List of compositions by George Frideric Handel

Portrait of George Frideric Handel
by Thomas Hudson.

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's compositions include 42 operas; 29 oratorios; more than 120 cantatas, trios and duets; numerous arias; chamber music; a large number of ecumenical pieces; odes and serenatas; and 16 organ concerti. His oratorio Messiah, with its "Hallelujah" chorus, is among 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 Concerti Grossi Opus 3 and 6; "The Cuckoo and the Nightingale", in which birds are heard calling during passages played in different keys representing the vocal ranges of two birds; and his 16 keyboard suites, especially The Harmonious Blacksmith.

Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische 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 is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

Operas

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

HWV Title Premiere Venue Libretto Notes
01_11 Almira 1705-01-088 January 1705 Oper am Gänsemarkt, Hamburg FeustkingFriedrich Christian Feustking, after G. Pancieri Singspiel
02_12 Nero 1705-02-2525 February 1705 Oper am Gänsemarkt, Hamburg FeustkingFriedrich Christian Feustking Music lost
03_13 Florindo 1708-00-001708 Oper am Gänsemarkt, Hamburg HinschHinrich Hinsch Only a copy of the libretto and fragments of the music survive
04_14 Daphne 1708-00-001708 Oper am Gänsemarkt, Hamburg HinschHinrich Hinsch Music lost
05_15 Rodrigo 1707-00-001707 Florence Salvaniafter F. Salvani
06_16 Agrippina 1710-00-00Late 1709 / Early 1710 Teatro San Giovanni Grisostomo, Venice GrimaniVincenzo Grimani
07_17a/b Rinaldo 1711-01-2424 February 1711 Queen's Theatre, London RossiGiacomo Rossi/Aaron Hill, after Torquato Tasso, La Gerusalemme liberata
08_18a/b/c Il pastor fido 1712-11-2222 November 1712 Queen's Theatre, London RossiGiacomo Rossi, after 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 January 1713 Queen's Theatre, London HaymNicola Francesco Haym, after Philippe Quinault 5 acts
10_110 Silla 1713-06-00June 1713? London? RossiGiacomo Rossi, after Plutarch Music reused in Amadigi
11_111 Amadigi di Gaula 1715-05-0025 May 1715 King's Theatre, London RossiHaymRossi or Haym (?), after A.H. de la Motte, 1699
12_112a/b Radamisto 1720-04-2727 April 1720 King’s Theatre, London HaymHaym (?), after D. Lalli
13_113 Muzio Scevola 1721-04-1515 April 1721 King’s Theatre, London RolliPaolo Antonio Rolli, after Silvio Stampiglia only Act 3 by Handel
14_114 Floridante 1721-12-099 December 1721 King’s Theatre, London RolliRolli, after Francesco Silvani La costanza in trionfo
15_115 Ottone 1723-01-1212 January 1723 King’s Theatre, London HaymHaym, after S B Pallavicino
16_116 Flavio 1723-05-1414 May 1723 King’s Theatre, London HaymHaym, after M Norris
17_117 Giulio Cesare 1724-02-2020 February 1724 King’s Theatre, London HaymHaym
18_118 Tamerlano 1724-10-3131 October 1724 King’s Theatre, London HaymHaym, after Agostin Piovene and Nicholas Pradon
19_119 Rodelinda 1725-02-1313 February 1725 King’s Theatre, London HaymHaym, after Antonio Salvi, after Pierre Corneille
20_120 Scipione 1726-03-1212 March 1726 King’s Theatre, London RolliRolli
21_121 Alessandro 1726-05-055 May 1726 King’s Theatre, London MauroO Mauro
22_122 Admeto 1727-01-3131 January 1727 King’s Theatre, London HaymHaym
23_123 Riccardo Primo 1727-11-1111 November 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 February 1728 King’s Theatre, London HaymHaym, after Metastasio
25_125 Tolomeo 1728-04-3030 April 1728 King’s Theatre, London HaymHaym, adapted from Carlo Sigismondo Capece
26_126 Lotario 1729-12-022 December 1729 King’s Theatre, London SalviAfter Antonio Salvi
27_127 Partenope 1730-02-2424 February 1730 King’s Theatre, London StampigliaAfter Silvio Stampiglia
28_128 Poro 1731-02-022 February 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 January 1732 King’s Theatre, London MetastasioMetastasio
30_130 Sosarme 1732-02-1515 February 1732 King’s Theatre, London SalviAfter Salvi
31_131 Orlando 1733-01-2727 January 1733 King’s Theatre, London CapeceAfter Capece, after Ludovico Ariosto's Orlando furioso
32_132 Arianna in Creta 1734-01-2626 January 1734 King’s Theatre, London PariatiAfter Pietro Pariati
32_2A11 Oreste 1734-12-1818 December 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 January 1735 Covent Garden Theatre, London SalviAfter Salvi, after Ariosto's Orlando Furioso
34_134 Alcina 1735-04-1616 April 1735 Covent Garden Theatre, London AriostoAfter Ariosto's Orlando Furioso
35_135 Atalanta 1736-05-1212 May 1736 Covent Garden Theatre, London ValerianiAfter Belisario Valeriani
36_136 Arminio 1737-01-1212 January 1737 Covent Garden Theatre, London SalviAfter Salvi
37_137 Giustino 1737-02-1616 February 1737 Covent Garden Theatre, London PariatiAdapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino
38_138 Berenice 1737-05-1818 May 1737 Covent Garden Theatre, London SalviAfter Salvi
39_139 Faramondo 1738-01-033 January 1738 King’s Theatre, London ZenoAdapted from Apostolo Zeno's Faramondo
39_2A13 Alessandro Severo 1738-02-2525 February 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 April 1738 King’s Theatre, London StampigliaAfter Stampiglia
40_2A14 Giove in Argo 1739-05-011 May 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 November 1740 Theatre in Lincoln's Inn Fields, London StampigliaAfter Stampiglia's Imeneo
42_142 Deidamia 1741-01-1010 January 1741 Theatre in Lincoln's Inn Fields, London RolliRolli

