vignanello	For Pentecost
240	Motet	Saeviat tellus inter rigores	Soprano	D major	1707-00-00?Rome, 1707	1707-07-16?16 July 1707	Rome	Motet for the Feast of Madonna del Carmine
241	Antiphon	Salve Regina	Soprano	G minor	1707-00-00?Rome, 1707	1707-06-19?19 June 1707	Vignanello	Probably first performed on Trinity Sunday at Francesco Ruspoli's private chapel.
242	Motet	Silete venti	Soprano	B-flat major	1724-00-00London, circa 1723-25	0000-00-00
243	Antiphon	Te decus virgineum	Alto	G minor	1707-00-00Rome, 1707	1707-07-16?15/16 July 1707	Rome	Probably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Our Lady of Mount Carmel".
244	Cantata	Kyrie eleison	Chorus		0000-00-00	0000-00-00		Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel circa 1749.
245	Cantata	Gloria in excelsis deo	Chorus		0000-00-00	0000-00-00		Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel circa 1749.
269		Amen...alleluja	Soprano, Bass	D minor	1746-00-001735-46	0000-00-00		Probably intended as a vocal study.
270		Amen	Soprano, Bass	F major	1746-00-001735-46	0000-00-00		Probably intended as a vocal study.
271		Amen...alleluja	Soprano, Bass	G minor	1746-00-001735-46	0000-00-00		Probably intended as a vocal study.
272		Alleluja...amen	Soprano, Bass	D minor	1746-00-001735-46	0000-00-00		Probably intended as a vocal study.
273		Alleluja...amen	Soprano, Bass	G major	1746-00-001735-46	0000-00-00		Probably intended as a vocal study.
274		Alleluja...amen	Soprano, Bass	A minor	1746-00-001735-46	0000-00-00		Probably intended as a vocal study.
276		Amen...hallelujah	Soprano, Bass	F major	1747-00-001744-47	0000-00-00		Probably intended as a vocal study.
277		Hallelujah...amen	Soprano, Bass	F major	1747-00-001744-47	0000-00-00		Probably intended as a vocal study.

Anthems

HWV	Title	Composed	Premiere	Venue	Notes	Text
246	O be joyful in the Lord	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 1 or Jubilate ('Cannons') in D major. Also considered a Canticle.	Psalm 100 (the Jubilate).
247	In the Lord put I my trust	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 2. Transcribed for orchestra by Edward Elgar in 1923 as the Overture in D minor, and by Stokowski in 1924	Psalm 9, 11, 12, & 13 from Tate and Brady's New Version of the Psalms of David.
248	Have mercy upon me	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 3.	Psalm 51 (the Miserere).
249a	O come, let us sing unto the Lord	1717-00-001714	1714-09-26?26 September 1714	Chapel Royal, St. James's Palace, London.		Psalm 96
249b	O come, let us sing unto the Lord	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 4. Partly based on "O sing unto the Lord a new song" (HWV 249a). The overture was later reused in Handel's oboe concerto No. 2.	"Prayer Book" version of Psalms 93 & 96.
250a	I will magnify thee	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 5. Two movements added later. The overture was later reused in Handel's oboe concerto No. 2.	Psalms 144 & 145
250b	I will magnify thee	1724-00-001724	1724-01-05?5 January 1724	Chapel Royal, St. James's Palace, London		Psalms 89, 96, 145
251a	As pants the hart	1713-05-00Circa December 1712 to May 1713	1713-00-001713	King's Chapel Royal	Scored for organ and basso continuo alone.	Psalm 42
251b	As pants the hart	1718-00-00Cannons, 1717–18	1718-00-001718	St. Lawrence, Whitchurch, London	Chandos Anthem No. 6 (although believed to be one of the first Chandos Anthems composed). Orchestrated version of HWV 251a.	Psalm 42
251c	As pants the hart	1722-00-00circa 1722	1722-10-07?7 October 1722	Chapel Royal, St. James's Palace, London	Orchestrated version of HWV 251d.	Psalm 42
251d	As pants the hart	1722-00-00circa 1722	0000-00-00		Scored for organ and basso continuo alone. There is no evidence that the work was performed during Handel's lifetime.	Psalm 42
251e	As pants the hart	1738-00-001738	1738-03-2828 March 1738	King’s Theatre, Haymarket	Written for a benefit evening	Psalm 42
252	My song shall be alway	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 7. 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	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 8.	"Prayer Book" psalms 95 (the venite), 96, 97, 99, 103
254	O praise the Lord with one consent	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 9.	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	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 10.	Psalms 18, 20, 27–30, 34, 45
256a	Let God arise	1718-00-00Cannons, 1717–18	0000-00-00	St. Lawrence, Whitchurch, London	Chandos Anthem No. 11. 1st movement of 'symphony' added later.	Psalms 68 & 76
256b	Let God arise	1726-00-001726	1726-01-16?16 January 1726	Chapel Royal, St. James's Palace, London		Psalm 58
257	O praise the Lord, ye angels of his	0000-00-00	0000-00-00		Spurious. Misattributed to Handel in Arnold's edition and in HG 36. By Maurice Greene, before 1728.
258	Zadok the Priest	1727-10-11?9 September 1727 – 11 October 1727	1727-10-1111 October 1727	Westminster Abbey	Coronation Anthem No. 1. 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	1727-10-11?9 September 1727 – 11 October 1727	1727-10-1111 October 1727	Westminster Abbey	Coronation Anthem No. 2. 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	1727-10-11?9 September 1727 – October 1727	1727-10-1111 October 1727	Westminster Abbey	Coronation Anthem No. 3. 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	1727-10-11?9 September 1727 – 11 October 1727	1727-10-1111 October 1727	Westminster Abbey	Coronation Anthem No. 4. 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	1734-00-001734	1734-03-1414 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	1736-00-001736	1736-04-2727 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	1737-12-125(?) – 12 December 1737	1737-12-1717 December 1737	King Henry VII's Chapel, Westminster Abbey	Probably first performed fully choral without solo movements. The Sinfonia was not performed at the funeral and was probably added later.	From Lamentations, Samuel, Job, Ecclesiasticus, Philippians, Wisdom, and Psalms 103, 112.
265	Dettingen Anthem ("The King Shall Rejoice")	1743-08-0330 July – 3 August 1743	1743-11-2727 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. Entirely different setting of the text than "The King Shall Rejoice" from the Coronation Anthems of 1727.	Psalms 20, 21
266	How beautiful are the feet of them or His Anthem on the Peace or Peace Anthem	1749-00-001749	1749-05-2525 April 1749	Chapel Royal, St. James's Palace, London	To celebrate the peace of Aix-la-Chapelle (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)	1749-00-00Probably early 1749	0000-00-00		A 209-measure composition of which the last 19 measures are incomplete.
268	Blessed are they that considereth the poor or Foundling Hospital Anthem	1749-00-001749	1749-05-2727 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

