亨德尔作品列表

韩德尔作品目录（德语：Händel-Werke-Verzeichnis，简称HWV）是德国哈雷-维滕贝格大学的音乐教授巴塞特（Bernd Baselt，1934-1993）于1978年至1986年期间，为韩德尔的音乐作品所编成的目录集，共分为三册。

HWV是以韩德尔的音乐作品类型来分类，而并非如克歇尔目录般，把作品按年份而编号。HWV编号由1至612，另外以“A”字代表他的改编作品。HWV包含大量资料性的内容，包括有乐句索引、手稿及初版发行资料、相片以及一些伪作资料。然而HWV却并不包括乐谱部份。

要注意的是作品编号虽然排到612，并不代表612就是韩德尔一生的创作数量。当中HWV有预留空档位，同时亦有一些未编号、伪作、一号多作品等情况出现

HWV 编号	类别
1–42	歌剧
43–45, 218	剧乐
46–48, 50–71	神剧
49, 72–76	颂歌及歌舞剧
77–177	清唱剧
178–199	二重奏
200, 201	三重奏
202–210, 269–277, 284–286	圣诗
211–217, 219–227	咏叹调
226, 228	英国歌曲
229	德国教会清唱剧
230, 233, 234	意大利教会清唱剧
231, 232, 235–245, 269–274, 276, 277	罗马教会音乐
246–268	短诗
278–283	雅歌
287–311, 343	协奏曲
312–335	大协奏曲
336–345, 347–356, 413	管弦乐作品
357–379, 406–409, 412, 419–421	独奏奏呜曲
380–405	三重奏呜曲
346, 410, 411, 414–418, 422–424	管乐作品
425–612	键盘作品
A1, A3, A4, A6–A9, A10, A12	由其他作曲家改编的作品

除了巴塞特外，还有其他学者亦曾出版过相关的资料，当中包括有曼瓦林（en:John Mainwaring，1760年，伦敦)、密迪逊（en:Johann Mattheson，1761年，汉堡）、 般尼（en:Charles Burney，1785年，伦敦）、艾信伯格（en:Johann Joachim Eschenburg，1785年，柏林／兹杰辛）、罗克斯托（William Smyth Rockstro，1883年，伦敦）、史密斯（en:William Charles Smith，1956年，伦敦）等。

Operas

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

HWV	Title	Premiere	Venue	Libretto	Notes
1	Almira	8 January 1705	Theater am Gänsemarkt, Hamburg	Friedrich Christian Feustking, after G. Pancieri	Singspiel
2	Nero	25 February 1705	Theater am Gänsemarkt, Hamburg	Friedrich Christian Feustking	Music lost
3	Florindo	1708	Theater am Gänsemarkt, Hamburg	Hinrich Hinsch	Only a copy of the libretto and fragments of the music survive
4	Daphne	1708	Theater am Gänsemarkt, Hamburg	Hinrich Hinsch	Music lost
5	Rodrigo	1707	Florence	after F. Salvani
6	Agrippina	Late 1709 / Early 1710	Teatro San Giovanni Grisostomo, Venice	Vincenzo Grimani
7a/b	Rinaldo 里纳尔多	24 February 1711	Queen's Theatre, London	Giacomo Rossi/Aaron Hill, after Torquato Tasso, La Gerusalemme liberata
8a/b/c	Il pastor fido	22 November 1712	Queen's Theatre, London	Giacomo Rossi, after Guarini	The 1712 version is 8a. The 1734 revised versions are designated 8c. The prologue Terpsicore added to the final version is 8b.
9	Teseo	10 January 1713	Queen's Theatre, London	Nicola Francesco Haym, after Philippe Quinault	5 acts
10	Silla	June 1713?	London?	Giacomo Rossi, after Plutarch	Music reused in Amadigi
11	Amadigi di Gaula	25 May 1715	King's Theatre, London	Rossi or Haym (?), after A.H. de la Motte, 1699
12a/b	Radamisto	27 April 1720	King’s Theatre, London	Haym (?), after D. Lalli
13	Muzio Scevola	15 April 1721	King’s Theatre, London	Paolo Antonio Rolli, after Silvio Stampiglia	only Act 3 by Handel
14	Floridante	9 December 1721	King’s Theatre, London	Rolli, after Francesco Silvani La costanza in trionfo
15	Ottone	12 January 1723	King’s Theatre, London	Haym, after S B Pallavicino
16	Flavio	14 May 1723	King’s Theatre, London	Haym, after M Norris
17	Giulio Cesare《朱利亚斯·凯撒》	20 February 1724	King’s Theatre, London	Haym
18	Tamerlano	31 October 1724	King’s Theatre, London	Haym, after Agostin Piovene and Nicholas Pradon
19	Rodelinda	13 February 1725	King’s Theatre, London	Haym, after Antonio Salvi, after Pierre Corneille
20	Scipione	12 March 1726	King’s Theatre, London	Rolli
21	Alessandro 亚历山大	5 May 1726	King’s Theatre, London	O Mauro
22	Admeto	31 January 1727	King’s Theatre, London	Haym
23	Riccardo Primo	11 November 1727	King’s Theatre, London	Rolli, after Francesco Briani
A2	Genserico (or Olibrio)			After N. Beregan	Drafted early 1728. Only part of Act I. Music mostly used in Siroe and Tolomeo.
24	Siroe	17 February 1728	King’s Theatre, London	Haym, after Metastasio
25	Tolomeo	30 April 1728	King’s Theatre, London	Haym, adapted from Carlo Sigismondo Capece
26	Lotario	2 December 1729	King’s Theatre, London	After Antonio Salvi
27	Partenope	24 February 1730	King’s Theatre, London	After Silvio Stampiglia
28	Poro	2 February 1731	King’s Theatre, London	After Metastasio
A5	Titus l'Empereur			After J. Racine: Bérénice	Only one act (first three scenes) with some music used in Ezio. Composed late 1731.
29	Ezio	15 January 1732	King’s Theatre, London	Metastasio
30	Sosarme	15 February 1732	King’s Theatre, London	After Salvi
31	Orlando	27 January 1733	King’s Theatre, London	After Capece, after Ludovico Ariosto's Orlando furioso
32	Arianna in Creta	26 January 1734	King’s Theatre, London	After Pietro Pariati
A11	Oreste	18 December 1734	Covent Garden Theatre, London	Adapted from G.G. Barlocci	Pasticcio, composed in 1734. Music entirely by Handel. Overture published in HG volume 48 (p. 102).
33	Ariodante	8 January 1735	Covent Garden Theatre, London	After Salvi, after Ariosto's Orlando Furioso
34	Alcina 阿尔辛娜	16 April 1735	Covent Garden Theatre, London	After Ariosto's Orlando Furioso
35	Atalanta	12 May 1736	Covent Garden Theatre, London	After Belisario Valeriani
36	Arminio	12 January 1737	Covent Garden Theatre, London	After Salvi
37	Giustino	16 February 1737	Covent Garden Theatre, London	Adapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino
38	Berenice	18 May 1737	Covent Garden Theatre, London	After Salvi
39	Faramondo 法拉蒙多	3 January 1738	King’s Theatre, London	Adapted from Apostolo Zeno's Faramondo
A13	Alessandro Severo	25 February 1738	King’s Theatre, London	Adapted from Zeno	Pasticcio, composed in 1738. Music entirely by Handel. Overture published in HG volume 48 (page 104).
40	歌剧《薛西斯》Serse (Xerxes)	15 April 1738	King’s Theatre, London	After Stampiglia
A14	Giove in Argo	1 May 1739	King’s Theatre, London	Adapted from A.M. Lucchini	Pasticcio, composed in April 1739. Music entirely by Handel. Semi-staged.
41	Imeneo	22 November 1740	Theatre in Lincoln's Inn Fields, London	After Stampiglia's Imeneo
42	Deidamia	10 January 1741	Theatre in Lincoln's Inn Fields, London	Rolli