Incidental music

HWV Title Premiere Venue Notes
43 The Alchemist 1710-01-1414 January 1710 Queen's Theatre, London Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo.
44 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.[2]
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, c. 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, c. 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, c. 1711 0000-00-00 No autograph, authenticity uncertain
86 Bella ma ritrosetta 1718-00-00London, c. 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, c. 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 c. 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, c. 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, c. 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, c. 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, c. 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, c. 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, c. 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 1736-00-00c. 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[3] 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, c. 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, c. 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, c. 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 early 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 c. 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, c. 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, c. 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, c. 1725–28 0000-00-00
160c La bianca rosa or Sei pur bella, pur vezzosa 1741-00-00London, c. 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, c. 1725–28 0000-00-00
162 Siete rose ruggiadose 1712-00-00London, c. 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, c. 1725–28 0000-00-00
164b Il Gelsomino or Son Gelsomino 1718-00-00London, c. 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, c. 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, c. 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, c. 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, c. 1707–09
182b Caro autor di mia doglia 1742-00-00London, c. 1742
183 Caro autor di mia doglia 1712-00-00Hanover, c. 1710–12 Spurious, by Reinhard Keiser.
184 Che via pensando, folle pensier 1709-00-00Italy, c. 1707–09
185 Conservate, raddoppiate 1711-00-00?Hanover, c. 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, c. 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, c. 1707
188 Langue, geme, e sospira 1722-00-00London, c. 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, c. 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, 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 Air from the "Water Music."
194 Sono liete, fortunate 1711-00-00?Hanover, c. 1710–11 The final movement was later used in the overture to "Judas Maccabeus" (HWV 63).
195 Spero indarno 1740-00-00London, c. 1730–40 Single movement, known only from copies. Authenticity uncertain.
196 Tacete, ohimè, tacete 1709-00-00Italy, c. 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, c. 1711 Fugal movement later used in "Solomon" (HWV 67) for "Take him all."
198 Troppo cruda, troppo fiera 1711-00-00?Hanover, c. 1711 Autograph lost.
199 Va', speme infida 1711-00-00?Hanover, c. 1711 Autograph lost.