HWV	Title	Key	Composed	Premiere	Venue	Notes	Text
278	Utrecht Te Deum	D major	1713-01-1414 January 1713	1713-07-077 July 1713	St Paul's Cathedral, London		"We praise thee, O God" (Ambrosian hymn)
279	Utrecht Jubilate	D major	17-02-00?January – February 1713.	17-07-077 July 1713	St Paul's Cathedral, London		"O be joyful in the Lord" (Psalm 100)
280	Te Deum ("Queen Caroline")	D major	1714-00-001714	1714-09-26?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	1718-00-00Circa 1717–18	1718-00-00circa 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	1726-00-001726	1701-01-16?16 January 1726	Chapel Royal, St. James's Palace, London		"We praise thee, O God" (Ambrosian hymn)
283	Te Deum ("Dettingen")	D major	1743-07-2917 July – circa 29 July 1743	1743-11-2727 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

HWV	Instrument	Key	Composed	Premiere	Venue	Published	Opus	Notes
287	Oboe	G minor	1711-00-00?Hamburg ?c.1704–05	0000-00-00		1863-00-001863		"Oboe concerto No. 3"
288	Violin	B-flat major	1707-00-00Italy, circa 1707	0000-00-00		0000-00-00		“Sonata a 5”. Possibly for Corelli in Rome
289	Organ	G minor	1736-00-001735–36	1736-02-1919 February 1736	London, Covent Garden Theatre	1738-00-001738	Opus 4 No. 1	First performed with "Alexander's Feast" (HWV 75)
290	Organ	B-flat major	1735-00-001735	1735-03-055 March 1735	London, Covent Garden Theatre	1738-00-001738	Opus 4 No. 2	First performed with the oratorio "Esther" (HWV 50b)
291	Organ	G minor	1735-00-001735	1735-03-055 March 1735	London, Covent Garden Theatre	1738-00-001738	Opus 4 No. 3	Variant versions of last movement. First performed with the oratorio "Esther" (HWV 50b)
292	Organ	F major	1735-03-0025 March 1735	1735-04-011 April 1735	London, Covent Garden Theatre	1738-00-001738	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	0000-00-00	1735-03-26?26 March 1735	London, Covent Garden Theatre	1738-00-001738	Opus 4 No. 5	Performed with revival of "Deborah" (HWV 51).
294	Organ	B-flat major	1736-00-001736	1736-02-1919 February 1736	London, Covent Garden Theatre	1738-00-001738	Opus 4 No. 6	Originally composed for the harp, but later rearranged for the organ
295	Organ	F major	1739-04-022 April 1739	1739-04-044 April 1739	London, King's Theatre, Haymarket	1740-00-001740	"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	1739-00-001739	1739-03-2020 March 1739	London, King's Theatre, Haymarket	1740-00-001740	"2nd Set" No. 2	Referred to as organ concerto "No. 14"
296b	Organ	A major	1746-00-00circa 1743–46	0000-00-00		0000-00-00		Pasticcio. Arranged by Handel
297	Organ	D minor	0000-00-00	0000-00-00		1740-00-001740	"2nd Set" No. 3	Referred to as organ concerto "No. 15". Arranged from Concerto Grosso Op.6 No.10 (HWV 328).
298	Organ	G major	0000-00-00	0000-00-00		1740-00-001740	"2nd Set" No. 4	Referred to as organ concerto "No. 16". Arranged from Concerto Grosso Op.6 No.1 (HWV 319).
299	Organ	D major	0000-00-00	0000-00-00		1740-00-001740	"2nd Set" No. 5	Referred to as organ concerto "No. 17". Arranged from Concerto Grosso Op.6 No.5 (HWV 323).
300	Organ	G minor	0000-00-00	0000-00-00		1740-00-001740	"2nd Set" No. 6	Referred to as organ concerto "No. 18". Arranged from Concerto Grosso in G minor Op.6 No.6 (HWV 324).
301	Oboe	B-flat major	0000-00-00	0000-00-00		1740-00-001740		"Oboe concerto No. 1"
302a	Oboe	B-flat major	0000-00-00	0000-00-00		1740-00-001740		"Oboe concerto No. 2"
303	Organ	D minor	1738-00-00circa 1738	0000-00-00		0000-00-00		An adagio for two organs. Ending adapted by Handel to lead into another movement. Later published as the first movement of Organ Concerto in D minor, Op 7 No 4 (HWV 309)
304	Organ	D minor	1746-00-00circa 1746	1746-02-14?14 February 1746		1797-00-001797		Sometimes referred to as organ concerto "No. 15". First performed with the premiere of The Occasional Oratorio (HWV 62).
305	Organ	F major	1748-00-00circa 1747–48	0000-00-00		0000-00-00		Sometimes referred to as organ concerto "No. 16". Arranged by Handel from the Concerto a due cori in F major (HWV 334) (3 movements) and Marche in F.
306	Organ	B-flat major	1740-02-1717 February 1740	1740-02-2727 February 1740	London, Lincoln's Inn Fields Theatre	1761-00-001761	Opus 7 No. 1	First movement includes an independent pedal part
307	Organ	A major	1743-02-055 February 1743	1743-02-1818 February 1743	London, Covent Garden Theatre	1761-00-001761	Opus 7 No. 2	Performed with the oratorio Samson (HWV 57)
308	Organ	B-flat major	1751-01-041–4 January 1751	1751-03-011 March 1751	London, Covent Garden Theatre	1761-00-001761	Opus 7 No. 3	Two variant autographs of 1st movement. Handel's last orchestral work
309	Organ	D minor	1744-00-00?circa 1744	1746-02-14?14 February 1746		1761-00-001761	Opus 7 No. 4	?Performed with premiere of "The Occasional Oratorio" (HWV 62)
310	Organ	G minor	1750-01-3131 January 1750	1750-03-1616 March 1750	London, Covent Garden Theatre	1761-00-001761	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	1749-00-00circa 1748–49	1761-00-001761		1749-00-001749	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	1739-00-00circa 1738–39	0000-00-00		0000-00-00		Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto

Concerti grossi

HWV	Key	Composed	Premiere	Venue	Published	Opus	Notes
312	B-flat major	1710-00-00?Hanover, circa 1710	0000-00-00		1734-00-001734	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	1718-00-00circa 1715–1718	0000-00-00		1734-00-001734	Opus 3 No. 2
314	G major	1718-00-00circa 1717–1718	1718-00-00circa 1717–1718		1734-00-001734	Opus 3 No. 3	Arranged (? by Walsh)
315	F major	1716-00-001716	1716-06-2020 June 1716	London, King's Theatre, Haymarket	0000-00-00	Opus 3 No. 4a	Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi"
316	D minor	1718-00-001717–1718	0000-00-00		1734-00-001734	Opus 3 No. 5	In Walsh's 2nd edition of the Op. 3 concertos, the 3rd, 4th, & 5th movements were added
317	D major	1734-00-00(?) 1733–1734	0000-00-00		1734-00-001734	Opus 3 No. 6	Published by Walsh in 1734 as an organ concerto
318	C major	1736-01-2525 January 1736	1736-02-00February 1736		1740-00-001740		First performance between the acts of the oratorio, Alexander's Feast (HWV 75)
319	G major	1739-09-2929 September 1739	0000-00-00		1740-00-001740	Opus 6 No. 1
320	F major	1739-10-044 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 2
321	E minor	1739-10-066 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 3
322	A minor	1739-10-088 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 4
323	D major	1739-10-1010 October 1739	0000-00-00		1740-00-001740	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	1739-10-1515 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 6
325	B-flat major	1739-10-1212 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 7
326	C minor	1739-10-1818 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 8
327	F major	1739-10-11Probably between 10–11 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 9	The second two movements were borrowed from the Organ Concerto in F major, HWV 295, and the minuet and allegro fugue from the overture to Imeneo. The newly composed Gigue was originally intended for the Concerto Grosso in F major (HWV 320)
328	D minor	1739-10-2222 October 1739	0000-00-00		1740-00-001740	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	1739-10-3030 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 11	A reworking of the Organ Concerto in A major, HWV 296.
330	B minor	1739-10-2020 October 1739	0000-00-00		1740-00-001740	Opus 6 No. 12
331	F major	0000-00-00	1723-03-2020 March 1723	London, Drury Lane Theatre	0000-00-00		Two movements, thematically related to the Water Music Suite in F major (HWV 348)
331-1	F major	0000-00-00	0000-00-00		0000-00-00		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	0000-00-00	0000-00-00		0000-00-00		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	1748-00-001747–1748	1748-03-09(?) 9 March 1748	London, Covent Garden Theatre	0000-00-00		Concerto a due cori in B-flat major, No. 1. Composed for performances with oratorios; probably performed during Joshua (HWV 64)
333	F major	1748-00-001747–1748	1748-03-23(?) 23 March 1748	London, Covent Garden Theatre	0000-00-00		Concerto a due cori in F major, No. 2. Composed for performances with oratorios; probably performed during Alexander Balus (HWV 65)
334	F major	1748-00-001747–1748	1748-04-01(?) 1 April 1748	London, Covent Garden Theatre	0000-00-00		Concerto a due cori in F major, No. 3. Composed for performances with oratorios; probably performed during Judas Maccabaeus (HWV 63)
335a	D major	1746-00-00circa 1746	0000-00-00		0000-00-00		Version of the overture to the Fireworks music.
335b	F major	1746-00-00circa 1746	0000-00-00		0000-00-00		Version of the overture to the Fireworks music.