Incidental music

HWV	Title	Premiere	Venue	Notes
43	The Alchemist	14 January 1710	Queen's Theatre, London	Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo.
44	Comus	June 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	Not 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	17 March 1740	Drury Lane Theatre, London	Sung by Mrs. Kitty Clive at her benefit performance of William Congreve's The Way of the World (Act III). Music composed in London, 1740

Oratorios

HWV	Title	Premiere	Venue	Libretto	Text	Notes
46a	Il trionfo del Tempo e del Disinganno	June 1707	Rome	Benedetto Pamphili
46b	Il trionfo del Tempo e della Verità	17 March 1737	London	Benedetto Pamphili
47	La resurrezione	8 April 1708	Rome	Carlo Sigismondo Capece
48	Brockes Passion	23 March 1719	Hamburg Cathedral (possibly)	Barthold Heinrich Brockes
50a	Esther	?1718	probably Cannons	John Arbuthnot	IMSLP. Based on Alexander Pope's work.	Originally a masque.
50b	Esther	1 May 1732	King's Theatre, London	John Arbuthnot	IMSLP. Based on Alexander Pope's work.	Contains additions by S. Humphreys
51	Deborah	21 February 1733	King's Theatre, London	Samuel Humphreys	Stanford
52	Athalia	10 July 1733	Sheldonian Theatre, Oxford	Jean Racine?	Stanford
53	Saul	16 January 1739	King's Theatre, London	Charles Jennens	Stanford
54	Israel in Egypt	4 April 1739	King's Theatre, London	Charles Jennens?	Stanford
55	L'Allegro, il Penseroso ed il Moderato	27 February 1740	Theatre in Lincoln's Inn Fields, London	Charles Jennens	Stanford. Based on John Milton's work.
56	Messiah 弥赛亚	13 April 1742	New Music Hall, Dublin	Charles Jennens	Stanford
57	Samson	18 February 1743	Covent Garden Theatre, London	Newburgh Hamilton	Stanford
58	Semele	10 February 1744	Covent Garden Theatre, London	William Congreve	Stanford	An opera catalogued as an oratorio
59	Joseph and his Brethren	2 March 1744	Covent Garden Theatre, London	James Miller	Stanford
60	Hercules	5 January 1745	King's Theatre, London	Thomas Broughton	Stanford
61	Belshazzar	27 March 1745	King's Theatre, London	Charles Jennens	Stanford
62	Occasional Oratorio	14 February 1746	Covent Garden Theatre, London	Newburgh Hamilton	Stanford
63	Judas Maccabaeus	1 April 1747	Covent Garden Theatre, London	Thomas Morell	Stanford
64	Joshua	9 March 1748	Covent Garden Theatre, London	Thomas Morell	Stanford
65	Alexander Balus	23 March 1748	Covent Garden Theatre, London	Thomas Morell	Stanford
66	Susanna	10 February 1749	Covent Garden Theatre, London	Newburgh Hamilton?	Stanford
67	Solomon	17 March 1749	Covent Garden Theatre, London	Newburgh Hamilton?	Stanford
68	Theodora	16 March 1750	Covent Garden Theatre, London	Thomas Morell	Stanford
69	The Choice of Hercules	1 March 1751	Covent Garden Theatre, London	Thomas Morell?	Stanford
70	Jephtha	26 February 1752	Covent Garden Theatre, London	Thomas Morell	Stanford
71	The Triumph of Time and Truth	11 March 1757	Covent Garden Theatre, London	Thomas Morell?	Stanford

Odes and masques

HWV	Title	Premiere	Venue	Text
72	Aci, Galatea e Polifemo	19 July 1708	Naples
49a	Acis and Galatea (masque)	probably 1718	Cannons, near London
49b	Acis and Galatea (serenata)	10 June 1732	King's Theatre, London	Stanford
73	Parnasso in Festa	13 March 1734	King's Theatre, London
74	Ode for the Birthday of Queen Anne	6 February 1713	Royal Palace in London
75	Alexander's Feast	19 February 1736	King's Theatre, London	Stanford
76	Ode for St. Cecilia's Day	22 November 1739	Theatre in Lincoln's Inn Fields, London	Stanford