Italian trios

HWV Title Composed Notes Text
200 Quel fior che all'alba ride 1709-00-00?Italy, c. 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, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
203 Das zitternde Glänzen der spielenden Wellen Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
204 Süsser Blumen Ambraflocken Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
205 Süsse Stille, sanfte Quelle ruhiger Gelassenheit Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
206 Singe, Seele, Gott zum Preise Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
207 Meine Seele hört im Sehen Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
208 Die ihr aus dunkeln Grüften Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
209 In den angenehmen Büschen Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
210 Flammende Rose, Zierde der Erden Soprano 1726-00-00London, c. 1724–26 by B.H. Brockes from "Irdisches Vergnügen in Gott."
284 Sinners obey the Gospel word (The Invitation) Soprano 1747-00-00c. 1747 Probably at the request of Priscilla Rich. by Charles Wesley.
285 O Love divine, how sweet thou art (Desiring to Love) Soprano 1747-00-00c. 1747 Probably at the request of Priscilla Rich. by Charles Wesley.
286 Rejoice, the Lord is King (On the Resurrection) Soprano 1747-00-00c. 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, c. 1722–26
212 Con doppia gloria mia Soprano 1726-00-00London, c. 1722–26
213 Con lacrime si belle Alto 1718-00-00London, c. 1717–18
214 Dell'onda instabile Alto 1749-00-00London, c. 1749
215 Col valor del vostro brando Soprano 1713-00-00London, c. 1711–13
216 Impari del mio core Soprano 1749-00-00London, c. 1749
217 L'odio, sì, ma poi ritrovò Alto 1726-00-00London, c. 1722–26
219 Non so se avrai mai bene Soprano 1718-00-00London, c. 1710–18
220 Per dar pace al mio tormento Soprano 1749-00-00London, c. 1749
221 Quant'invidio tua fortuna Soprano 1749-00-00London, c. 1749
222 Quanto più amara fu sorte crudele Soprano 1723-00-00London, c. 1721–23
223 S'un di m'appaga, la mia crudele Soprano 1741-00-00London, c. 1738–41
224 Si, crudel, tornerà Soprano 1741-00-00London, c. 1738–41
225 Spera chi sa perchè la sorte Alto 1718-00-00London, c. 1717–18
227 Vo' cercando tra fiori Soprano 1726-00-00London, c. 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 1730-00-00c. 1730
228-02228-2 Charming Cloris: Ask not the cause / The poor Shepherd: The Sun was sunk beneath the Hills Soprano 1730-00-00c. 1730
228-03228-3 As on a Sunshine Summer's Day Soprano 1729-00-00c. 1729
228-04228-4 Bacchus Speech in Praise of Wine: Bacchus one day gayly striding Soprano 1730-00-00c. 1730
228-05228-5 The Polish Minuet or Miss Kitty Grevil's Delight: Charming is your shape and air Soprano 1720-00-00c. 1720
228-06228-6 The Sailor's Complaint: Come and listen to my ditty / Hosier's Ghost: As near Portobello lying Soprano 1735-00-00c. 1735
228-07228-7 Di godere ha speranza il mio core / Oh my dearest, my lovely creature Soprano 1719-00-00c. 1719
228-08228-8 The forsaken Maid's Complaint: Faithless ungrateful / The slighted Swain: Cloe proves false Soprano 1720-00-00c. 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 1735-00-00c. 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 1725-00-00c. 1725
228-13 Not, Cloe, that I better am Soprano 1730-00-00c. 1730
228-14 Strephon's Complaint of Love: Oh cruel Tyrant Love Soprano 1730-00-00c. 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 1730-00-00c. 1730
228-16 Phillis be kind and hear Soprano 1730-00-00c. 1730
228-17 Phillis advised: Phillis the lovely Soprano 1739-00-00c. 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 1725-00-00c. 1725
228-21 The Death of the Stag: When Phoebus the tops of the Hills does adorn Soprano 1740-00-00c. 1740
228-22 Who to win a Woman's favour Soprano 1746-00-00c. 1746
228-23 An Answer to Collin's Complaint: Ye winds to whome Collin complains Soprano 1716-00-00c. 1716
228-24 Yes, I'm in love Soprano 1740-00-00c. 1740

German church cantatas

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

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):[4]

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, c. 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, c. 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 c. 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 c. 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

Further information: Handel's coronation 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 1713-05-00c. 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 1722-00-00c. 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 1722-00-00c. 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[5] 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 c. 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 1718-00-00c. 1717–18 1718-00-00c. 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 – c. 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, c. 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 1746-00-00c. 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 1738-00-00c. 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 1746-00-00c. 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 1748-00-00c. 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?c. 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 1749-00-00c. 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 1739-00-00c. 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, c. 1710 0000-00-00 1734-00-001734 Opus 3 No. 1 No Handel autograph. Earliest surviving manuscript score from c. 1724. Probably the earliest concerto in the Op. 3 set
313 B-flat major 1718-00-00c. 1715–1718 0000-00-00 1734-00-001734 Opus 3 No. 2
314 G major 1718-00-00c. 1717–1718 1718-00-00c. 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 1746-00-00c. 1746 0000-00-00 0000-00-00 Version of the overture to the Fireworks music.
335b F major 1746-00-00c. 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 1738-00-00c. 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 1725-00-00c. 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 1707-00-00c. 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?c. 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 1736-00-00c. 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 1747-00-00c. 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?c. 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