Orchestral works

HWV	Type	Key	Composed	Premiere	Published	Notes
302b	Largo	F major	1738-00-00circa 1738	0000-00-00	0000-00-00	Autograph headed "Suite de pieces" (presumably this was the opening movement)
336	Overture	B-flat major	0000-00-00	0000-00-00	0000-00-00	Autograph lost. Probably completed in Germany or Italy
337	Overture	D major	1725-00-00circa 1722–1725	0000-00-00	0000-00-00	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	1722-00-001722	0000-00-00	0000-00-00	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	1707-00-00circa 1706–1707	0000-00-00	1979-00-001979	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	1715-00-00?circa 1710–1715	0000-00-00	0000-00-00	No autograph
341	Suite	D major	0000-00-00	0000-00-00	1733-00-001733	Almost certainly spurious
342	Overture	F major	1736-00-00circa 1736	0000-00-00	0000-00-00
344	Chorus and Minuet	B-flat major	1708-00-001708	0000-00-00	0000-00-00	No autograph. Apparently movements from the Hamburg opera Florindo (HWV 3) (See HWV 354)
345	March	D major	1738-00-00before 1738	0000-00-00	0000-00-00	No autograph
347	Sinfonia	B-flat major	1747-00-00circa 1747	0000-00-00	0000-00-00
348	Suite. Water Music suite No. 1	F major	1717-00-001717	1717-07-1717 July 1717	1788-00-001788	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 suite No. 2	D major	1717-00-001717	1717-07-1717 July 1717	1788-00-001788	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 suite No. 3	G major	1717-00-001717	1717-07-1717 July 1717	1788-00-001788	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	D major	1749-00-001749	1749-04-2727 April 1749	0000-00-00	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	1706-00-001706	0000-00-00	0000-00-00	No autograph
353	Suite	G major	1706-00-001706	0000-00-00	0000-00-00	No autograph
354	Suite	B-flat major	1708-00-001708	0000-00-00	0000-00-00	No autograph
355	Hornpipe aria	C minor	1715-00-00?circa 1710–1715	0000-00-00	0000-00-00	No autograph
356	Hornpipe	D major	1740-00-001740	0000-00-00	0000-00-00	No autograph. Composed for Vauxhall Gardens
413	Gigue	B-flat major	1736-00-001736	0000-00-00	0000-00-00

Solo sonatas

Vorlog:Further2 The following table details the sonatas for various solo instruments (with keyboard accompaniment):