Cantatas

HWV	Title	Composed	Premiere	Venue	Notes	Text
77	Ah che pur troppo è vero	Florence, ca. 1707
78	Ah! crudel, nel pianto mio	Rome, August 1708	2 September 1708	Palazzo Bonelli, Rome
79	Diana cacciatrice or Alla caccia	Rome, May 1707	May – June 1707	Vignanello	Copied for Francesco Ruspoli, 1707
80	Allor ch'io dissi addio	Rome, 1707–08
81	Alpestre monte	Florence, circa 1707
82	Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso	Rome, August 1708	Probably 28 October 1708		Copied for Ruspoli, 1708
83	Aminta e Fillide or Arresta il passo	Early 1708	14 July 1708	Rome	Copied for Ruspoli, 1708. The section, "Chi ben ama" printed separately in HG 52b
84	Aure soavi e lieti	Rome, May 1707			Copied for Ruspoli, 1707
85	Venus and Adonis or Behold where weeping Venus stands	London, circa 1711			No autograph, authenticity uncertain
86	Bella ma ritrosetta	London, circa 1717–18
87	Carco sempre di gloria	London, 1737	16 March 1737	London	Variant insertion in "Cecilia, volgi un sguardo" (89), for performances of Alexander's Feast (HWV 75), 1737, including music for the castrato Domenico Annibali
88	Care selve, aure grate	Rome, 1707–08
89	Cecilia, volgi un sguardo	London, January 1736	19 or 25 (?) February 1736	Covent Garden Theatre, London	Played between the two parts of Alexander's Feast (HWV 75).
90	Chi rapì la pace al core	Florence, circa 1706–07			Copied for Ruspoli, 1709
91a	Clori, degli occhi miei	Florence, late 1707
91b	Clori, degli occhi miei	London, after 1710
92	Clori, mia bella Clori	Rome, 1707–08
93	Clori, ove sei?	Italy, 1707–08
94	Clori, si, ch'io t'adoro				No autograph, earliest source circa 1738–40
95	Clori, vezzosa Clori	Rome, July/August 1708			Copied for Ruspoli, 1708
96	Clori, Tirsi e Fileno or Cor fedele in vano speri	Rome, July/September 1707			Copied for Ruspoli, 14 October 1707.
97	Crudel tiranno Amor	London, June 1721	Probably 5 July 1721	King's Theatre, Haymarket, London	Performed at the benefit concert for Margherita Durastanti.
98	Cuopre tal volta il cielo	Italy, 1708
99	Il delirio amoroso or Da quel giorno fatale	Rome, on or before 14 January 1707.	May 1707	Cardinal Pamphili's palazzo
100	Da sete ardente afflitto	Italy, 1708–09			Copied for Ruspoli, 1709. (HWV 101a & 101b: Dal fatale momento. Spurious, by F. Mancini).
102a	Dalla guerra amorosa	Italy, 1708–09			Version for bass. Copied for Ruspoli, 1709
102b	Dalla guerra amorosa	Italy, 1708–09			Version for soprano. Copied for Ruspoli, 1709
103	Deh! lasciate e vita e volo	London, circa 1722–25				Libretto text by Paolo Antonio Rolli
104	Del bell'idolo mio	Rome, 1707–09			Copied for Ruspoli in 1709, but possibly written as early as 1707.
105	Armida abbandonata or Dietro l'orme fuggaci	Rome, June 1707	Possibly 26 June 1707	Palazzo Bonelli, Rome	Copied for Ruspoli, 1707, 1709.
106	Dimmi, o mio cor	Italy, 1707–09			See note for HWV 132
107	Ditemi, o piante	Rome, July/August 1708			Copied for Ruspoli, 1708
108	Dolce mio ben, s'io taccio				No autograph. No source attributed to Handel.
109a	Dolc' è pur d'amor l'affanno	London, circa 1717–18				Libretto ?Text by Paolo Antonio Rolli
109b	Dolc' è pur d'amor l'affanno	London, ?after 1718				Libretto: ?Text by Paolo Antonio Rolli
110	Agrippina condotta a morire or Dunque sarà pur vero	Italy, 1707–08	Early in 1708		First performed by the castrato soprano, Pasqualino Tiepoli	Libretto: Anonymous
111a	E partirai, mia vita?	Italy, 1707–09
111b	E partirai, mia vita?	London, circa 1725–28
112	Figli del mesto cor	Probably Italy, 1707–09			No autograph or Italian-period copies
113	Figlio d'alte speranze	Florence, 1706–07
114	Filli adorata e cara	Rome, 1707–08			Copied for Ruspoli, 1709
115	Fra pensieri quel pensiero	Italy, 1707–08
116	Fra tante pene	Florence, 1706–07			Copied for Ruspoli, 1709
117	Hendel, non può mia musa	July/August 1708			Copied for Ruspoli, 1708, 1709	Libretto by Cardinal Benedetto Pamphili
118	Ho fuggito Amore anch'io	London, circa 1722–23			Printed without final aria in HG.	Libretto by Paolo Antonio Rolli
119	Echeggiate, festeggiate, numi eterni or Io languisco fra le gioie	London, circa 1710–12			Partly lost. Fragments printed in wrong order in HG.
120a	Irene, idolo mio	Italy, 1707–09			No autographs or Italian-period copies.
120b	Irene, idolo mio	England, after 1710			No autographs or Italian-period copies.
121a	La Solitudine or L'aure grate, il fresco rio	London, circa 1722–23			fragment
121b	La Solitudine or L'aure grate, il fresco rio	London, before 1718
122	Apollo e Dafne or La terra è liberata	Hanover, 1710			Probably begun Venice, 1709
123	Languia di bocca lusinghiera	Possibly composed in Hanover, 1710			?fragment
124	Look down, harmonious saint	circa 1736	February 1736	Covent Garden Theatre, London	Recitative and aria; probably a discarded fragment for "Alexander's Feast" (HWV 75), 1736. It appeared in the cantata HWV 89	Libretto by Newburgh Hamilton, from Cecilian Ode 1720.
125a	Lungi da me, pensier tiranno	Italy, July – September 1708[3]			1st version; no autographs or Italian-period copies; one version copied for Francesco Ruspoli, 1708.
125b	Lungi da me, pensier tiranno	London, after 1710			Second version; no autographs.