Further information: Handel flute sonatas, Handel solo sonatas (published by Walsh), and XV Handel solo sonatas (published by Chrysander)

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 1710-00-00c. 1707–10 0000-00-00 One of Handel's earliest extant compositions. Probably written during his years in Italy
358 Unspecified G major 1710-00-00c. 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 1724-00-00c. 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 1724-00-00c. 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 1726-00-00c. 1712 1732-00-001732 02Opus 1 No. 2
361 Violin A major 1726-00-00c. 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 1726-00-00c. 1712 1732-00-001732 04Opus 1 No. 4
363a Oboe F major 1716-00-00c. 1711–16 0000-00-00
363b Flute G major 1716-00-00c. 1711–16 1732-00-001732 05Opus 1 No. 5
364a Violin G minor 172200-00c. 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 1724-00-00c. 1724 0000-00-00 A transcription of HWV 364a—as suggested by Handel on the manuscript.
365 Recorder C major 1726-00-00c. 1712 0000-00-00 07Opus 1 No. 7
366 Oboe C minor 1712-00-00c. 1711–12 1732-00-001732 08Opus 1 No. 8
367a Recorder D minor 1726-00-00c. 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 1726-00-00c. 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 1726-00-00c. 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 1750-00-00c. 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 1725-00-00c. 1712 0000-00-00 All three movements appear as parts of other works
378 Flute D major 1707-00-00c. 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 1728-00-00c. 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 1751-00-00c. 1751 0000-00-00 Adagio and Allegro. Three–part accompaniment (? orchestral short score)
407 Violin G major 1738-00-00c. 1738 0000-00-00 Allegro
408 Violin C minor 1729-00-00c. 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 1726-00-00c. 1712 0000-00-00 Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a)
412 Violin A minor 1726-00-00c. 1725–26 0000-00-00 Andante
419-1 1720-00-00c. 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 1720-00-00c. 1710–20 0000-00-00
419-3 G major 1720-00-00c. 1710–20 0000-00-00
419-4 F major 1720-00-00c. 1710–20 0000-00-00
419-5 C major 1720-00-00c. 1710–20 0000-00-00
419-6 C major 1720-00-00c. 1710–20 0000-00-00
420 D major 1744-00-00c. 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 1744-00-00c. 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 1719-00-00c. 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 1718-00-00c. 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 1722-00-00c. 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 1722-00-00c. 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 1707-00-00c. 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 1707-00-00c. 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 c. 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 1738-00-00c. 1738 0000-00-00
404 G minor 0000-00-00 0000-00-00 No autograph
405 F major 1710-00-00c. 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 1725-00-00c. 1725
411 Aria F major 1725-00-00c. 1725
414 March for Fife C major 1747-00-00c. 1747
415 March for Fife D major 1747-00-00c. 1747
416 March D major 1734-00-00c. 1734
417 March D major 1747-00-00c. 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?c. 1741
422 Minuet G major 1747-00-00c. 1746–1747
423 Minuet G major 1747-00-00c. 1746–1747
424 Overture D major 1741-00-00c. 1741 'Fitzwilliam' Overture

Keyboard works

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

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[6]

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 1717-00-00c. 1712–1717 0000-00-00 For soprano. Probably completed in London
Orchestral March in 'Judas Maccabaeus' in F major 1748-00-00c. 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 1747-00-00c. 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 1741-00-00c. 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 1717-00-00c. 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

Previously attributed

The following works are no longer thought to have been composed by Handel:

See also

References

  1. ↑ Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 785.
  2. 1 2 Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 783.
  3. ↑ Stiftung Händel-Haus Halle (Händel-Haus Halle Foundation)
  4. ↑ Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 786.
  5. ↑ Hicks, Anthony (2001). Sadie, Stanley; Tyrrell, John, eds. The New Grove Dictionary of Music and Musicians. x (2 ed.). London: Macmillan. p. 787.
  6. ↑ Roberts, John H. (1 January 1987). "Handel and Vinci's 'Didone Abbandonata': Revisions and Borrowings". Music & Letters. 68 (2): 141–150. doi:10.2307/737061 (inactive 2016-08-25). JSTOR 737061 – via JSTOR.

External links

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