HWV	Instrument	Key	Composed	Published	Opus	Notes
357	Oboe	B-flat major	1710-00-00circa 1707–10	0000-00-00		One of Handel's earliest extant compositions. Probably written during his years in Italy
358	Unspecified	G major	1710-00-00circa 1707–10	0000-00-00		A "Fitzwilliam" sonata. The autographed manuscript, located in the Fitzwilliam Museum, does not mention instrumentation, nor are there tempo markings for the movements. It is tentatively assigned to the violin in the HHA, however the recorder is also a possibility.
359a	Violin	D minor	1724-00-00circa 1724	0000-00-00		The D minor sonata, headed "Sonata 2", follows the G major sonata (HWV 358) 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	1724-00-00circa 1724	1732-00-001732	01bOpus 1 No. 1b	Of the two sonatas published by Chrysander as Opus 1 Sonata I, this one (Sonata Ib) is the one in Walsh's original edition (where it is called Sonata I).
360	Recorder	G minor	1726-00-00circa 1712	1732-00-001732	02Opus 1 No. 2
361	Violin	A major	1726-00-00circa 1725–26	1732-00-001732	03Opus 1 No. 3	The only violin sonata to have been published exactly as written by Handel.
362	Recorder	A minor	1726-00-00circa 1712	1732-00-001732	04Opus 1 No. 4
363a	Oboe	F major	1716-00-00circa 1711–16	0000-00-00
363b	Flute	G major	1716-00-00circa 1711–16	1732-00-001732	05Opus 1 No. 5
364a	Violin	G minor	172200-00circa 1722–24	1732-00-001732	06Opus 1 No. 6	Both Walsh and Chrysander published the work as an oboe sonata.
364b	Viola da gamba	G minor	1724-00-00circa 1724	0000-00-00		A transcription of HWV 364a—as suggested by Handel on the manuscript.
365	Recorder	C major	1726-00-00circa 1712	0000-00-00	07Opus 1 No. 7
366	Oboe	C minor	1712-00-00circa 1711–12	1732-00-001732	08Opus 1 No. 8
367a	Recorder	D minor	1726-00-00circa 1712	0000-00-00	09aOpus 1 No. 9a	Movements 1–5 constitute the "Fitzwilliam Sonata III" in Thurston Dart's arrangement. 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	1726-00-00circa 1725–26	1732-00-001732	09bOpus 1 No. 9b	In the 'Aylesford' collection the Alla breve appears with the title of FUGE
368	Violin	G minor	0000-00-00	1732-00-001732	10Opus 1 No. 10	Probably spurious
369	Recorder	F major	1726-00-00circa 1712	1732-00-001732	11Opus 1 No. 11
370	Violin	F major	0000-00-00	1732-00-001732	12Opus 1 No. 12	Probably spurious
371	Violin	D major	1750-00-00circa 1749-50	0000-00-00	13Opus 1 No. 13	This sonata represents Handel's last piece of chamber music. The piece was not published by Walsh; the designation Op 1 No.13 is Chrysander's
372	Violin	A major	0000-00-00	1732-00-001732	14Opus 1 No. 14	Probably spurious. The piece was published by Walsh as Op 1 No. 10 in the original edition that had a faked title page naming Roger as the publisher; the designation Op 1 No.14 is Chrysander's
373	Violin	E major	0000-00-00	1732-00-001732	15Opus 1 No. 15	Probably spurious. The piece was published by Walsh as Op 1 No. 12 in the original edition that had a faked title page naming Roger as the publisher; the designation Op 1 No.15 is Chrysander's
374	Flute	A minor	0000-00-00	1730-00-001730		"Halle sonata No. 1". Authenticity uncertain
375	Flute	E minor	0000-00-00	1730-00-001730		"Halle sonata No. 2". Authenticity uncertain. The first two movements are identical to those of HWV 366, and the last also appears (out of context) at the end of Walsh's printing of HWV 434
376	Flute	B minor	0000-00-00	1730-00-001730		"Halle sonata No. 3". Authenticity uncertain
377	Recorder	B-flat major	1725-00-00circa 1712	0000-00-00		All three movements appear as parts of other works
378	Flute	D major	1707-00-00circa 1707?	1979-00-001979		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	1728-00-00circa 1727–28	1879-00-001879	01aOpus 1 No. 1a	The work's authenticity is unquestioned, but the sonata is not part of Handel's Opus 1 as published by Walsh—having been added by Chrysander.
406	Violin	A major	1751-00-00circa 1751	0000-00-00		Adagio and Allegro. Three–part accompaniment (? orchestral short score)
407	Violin	G major	1738-00-00circa 1738	0000-00-00		Allegro
408	Violin	C minor	1729-00-00circa 1725–29	0000-00-00		Allegro. It may be the only surviving fragment of a completed sonata in C minor. Used as the finale to the Recorder sonata in A minor (HWV 362).
409	Recorder	D minor	1726-00-00circa 1712	0000-00-00		Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a)
412	Violin	A minor	1726-00-00circa 1725–26	0000-00-00		Andante
419-1			1720-00-00circa 1710–20	0000-00-00		HWV 419 1-6 are six marches. They are known only from printed sources; were published as separate treble and bass parts; with instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work.
419-2		G major	1720-00-00circa 1710–20	0000-00-00
419-3		G major	1720-00-00circa 1710–20	0000-00-00
419-4		F major	1720-00-00circa 1710–20	0000-00-00
419-5		C major	1720-00-00circa 1710–20	0000-00-00
419-6		C major	1720-00-00circa 1710–20	0000-00-00
420		D major	1744-00-00circa 1743–44	0000-00-00		Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work
421		D major	1744-00-00circa 1743–44	0000-00-00		Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work

Trio sonatas

HWV	Key	Composed	Published	Opus	Notes
380	B-flat major	0000-00-00	0000-00-00		Authenticity doubtful
381	D minor	0000-00-00	0000-00-00		Authenticity doubtful
382	E-flat major	0000-00-00	0000-00-00		Authenticity doubtful
383	F major	0000-00-00	0000-00-00		Authenticity doubtful
384	G major	0000-00-00	0000-00-00		Authenticity doubtful
385	D major	0000-00-00	0000-00-00		Authenticity doubtful
386a	C minor	1719-00-00circa 1717–1719	1879-00-001879		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	1727-00-00before 1727	1733-00-001733	Opus 2 No. 1	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 1b
387	G minor	1699-00-00?1699	1733-00-001733	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	1718-00-00circa 1717–1718	1733-00-001733	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	1722-00-00circa 1718–1722	1733-00-001733	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)
390a	G minor	1722-00-00circa 1717–1722	1733-00-001733	Opus 2 No. 5	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 6
390b	G minor				Published in HG volume 48. Unlikely to be Handel's work
391	G minor	1707-00-00circa 1707	1733-00-001733	Opus 2 No. 6	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 7
392	F major	1707-00-00circa 1706–1707	0000-00-00		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	1719-00-00probably circa 1719	0000-00-00		Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 8
394	E major	0000-00-00	0000-00-00		Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 9
395	E minor	0000-00-00	0000-00-00		Authenticity uncertain. Probably composed by Johann Adolph Hasse (1699–1783)
396	A major	0000-00-00	1739-00-001739	Opus 5 No. 1
397	D major	0000-00-00	1739-00-001739	Opus 5 No. 2
398	E minor	0000-00-00	1739-00-001739	Opus 5 No. 3
399	G major	0000-00-00	1739-00-001739	Opus 5 No. 4
400	G minor	0000-00-00	1739-00-001739	Opus 5 No. 5
401	F major	0000-00-00	1739-00-001739	Opus 5 No. 6
402	B-flat major	0000-00-00	1739-00-001739	Opus 5 No. 7
403	C major	1738-00-00circa 1738	0000-00-00
404	G minor	0000-00-00	0000-00-00		No autograph
405	F major	1710-00-00circa 1707–1710	0000-00-00