126a	Lungi da voi, che siete poli	Rome, July/August 1708
126b	Lungi da voi, che siete poli	Rome, 1708
126c	Lungi da voi, che siete poli	Probably London, after 1710.
127a	Lungi dal mio bel nume	Rome, 3 March 1708
127b	Lungi dal mio bel nume	?London, after 1710
127c	Lungi dal mio bel nume	London, circa 1725–28
128	Lungi n'andò Fileno	Rome, August 1708			Copied for Ruspoli, 1708
129	Manca pur quanto sai	Rome, July/August 1708			Copied for Ruspoli, 1708
130	Mentre il tutto è in furore	Rome, August 1708			Copied for Ruspoli, 1708
131	Menzognere speranze	Rome, September 1707			Copied for Ruspoli, 1707
132a	Mi palpita il cor	?London, after 1710			Borrowings: Version of "Dimmi, o mio cor" (HWV 106) with new opening.
132b	Mi palpita il cor	?London, after 1718
132c	Mi palpita il cor	?London, after 1710
132d	Mi palpita il cor	?London, circa 1711–12
133	Ne' tuoi lumi, o bella Clori	Rome, September 1707			Copied for Ruspoli, 1707, 1709
134	Pensieri notturni di Filli or Nel dolce dell'oblio	Rome, 1707–08. Completed 1709
135a	Nel dolce tempo	Probably Naples, June/July 1708
135b	Nel dolce tempo	London, after 1710			No autographs, and no early Italian-period copies.
136a	Nell' Africane selve	Naples, June/July 1708
136b	Nell' Africane selve	London, after 1710
137	Nella stagion che di viole e rose	Rome, April/May 1707			Copied for Ruspoli, 1707, 1709. Probably composed for the soprano, Margherita Durastanti.
138	Nice, che fa? che pensa?	?Hanover, 1710
139a	Ninfe e pastori	Rome, 1707–09			Copied for Ruspoli, 1709
139b	Ninfe e pastori	Probably London, after 1710
139c	Ninfe e pastori	London, circa 1725–28
140	Nò se emenderá jamás	Rome, September 1707			Copied for Ruspoli, 1707
141	Non sospirar, non piangere	Florence, Fall 1707
142	Notte placida e cheta	Rome, 1707–08				Libretto anonymous
143	Olinto pastore, Tebro fiume, Gloria or O come chiare e belle	Rome, August/September 1708	9 September 1708	Marquis Ruspoli's Palazzo Bonelli	?Copied for Ruspoli, 1708. First performed by the soprano Anna Marie di Piedz
144	O lucenti, o sereni occhi	Rome, 1707
145	La Lucrezia or Oh numi eterni	August 1708			Copied for Ruspoli, 1709. Probably composed for the soprano, Margherita Durastanti.	Libretto by Cardinal Benedetto Pamphili
146	Occhi miei che faceste?	Rome, 1707–08			Copied for Ruspoli, 1709
147	Partì, l'idolo mio	London, after 1710			No autograph or eary Italian copies.
148	Poichè giuraro amore	Rome, early 1707			Copied for Ruspoli, 1707, 1709
149	Qual sento io non conosciuto				Only source circa 1738–40
150	Ero e Leandro or Qual ti riveggio, oh Dio	Rome, 1707			Derived from the story of Hero and Leander	Libretto ?Cardinal Pietro Ottoboni.
151	Qualor crudele, sì ma vaga Dori	London, after 1710			No autograph or early Italian-period copies
152	Qualor l'egre pupille	Rome, September 1707			Copied for Ruspoli, 1707
153	Quando sperasti, o core	Probably Naples, June/July 1708			Copied for Ruspoli, 1708
154	Quel fior che all'alba ride	London, circa 1738–40			Published in Handel (ed. Burrows), "Songs and Cantatas for Soprano."
155	Sans y penser	Rome, September 1707			Composed in Italy. Copied for Ruspoli, 1707, 1709.
156	Sarai contenta un di	Florence, 1706–07
157	Sarei troppo felice	Rome, September 1707			Copied for Ruspoli, 1707, 1708 (incomplete)	Libretto by B. Pamphili.
158a	Se pari è la tua fè	Rome, 1708			Copied for Ruspoli, 1708, 1709.
158b	Se pari è la tua fè	Probably London, after 1710
158c	Se pari è la tua fè	London, circa 1725–28
159	Se per fatal destino	Rome, early 1707			Copied for Ruspoli, 1707, 1709
160a	La bianca rosa or Sei pur bella, pur vezzosa	Rome, early 1707			Copied for Ruspoli, 1707, 1709
160b	La bianca rosa or Sei pur bella, pur vezzosa	London, circa 1725–28
160c	La bianca rosa or Sei pur bella, pur vezzosa	London, circa 1738–41
161a	Sento là che ristretto	Rome, 1708–09
161b	Sento là che ristretto
161c	Sento là che ristretto	London, circa 1725–28
162	Siete rose ruggiadose	London, circa 1711–12.			Composed with variant
163	Solitudini care, amata libertà	London, after 1710			No autographs or early Italian-period copies
164a	Il Gelsomino or Son Gelsomino	London, circa 1725–28
164b	Il Gelsomino or Son Gelsomino	London, circa 1717–18
165	Spande ancor a mio dispetto	Italy, 1707–08
166	Splenda l'alba in oriente	London, circa 1711–12			Survives only in fragmentary form.
167a	Stanco di più soffrire	Italy, 1707–08
167b	Stanco di più soffrire	Rome, July/August 1708
168	Partenza di G. B. or Stelle, perfide stelle	Rome, 1707
169	Torna il core al suo diletto	Probably Rome, 1707–08
170	Tra le fiamme (Il consiglio)	Rome, 1707				Libretto by Cardinal Benedetto Pamphili
171	Tu fedel? Tu costante?	Florence/Rome, 1706–07			Copied for Ruspoli, 1707, 1708
172	Udite il mio consiglio	Florence, 1706–07			Copied for Ruspoli, 1707
173	Un' alma innamorata	Rome, May 1707	June 1707	Probably Vignanello	Copied for Ruspoli, 1707
174	Un sospir a chi si muore	Florence, Fall 1707
175	Vedendo Amor	Rome, 1707–08
176	Amore uccellatore or Venne voglia ad Amore	Rome, 1707–08
177	Zeffiretto, arresta il volo	Italy, 1707–09			?Copied for Ruspoli, 1709