Wind ensemble works

HWV	Type	Key	Composed	Notes
346	March	F major	1729-00-00?before 1729
410	Aria	F major	1725-00-00circa 1725
411	Aria	F major	1725-00-00circa 1725
414	March for Fife	C major	1747-00-00circa 1747
415	March for Fife	D major	1747-00-00circa 1747
416	March	D major	1734-00-00circa 1734
417	March	D major	1747-00-00circa 1746–1747	May have originated as a keyboard work as a two-stave version of the march exists
418	March	G major	1741-00-00?circa 1741
422	Minuet	G major	1747-00-00circa 1746–1747
423	Minuet	G major	1747-00-00circa 1746–1747
424	Overture	D major	1741-00-00circa 1741	'Fitzwilliam' Overture

Keyboard works

HWV	Type	Key	Composed	Published	Notes
305b	Arrangement	F minor	1747-00-00circa 1747		Used as an overture. Solo keyboard arrangement of the Organ Concerto in F major (HWV 305)
425	Air (Saraband)	E major	0000-00-00		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	1720-00-00prior to 1720	1720
427	Suite de pièce Vol. 1 No. 2	F major	1720-00-00prior to 1720	1720
428	Suite de pièce Vol. 1 No. 3	D minor	1720-00-00prior to 1720	1720
429	Suite de pièce Vol. 1 No. 4	E minor	1720-00-00prior to 1720	1720
430	Suite de pièce Vol. 1 No. 5	E major	1720-00-00prior 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	1720-00-00prior to 1720	1720
432	Suite de pièce Vol. 1 No. 7	G minor	1720-00-00prior to 1720	1720
433	Suite de pièce Vol. 1 No. 8	F minor	1720-00-00prior to 1720	1720
434	Suite de pièce Vol. 2 No. 1	B-flat major	1717-00-00?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. 434-3 has the theme used by Johannes Brahms for his Handel Variations.
435	Suite de pièce Vol. 2 No. 2	G major	1717-00-00?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	1726-00-00Nowrap|circa 1721–1726	1733
437	Suite de pièce Vol. 2 No. 4	D minor	1706-00-00circa 1703–1706	1733
438	Suite de pièce Vol. 2 No. 5	E minor	1717-00-00circa 1710–1717	1733
439	Suite de pièce Vol. 2 No. 6	G minor	1706-00-00circa 1703–1706	1733
440	Suite de pièce Vol. 2 No. 7	B-flat major	1706-00-00circa 1703–1706	1733	revised 1717-18
441	Suite de pièce Vol. 2 No. 8	G major	1706-00-00circa 1703–1706	1733
442	Suite de piece Vol. 2 No. 9	G major	1706-00-00circa 1703–1706	1733	62 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh)
443	Suite	C major	1703-00-001700–1703		Includes Chaconne (of which there are 26 variations)
444	Partita	C minor	1706-00-00circa 1705–1706
445	Suite	C minor	1706-00-001705–1706
446	Suite	C minor	1706-00-00circa 1703–1706		Composed for two harpsichords, but the music for only one harpsichord survives
447	Suite	D minor	1739-00-00circa 1738–1739		Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452)
448	Suite	D minor	1706-00-00circa 1705–1706
449	Suite	D minor	1705-00-00circa 1705
450	Partita	G major	1705-00-00circa 1700–1705
451	Suite	G minor	1706-00-00circa 1703–1706		Allemande and Courante only
452	Suite	G minor	1739-00-00circa 1738–1739		Written for Princess Louisa. Companion piece to the Suite in D minor (HWV 447)
453	Suite	G minor	1706-00-00circa 1705–1706
454	Partita	A major	1706-00-00circa 1703–1706
455	Suite	B-flat major	1705-00-00circa 1705		Keyboard version of the overture in B-flat major (HWV 336) and the suite in B-flat major (HWV 354)
456-1	Arrangement		1727-00-00circa 1720–1727		Arrangement of the overture to the Italian opera “Il pastor fido"
456-2	Arrangement		1727-00-00circa 1720–1727		Arrangement of the overture to the Italian opera "Amadigi"
456-3	Arrangement		1727-00-00circa 1720–1727		Arrangement of the overture to the Italian opera "Flavio"
456-4	Arrangement		1727-00-00circa 1720–1727		Arrangement of the overture to the Italian opera "Rodelinda"
456-5	Arrangement		1727-00-00circa 1720–1727		Arrangement of the overture to the Italian opera "Riccardo Primo"
457	Air	C major	1721-00-00circa 1720–1721
458	Air	C minor	1720-00-00?circa 1710–1720		Authenticity uncertain
459	Air	C minor	1720-00-00?circa 1710–1720		Authenticity uncertain
460	Air (March)	D major	1721-00-00circa 1720–1721
461	Air (Hornpipe)	D minor	1718-00-00circa 1717–1718
462	Air and minuet	D minor	1726-00-00circa 1724–1726
463	Air	F major	1709-00-00circa 1707–1709
464	Air	F major	1726-00-00circa 1724–1726		A version of the air from the "Water Music" (HWV 348–350)
465	Air and two Doubles	F major	1720-00-00circa 1710–1720
466	Air	G minor	1720-00-00circa 1710–1720		For two-manual harpsichord (or possibly organ)
467	Air Lentement	G minor	1720-00-00circa 1710–1720
468	Air	A major	1728-00-00circa 1727–1728
469	Air	B-flat major	1739-00-00circa 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	1720-00-00circa 1710–1720		For two-manual harpsichord (or possibly organ)
471	Air	B-flat major	1720-00-00circa 1710–1720
472	Allegro	C major	1705-00-00circa 1705
473	Allegro	C major	1738-08-2525 August 1738		Clock-Organ
474	Air	G major	1738-00-00circa 1736–1738		Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ
475	Allegro	D minor	1720-00-00circa 1710–1720
476	Allemande	F major	1735-00-00circa 1730–1735
477	Allemande	A major	1726-00-00circa 1724–1726
478	Allemande	A minor	1705-00-00circa 1705
479	Allemande	B minor	1722-00-00circa 1721–1722
480	Chorale	G minor	1740-00-00circa 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	1706-00-00circa 1703–1706
482-1	Arrangement		1725-00-00circa 1720–1725		Arrangement of the overture to the Italian opera 'Rinaldo'
482-2	Arrangement		1725-00-00circa 1720–1725		Arrangement of the overture to the Italian opera 'Floridante'
482-3	Arrangement		1725-00-00circa 1720–1725		Arrangement of the overture to the Italian opera 'Radamisto'
482-4	Arrangement		1725-00-00circa 1720–1725		Arrangement of the overture to the Italian opera 'Muzio Scevola'
483	Capriccio	G minor	1721-00-00circa 1720–1721
484	Chaconne with 49 variations	C major	1705-00-00circa 1700–1705		Version of the Chaconne in Suite HWV 443
485	Chaconne	F major	1705-00-00circa 1705		For a two-manual harpsichord
486	Chaconne	G minor	1705-00-00circa 1705
487	Concerto	G major	1720-00-00circa 1710–1720		Two movements
488	Allegro (Courante)	F major	1718-00-00circa 1717–1718		In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442)
489	Courante	B minor	1722-00-00circa 1722
490	Fantasie pour le clavecin,	C major	1706-00-00circa 1703–1706
491	Gavotte	G major	1705-00-00circa 1705
492	Gigue	F major	1727-00-00circa 1726–1727
493	Gigue	G minor	1705-00-00circa 1704–1705		Two versions
494	Impertinence (Bourée)	G minor	1705-00-00circa 1705
495	Lesson	D minor	1710-00-00circa 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	1720-00-00circa 1715–1720
497 to 558	62 Minuets	Various	0000-00-00		Two-stave pieces, probably for keyboard. Some related to minuets in other works
559	Passepied	C major	1722-00-00circa 1721–1722
560	Passepied	A major	1705-00-00circa 1705
561	Prelude	D minor	1706-00-00circa 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	1712-00-00circa 1711–1712
563	Prelude	D minor	1703-00-00circa 1700–1703
564	Prelude	D minor	1705-00-00circa 1705
565	Prelude	D minor	1720-00-00circa 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	1720-00-00circa 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	1720-00-00circa 1710–1720
568	Preludium	F minor	1720-00-00circa 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	1720-00-00?circa 1710–1720		Arpeggio del Cook. Authorship uncertain
570	Prelude (Harpeggio)	F-sharp minor	1718-00-00circa 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	1706-00-00circa 1703–1706		Two movements
572	Prelude	G minor	1717-00-00circa 1710–1717		Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432)
573	Prelude (Harpeggio)	G minor	1705-00-00circa 1705
574	Prelude and Allegro (Sonata)	G minor	1705-00-00circa 1705		Two movements
575	Prelude (Harpeggio)	A minor	1718-00-00circa 1717–1718		Coupled with the "Lesson in A minor"; HWV 496
576	Prelude and Allegro	A minor	1706-00-00circa 1705–1706		Two movements
577	Sonata (Fantasia) pour le clavecin,	C major	1705-00-00circa 1703–1705
578	Sonata	C major	1750-00-00circa 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	1710-00-00?circa 1707–1710		For a two-manual harpsichord (or possibly organ)
580	Sonata (Larghetto)	G minor	1710-00-00?circa 1707–1710		One movement
581	Sonatina	D minor	1705-00-00circa 1705		One movement
582	Sonatina (Fugue)	G major	1722-00-00circa 1721–1722		One movement
583	Sonatina	G minor	1722-00-00?circa 1721–1722		One movement
584	Sonatina	A minor	1708-00-00circa 1706–1708		One movement. Authenticity uncertain
585	Sonatina	B-flat major	1720-00-00circa 1721–1722		One movement
586	Toccata	G minor	1720-00-00circa 1710–1720
587 to 597	Eleven pieces	C, F, and G	1740-00-00circa 1735–1740		"10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). Includes arrangements of opera arias
598 to 604	Seven pieces	C major	1740-00-00circa 1730–1740		Clock-Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels."
605	Fugue	G minor	1718-00-00circa 1711–1718	1735	No 1 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
606	Fugue	G major	1718-00-00circa 1711–1718	1735	No 2 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
607	Fugue	B-flat major	1718-00-00circa 1711–1718	1735	No 3 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
608	Fugue	B minor	1718-00-00circa 1711–1718	1735	No 4 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
609	Fugue	A minor	1718-00-00circa 1711–1718	1735	No 5 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
610	Fugue	C minor	1718-00-00circa 1711–1718	1735	No 6 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
611	Fugue	F major	1705-00-00circa 1705		No autograph
612	Fugue	E major	0000-00-00		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
A15 1 – 37	Minuets	Various	0000-00-00		Arranged from music of opera arias

Arrangements by/of other composers

Handel's music was arranged by other composers. The arrangements included pasticcio, adaptations, and the inclusion of the work of other composers.