Italian duets

HWV	Title	Composed	Notes	Text
178	A mirarvi io son intento	?Hanover, circa 1711	First movement reappeared 2 years later in the Utrecht Jubilate (HWV 279) as "Be ye sure that Lord he is God.". Slow middle section formed the basis for the final chorus of "Alcina" (HWV 34) in 1735.
179	Ahi, nelle sorti umane	London, 31 August 1745
180	Amor, gioje mi porge	Italy, circa 1707–09
181	Beato in ver chi pùo	London, 31 October 1742	Italian version of Horace, "Beatus ille"
182a	Caro autor di mia doglia	Probably Italy, circa 1707–09
182b	Caro autor di mia doglia	London, circa 1742
183	Caro autor di mia doglia	Hanover, circa 1710–12	Spurious, by Reinhard Keiser.
184	Che via pensando, folle pensier	Italy, circa 1707–09
185	Conservate, raddoppiate	?Hanover, circa 1711	The 2nd movement, "Nodi voi" can be found later in the Opus 1 sonatas and also in the concerti grossi as well as various operas and oratorios.
186	Fronda leggiera e mobile	London, circa 1745	The opening theme also appears in "Belshazzar" (HWV 61) as well as the Concerto a due cori No. 1 (HWV 332)
187	Giù nei Tartarei regni	Composed: Italy, circa 1707
188	Langue, geme, e sospira	London, circa 1722	Theme of the 2nd movement later appeared as "Thou hast prevented him" in the Coronation Anthem, "The King shall rejoice" (HWV 260)	Libretto by G.D. de Totis (from opera, "La caduta del regno dell' Amazzoni"; 1690)
189	Nò, di voi non vo' fidarmi	London, 3 July 1741	Thematic ideas from 2 movements used in "Messiah" (HWV 56)
190	Nò, di voi non vo' fidarmi	London, 2 November 1742
191	Quando in calma ride il mare	Italy or Hanover, circa 1707–11
192	Quel fior che all'alba ride	London, 1 July 1741	3rd movement uses theme from, "Quel fior che all'alba ride," (HWV 154). Thematic ideas from 2 movements used in "Messiah" (HWV 56)
193	Se tu non lasci amore	London, circa 1722 (?1711)	Thematic idea from 1st movement used in "Messiah" (HWV 56) as the duet, "Oh death, where is thy sting." Sections of the concluding movement use in Esther (HWV 50a), 1718, and there's the hint of the famous Air from the "Water Music."
194	Sono liete, fortunate	?Hanover, circa 1710–11	The final movement was later used in the overture to "Judas Maccabeus" (HWV 63).
195	Spero indarno	London, circa 1730–40	Single movement, known only from copies. Authenticity uncertain.
196	Tacete, ohimè, tacete	Italy, circa 1707–09	Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse."
197	Tanti strali al sen mi scocchi	?Hanover, circa 1711	Fugal movement later used in "Solomon" (HWV 67) for "Take him all."
198	Troppo cruda, troppo fiera	?Hanover, circa 1711	Autograph lost.
199	Va', speme infida	?Hanover, circa 1711	Autograph lost.

Italian trios

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

Hymns

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

Italian arias

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

English songs

HWV	Title	Voice	Composed	Notes	Text
226	Hunting Song or The morning is charming	Tenor	1743	Voice in treble clef. Autograph, which survives, presented to Legh in 1751	by Charles Legh. Composed in London
228-1	The unhappy Lovers: As Celia's fatal arrows flew	Soprano	circa 1730
228-2	Charming Cloris: Ask not the cause / The poor Shepherd: The Sun was sunk beneath the Hills	Soprano	circa 1730
228-3	As on a Sunshine Summer's Day	Soprano	circa 1729
228-4	Bacchus Speech in Praise of Wine: Bacchus one day gayly striding	Soprano	circa 1730
228-5	The Polish Minuet or Miss Kitty Grevil's Delight: Charming is your shape and air	Soprano	circa 1720
228-6	The Sailor's Complaint: Come and listen to my ditty / Hosier's Ghost: As near Portobello lying	Soprano	circa 1735
228-7	Di godere ha speranza il mio core / Oh my dearest, my lovely creature	Soprano	circa 1719
228-8	The forsaken Maid's Complaint: Faithless ungrateful / The slighted Swain: Cloe proves false	Soprano	circa 1720
228-9	From scourging rebellion or A Song on the Victory obtained over the Rebels by His Royal Highness the Duke of Cumberland	Tenor	1746	First performance: Sung by Thomas Lowe at Vauxhall Gardens, 15 May 1746. Composed to celebrate the Duke of Cumberland's defeat of the Jacobite forces at Culloden on 16 April 1746
228-10	The forsaken Nymph: Guardian Angels now protect me	Soprano	circa 1735
228-11	I like the am'rous Youth that's free	Soprano	1737	First performance: 28 February 1737: London, Drury Lane Theatre. Published: 1741. Sung by Catherine ("Kitty") Clive in James Miller's comedy, "The Universal Passions" (Act II)
228-12	Phillis: My fair, ye Swains, is gone astray	Soprano	circa 1725
228-13	Not, Cloe, that I better am	Soprano	circa 1730
228-14	Strephon's Complaint of Love: Oh cruel Tyrant Love	Soprano	circa 1730
228-15	The Satyr's Advice to a Stock-Jobber: On the shore of a low ebbing sea / Ye Swains that are courting a Maid / Molly Mogg: Says my uncle, I pray you discover	Soprano	circa 1730
228-16	Phillis be kind and hear	Soprano	circa 1730
228-17	Phillis advised: Phillis the lovely	Soprano	circa 1739
228-18	Stand round, my brave boys or Song made for the Gentlemen Volunteers of the City of London	Tenor	1745	First performance : Sung by Thomas Lowe in "The Relapse or Virtue in Danger" by John Vanbrugh, at Drury Lane Theatre, London: 14 November 1745. Published: 1745. Published as "A Song made for the Gentlemen Volunteers of the City of London" (1745)
228-19	The faithful Maid / The Melancholy Nymph: 'Twas when the seas were roaring	Soprano	1715	First performance: 23 February 1715: London, Drury Lane Theatre. Incidental music; 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	circa 1725
228-21	The Death of the Stag: When Phoebus the tops of the Hills does adorn	Soprano	circa 1740
228-22	Who to win a Woman's favour	Soprano	circa 1746
228-23	An Answer to Collin's Complaint: Ye winds to whome Collin complains	Soprano	circa 1716
228-24	Yes, I'm in love	Soprano	circa 1740

German church cantatas

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

Italian sacred cantatas

HWV	Title	Voice	Composed	Notes
230	Ah! che troppo ineguali or O del ciel! Maria regina	Soprano	?Rome 1707–08	Recitative and aria.
233	Donna, che in ciel	Soprano		First performance: ?2 February 1708, Rome on the "anniversary of the deliverance of Rome from the earthquake on the feast of the Purification of the Virgin."
234	Il pianto di Maria or Giunta l'ora fatal	Soprano		Spurious. Misattributed to Handel; composed by Giovanni Battista Ferrandini (1710–91).