HWV	Genre	Name	Composed	Premiere	Venue	Libretto	Notes
A1	Opera (pasticcio)	L'Elpidia, overo Li rivali generosi	1725-00-001725	1725-05-1111 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)
A3	Opera (pasticcio)	Ormisda	1730-00-001730	1730-04-044 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	1731-00-001731	1731-01-1111 January 1731	London, King's Theatre, Haymarket (4 performances to 23 January)	?Rossi, after Zeno, 1724
A6	Opera (pasticcio)	Lucio Papirio dittatore	1732-00-001732	1732-05-2323 May 1732	London, King's Theatre, Haymarket (4 performances to 6 June)	After Zeno/C.I. Frugoni, 1729
A7	Opera (pasticcio)	Catone	1732-00-001732	1732-11-044 November 1732	London, King's Theatre, Haymarket	After Metastasio, 1728/9
A8	Opera (pasticcio)	Semiramide or Semiramis riconosciuta	1733-00-001733	1733-10-3030 October 1733	London, King's Theatre, Haymarket	After Metastasio, 1729
A9	Opera (pasticcio)	Caio Fabricio	1733-00-001733	1733-12-044 December 1733	London, King's Theatre, Haymarket	After Zeno, 1732
A10	Opera (pasticcio)	Arbace	1734-00-001734	1734-01-055 January 1734	London, King's Theatre, Haymarket	After Metastasio, 1730
A12	Opera (pasticcio)	Didone	1737-00-001737	1737-04-1313 April 1737	London, Covent Garden Theatre	After Metastasio, 1726	Pasticcio by Händel using Leonardo Vinci's Didone abbandonata

HWV missing

Handel's compositions that are not included in the HWV Catalogue include:

Genre	Name	Composed	Premiere	Venue	Notes
Aria	The Beauteous Cloe or 'Cloe, you're witty'	0000-00-00	0000-00-00		A recycling of the aria 'S'io dir potessi' from Ottone (HWV 15), possibly by Handel himself.
Aria	Dicente mis ojos	0000-00-00	0000-00-00		Reworked version of the final aria of the Spanish cantata Nò se emenderá jamás (HWV 140)
	The Dream or 'Beneath a shady willow'	0000-00-00	0000-00-00		Based on the middle section of the opening chorus of Acis and Galatea (HWV 49a)
Latin sacred cantata	Gloria	1709-00-00?1703–1709	2001-06-033 June 2001	The International Händel Göttingen Festival	For soprano, two-part violins, basso continuo. Identified in the year 2001 at the Royal Academy of Music's library (London). The manuscript is not in Handel's hand.
Italian Aria	Lusinga questo cor	1717-00-00circa 1712–1717	0000-00-00		For soprano. Probably completed in London
Orchestral	March in 'Judas Maccabaeus' in F major	1748-00-00circa 1747–1748	0000-00-00		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	1747-00-00circa 1746–1747	0000-00-00		Independent wind version of the oratorio, "Judas Maccabeus" march (HWV 63, no. 32a)
Wind ensemble	Marche lentement in C major	1741-00-00circa 1741	0000-00-00		Wind version of the oratorio, Samson's (HWV 57) "Dead March"
Italian Aria	No Kossi presto nò	0000-00-00	0000-00-00		For soprano. Text apparently macaronic Italian-German
Aria	Der Mund spricht zwar	0000-00-00	0000-00-00		Reworked version of the aria from the opera Almira (HWV 1)
Opera (pasticcio)	Lucio Vero	1745-00-001745	1745-11-00November 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)		1738-00-001738	1738-03-2828 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	0000-00-00	1764-03-1616 March 1764	Covent Garden Theatre, London
Oratorio (pasticcio)	Rebecca	0000-00-00	0000-00-00
Oratorio (pasticcio)	Gideon	0000-00-00	1769-02-1010 February 1769	Covent Garden Theatre, London
Aria	Quand on suit l'amoureuse loi	0000-00-00	0000-00-00		A short da capo aria in the style of a gavotte
Opera	Rossane	1743-00-001743	1743-11-00November 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	0000-00-00	0000-00-00		Another version of the French song (HWV 155) in a lower key and a simpler bass line
Italian Aria	Sa perchè pena il cor	1717-00-00circa 1712–1717	0000-00-00		For alto
Orchestral Suite	Water Music chamber suite	0000-00-00	0000-00-00		Nine movements. The arrangement is contemporary, but the authenticity is uncertain. Published by Burrows in 1991

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• Digitalisiade Gsamtausgob (Stabiler Katalogeintrog vo da Bayerischn Stootsbibliothek@1@2Vorlage:Toter Link/opacplus.bsb-muenchen.de (Seite nicht mehr abrufbar; Suche in Webarchiven))
• Händel Biografie vo Friedrich Chrysander voi digitalisiad
• Gmoafreie Notnausgom vo Georg Friedrich Händel im International Music Score Library Project
• Gmoafreie Notn vo Georg Friedrich Händel in da Choral Public Domain Library (ChoralWiki) (englisch)
• Notn-Sammlung
• Voiständigs Händel-Weak-Vazoachnis (HWV)
• Tabellarische Ausweatunga (Lebenslauf, Weak etc.) zu G. F. Händel
• Literatua iban Händel
• Homepage der Händel-Gesellschaft Karlsruhe e.V.
• Händel-Institutionen in Karlsruhe
• Händel-Festspui, Händel-Haus und Händel-Gsejschoft z Halle an da Saale
• Händel-Festspui z Göttingen