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	?Rome, 1707	13 June 1707	Vignanello	Motet for the Feast of St. Anthony of Padua
232	Psalm setting	Dixit Dominus	Soprano, Alto, Tenor, Bass Chorus	G minor	Rome, 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	?Rome, 1707	?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	?Hamburg, circa 1706			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	Rome, 8 July 1707				Psalm 113 (Vulgate 112)
238	Psalm setting	Nisi Dominus	Alto, Tenor, Bass, Chorus	G major	Rome, 13 July 1707	?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	?Rome, May – June 1707	12 June 1707	Vignanello	For Pentecost
240	Motet	Saeviat tellus inter rigores	Soprano	D major	?Rome, 1707	?16 July 1707	Rome	Motet for the Feast of Madonna del Carmine
241	Antiphon	Salve Regina	Soprano	G minor	?Rome, 1707	?19 June 1707	Vignanello	Probably first performed on Trinity Sunday at Francesco Ruspoli's private chapel.
242	Motet	Silete venti	Soprano	B-flat major	London, circa 1723-25
243	Antiphon	Te decus virgineum	Alto	G minor	Rome, 1707	?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					Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel circa 1749.
245	Cantata	Gloria in excelsis deo	Chorus					Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel circa 1749.
269		Amen...alleluja	Soprano, Bass	D minor	1735-46			Probably intended as a vocal study.
270		Amen	Soprano, Bass	F major	1735-46			Probably intended as a vocal study.
271		Amen...alleluja	Soprano, Bass	G minor	1735-46			Probably intended as a vocal study.
272		Alleluja...amen	Soprano, Bass	D minor	1735-46			Probably intended as a vocal study.
273		Alleluja...amen	Soprano, Bass	G major	1735-46			Probably intended as a vocal study.
274		Alleluja...amen	Soprano, Bass	A minor	1735-46			Probably intended as a vocal study.
276		Amen...hallelujah	Soprano, Bass	F major	1744-47			Probably intended as a vocal study.
277		Hallelujah...amen	Soprano, Bass	F major	1744-47			Probably intended as a vocal study.

Anthems

HWV	Title	Composed	Premiere	Venue	Notes	Text
246	O be joyful in the Lord	Cannons, 1717–18		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	Cannons, 1717–18		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	Cannons, 1717–18		St. Lawrence, Whitchurch, London	Chandos Anthem No. 3.	Psalm 51 (the Miserere).
249a	O come, let us sing unto the Lord	1714	?26 September 1714	Chapel Royal, St. James's Palace, London.		Psalm 96
249b	O come, let us sing unto the Lord	Cannons, 1717–18		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	Cannons, 1717–18		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	?5 January 1724	Chapel Royal, St. James's Palace, London		Psalms 89, 96, 145
251a	As pants the hart	Circa December 1712 to May 1713	1713	King's Chapel Royal	Scored for organ and basso continuo alone.	Psalm 42
251b	As pants the hart	Cannons, 1717–18	1718	St. Lawrence, Whitchurch, London	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	circa 1722	?7 October 1722	Chapel Royal, St. James's Palace, London	Orchestrated version of HWV 251d.	Psalm 42
251d	As pants the hart	circa 1722			Scored for organ and basso continuo alone. There is no evidence that the work was performed during Handel's lifetime.	Psalm 42
251e	As pants the hart	1738	28 March 1738[5]	King’s Theatre, Haymarket	Written for a benefit evening	Psalm 42
252	My song shall be alway	Cannons, 1717–18		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	Cannons, 1717–18		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	Cannons, 1717–18		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	Cannons, 1717–18		St. Lawrence, Whitchurch, London	Chandos Anthem No. 10.	Psalms 18, 20, 27–30, 34, 45
256a	Let God arise	Cannons, 1717–18		St. Lawrence, Whitchurch, London	Chandos Anthem No. 11. 1st movement of 'symphony' added later.	Psalms 68 & 76
256b	Let God arise	1726	?16 January 1726	Chapel Royal, St. James's Palace, London		Psalm 58
257	O praise the Lord, ye angels of his				Spurious. Misattributed to Handel in Arnold's edition and in HG 36. By Maurice Greene, before 1728.
258	Zadok the Priest	?9 September 1727 – 11 October 1727	11 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	?9 September 1727 – 11 October 1727	11 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	?9 September 1727 – October 1727	11 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	?9 September 1727 – 11 October 1727	11 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	14 March 1734	French Chapel, St. James's Palace	Performed during the wedding of William, Prince of Orange, and Anne, Princess Royal.	Psalms 45, 118, Proverbs, Ecclesiasticus
263	Sing unto God or Anthem for Wedding of Prince Frederick	1736	27 April 1736	German Chapel, St. James's Palace, London	For the wedding of Frederick, Prince of Wales, and Princess Augusta of Saxe-Coburg. Revised for the wedding of Princess Mary.	Psalms 68, 106, 128
264	The ways of Zion do mourn or Funeral Anthem for Queen Caroline	5(?) – 12 December 1737	17 December 1737	King Henry VII's Chapel, Westminster Abbey	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")	30 July – 3 August 1743	27 November 1743	Chapel Royal, St. James's Palace, London	Performed during a service in King George II's presence to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. 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	25 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)	Probably early 1749			A 209-measure composition of which the last 19 measures are incomplete.
268	Blessed are they that considereth the poor or Foundling Hospital Anthem	1749	27 May 1749	Foundling Hospital Chapel, London	First performance probably in fully choral version. The solo movements were probably added circa 1751.	Psalms 8, 41, 72, 112, Daniel, Revelation

Canticles

HWV	Title	Key	Composed	Premiere	Venue	Notes	Text
278	Utrecht Te Deum	D major	14 January 1713	7 July 1713	St Paul's Cathedral, London		"We praise thee, O God" (Ambrosian hymn)
279	Utrecht Jubilate	D major	?January – February 1713.	7 July 1713	St Paul's Cathedral, London		"O be joyful in the Lord" (Psalm 100)
280	Te Deum ("Queen Caroline")	D major	1714	?26 September 1714	Chapel Royal, St. James's Palace, London		"We praise thee, O God" (Ambrosian hymn)
281	Te Deum ("Chandos" or "Cannons")	B-flat major	Circa 1717–18	circa 1717–18	St. Lawrence, Whitchurch, London	Composed by Handel during his stay with the Duke of Chandos at Cannons.	"We praise thee, O God" (Ambrosian hymn)
282	Te Deum	A major	1726	?16 January 1726	Chapel Royal, St. James's Palace, London		"We praise thee, O God" (Ambrosian hymn)
283	Te Deum ("Dettingen")	D major	17 July – circa 29 July 1743	27 November 1743	Chapel Royal, St. James's Palace, London	Performed during a service, in King George II's presence, to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743.	"We praise thee, O God" (Ambrosian hymn)

Concertos

HWV	Instrument	Key	Composed	Premiere	Venue	Published	Opus	Notes
287	Oboe	G minor	?Hamburg ?c.1704–05			1863		"Oboe concerto No. 3"
288	Violin	B-flat major	Italy, circa 1707					“Sonata a 5”. Possibly for Corelli in Rome
289	Organ	G minor	1735–36	19 February 1736	London, Covent Garden Theatre	1738	Opus 4 No. 1	First performed with "Alexander's Feast" (HWV 75)
290	Organ	B-flat major	1735	5 March 1735	London, Covent Garden Theatre	1738	Opus 4 No. 2	First performed with the oratorio "Esther" (HWV 50b)
291	Organ	G minor	1735	5 March 1735	London, Covent Garden Theatre	1738	Opus 4 No. 3	Variant versions of last movement. First performed with the oratorio "Esther" (HWV 50b)
292	Organ	F major	25 March 1735	1 April 1735	London, Covent Garden Theatre	1738	Opus 4 No. 4	Originally concluded with 'Alleluja' chorus (HG 20, p. 161), short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" (HWV 52)
293	Organ	F major		?26 March 1735	London, Covent Garden Theatre	1738	Opus 4 No. 5	Performed with revival of "Deborah" (HWV 51).
294	Organ	B-flat major	1736	19 February 1736	London, Covent Garden Theatre	1738	Opus 4 No. 6	Originally composed for the harp, but later rearranged for the organ
295	Organ	F major	2 April 1739	4 April 1739	London, King's Theatre, Haymarket	1740	"2nd Set" No. 1	Referred to as Organ Concerto "No. 13". The bird-song motives of the 2nd movement earned the concerto the nickname, "The Cuckoo and the Nightingale"
296a	Organ	A major	1739	20 March 1739	London, King's Theatre, Haymarket	1740	"2nd Set" No. 2	Referred to as organ concerto "No. 14"
296b	Organ	A major	circa 1743–46					Pasticcio. Arranged by Handel
297	Organ	D minor				1740	"2nd Set" No. 3	Referred to as organ concerto "No. 15". Arranged from Concerto Grosso Op.6 No.10 (HWV 328).
298	Organ	G major				1740	"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				1740	"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				1740	"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				1740		"Oboe concerto No. 1"
302a	Oboe	B-flat major				1740		"Oboe concerto No. 2"
303	Organ	D minor	circa 1738					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	circa 1746	?14 February 1746		1797		Sometimes referred to as organ concerto "No. 15". First performed with the premiere of The Occasional Oratorio (HWV 62).
305	Organ	F major	circa 1747–48					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	17 February 1740	27 February 1740	London, Lincoln's Inn Fields Theatre	1761	Opus 7 No. 1	First movement includes an independent pedal part
307	Organ	A major	5 February 1743	18 February 1743	London, Covent Garden Theatre	1761	Opus 7 No. 2	Performed with the oratorio Samson (HWV 57)
308	Organ	B-flat major	1–4 January 1751	1 March 1751	London, Covent Garden Theatre	1761	Opus 7 No. 3	Two variant autographs of 1st movement. Handel's last orchestral work
309	Organ	D minor	?circa 1744	?14 February 1746		1761	Opus 7 No. 4	?Performed with premiere of "The Occasional Oratorio" (HWV 62)
310	Organ	G minor	31 January 1750	16 March 1750	London, Covent Garden Theatre	1761	Opus 7 No. 5	Performed with "Theodora" (HWV 68). Final gavotte in published version probably added later by Smith Jr.
311	Organ	B-flat major	circa 1748–49	1761		1749	Opus 7 No. 6	Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication
343	Organ	G major	circa 1738–39					Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto

Concerti grossi

HWV	Key	Composed	Premiere	Venue	Published	Opus	Notes
312	B-flat major	?Hanover, circa 1710			1734	Opus 3 No. 1	No Handel autograph. Earliest surviving manuscript score from circa 1724. Probably the earliest concerto in the Op. 3 set
313	B-flat major	circa 1715–1718			1734	Opus 3 No. 2
314	G major	circa 1717–1718	circa 1717–1718		1734	Opus 3 No. 3	Arranged (? by Walsh)
315	F major	1716	20 June 1716	London, King's Theatre, Haymarket		Opus 3 No. 4a	Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi"
316	D minor	1717–1718			1734	Opus 3 No. 5	In Walsh's 2nd edition of the Op. 3 concertos, the 3rd, 4th, & 5th movements were added
317	D major	(?) 1733–1734			1734	Opus 3 No. 6	Published by Walsh in 1734 as an organ concerto
318	C major	25 January 1736	February 1736		1740		First performance between the acts of the oratorio, Alexander's Feast (HWV 75)
319	G major	29 September 1739			1740	Opus 6 No. 1
320	F major	4 October 1739			1740	Opus 6 No. 2
321	E minor	6 October 1739			1740	Opus 6 No. 3
322	A minor	8 October 1739			1740	Opus 6 No. 4
323	D major	10 October 1739			1740	Opus 6 No. 5	Known as the "St. Cecilia's Concerto," as the first two movements and the last use thematic material from the overture to the Ode for St. Cecilia's Day (HWV 76)
324	G minor	15 October 1739			1740	Opus 6 No. 6
325	B-flat major	12 October 1739			1740	Opus 6 No. 7
326	C minor	18 October 1739			1740	Opus 6 No. 8
327	F major	Probably between 10–11 October 1739			1740	Opus 6 No. 9	The 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	22 October 1739			1740	Opus 6 No. 10	The gavotte-like last movement was originally intended by Handel for the Concerto Grosso in B minor (HWV 330)
329	A major	30 October 1739			1740	Opus 6 No. 11	A reworking of the Organ Concerto in A major, HWV 296.
330	B minor	20 October 1739			1740	Opus 6 No. 12
331	F major		20 March 1723	London, Drury Lane Theatre			Two movements, thematically related to the Water Music Suite in F major (HWV 348)
331-1	F major						Water Music, Suite Variant No 1. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348)
331-2	F major						Water Music, Suite Variant No 2. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348)
332	B-flat major	1747–1748	(?) 9 March 1748	London, Covent Garden Theatre			Concerto a due cori in B-flat major, No. 1. Composed for performances with oratorios; probably performed during Joshua (HWV 64)
333	F major	1747–1748	(?) 23 March 1748	London, Covent Garden Theatre			Concerto a due cori in F major, No. 2. Composed for performances with oratorios; probably performed during Alexander Balus (HWV 65)
334	F major	1747–1748	(?) 1 April 1748	London, Covent Garden Theatre			Concerto a due cori in F major, No. 3. Composed for performances with oratorios; probably performed during Judas Maccabaeus (HWV 63)
335a	D major	circa 1746					Version of the overture to the Fireworks music.
335b	F major	circa 1746					Version of the overture to the Fireworks music.

Orchestral works

HWV	Type	Key	Composed	Premiere	Published	Notes
302b	Largo	F major	circa 1738			Autograph headed "Suite de pieces" (presumably this was the opening movement)
336	Overture	B-flat major				Autograph lost. Probably completed in Germany or Italy
337	Overture	D major	circa 1722–1725			Probably intended as an introductory movement. Possibly intended to be coupled with the concerto grosso in D major Op. 3 No. 6 (HWV 317) as the adagio movement.
338	Adagio/Allegro	B minor/D major	1722			Originally, with the 1st movement of the Organ Concerto, Allegro in D minor (HWV 317), a 3-movement orchestral concerto. The 1st movement was used as the sinfonia in Ottone (HWV 15); and the theme of the last movement was reworked for the overture of Ottone
339	Sinfonia	B-flat major	circa 1706–1707		1979	No autograph. First published in 1979 in the Halle Edition (IV/15) and is known only from a copy by Christopher Graupner (1683–1760). Probably completed in Hamburg or Italy
340	Allegro	G major	?circa 1710–1715			No autograph
341	Suite	D major			1733	Almost certainly spurious
342	Overture	F major	circa 1736
344	Chorus and Minuet	B-flat major	1708			No autograph. Apparently movements from the Hamburg opera Florindo (HWV 3) (See HWV 354)
345	March	D major	before 1738			No autograph
347	Sinfonia	B-flat major	circa 1747
348	Suite. Water Music suite No. 1 水上音乐	F major	1717	17 July 1717	1788	Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
349	Suite. Water Music suite No. 2 水上音乐	D major	1717	17 July 1717	1788	Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
350	Suite. Water Music suite No. 3 水上音乐	G major	1717	17 July 1717	1788	Autograph lost. Performed for King George I on The Thames from a barge containing about 50 musicians. The King insisted on the performance being repeated more than once
351	Suite. Music for the Royal Fireworks 皇家焰火	D major	1749	27 April 1749		Composed for the celebration of Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian succession. First performed in Green Park, London
352	Suite	B-flat major	1706			No autograph
353	Suite	G major	1706			No autograph
354	Suite	B-flat major	1708			No autograph
355	Hornpipe aria	C minor	?circa 1710–1715			No autograph
356	Hornpipe	D major	1740			No autograph. Composed for Vauxhall Gardens
413	Gigue	B-flat major	1736

Solo sonatas

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	circa 1707–10			One of Handel's earliest extant compositions. Probably written during his years in Italy
358	Unspecified	G major	circa 1707–10			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	circa 1724			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	circa 1724	1732	Opus 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	circa 1712	1732	Opus 1 No. 2
361	Violin	A major	circa 1725–26	1732	Opus 1 No. 3	The only violin sonata to have been published exactly as written by Handel.
362	Recorder	A minor	circa 1712	1732	Opus 1 No. 4
363a	Oboe	F major	circa 1711–16
363b	Flute	G major	circa 1711–16	1732	Opus 1 No. 5
364a	Violin	G minor	circa 1722–24	1732	Opus 1 No. 6	Both Walsh and Chrysander published the work as an oboe sonata.
364b	Viola da gamba	G minor	circa 1724			A transcription of HWV 364a—as suggested by Handel on the manuscript.
365	Recorder	C major	circa 1712		Opus 1 No. 7
366	Oboe	C minor	circa 1711–12	1732	Opus 1 No. 8
367a	Recorder	D minor	circa 1712		Opus 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	circa 1725–26	1732	Opus 1 No. 9b	In the 'Aylesford' collection the Alla breve appears with the title of FUGE
368	Violin	G minor		1732	Opus 1 No. 10	Probably spurious
369	Recorder	F major	circa 1712	1732	Opus 1 No. 11
370	Violin	F major		1732	Opus 1 No. 12	Probably spurious
371	Violin	D major	circa 1749-50		Opus 1 No. 13	This sonata represents Handel's last piece of chamber music. The piece was not published by Walsh; the designation Op 1 No.13 is Chrysander's
372	Violin	A major		1732	Opus 1 No. 14	Probably spurious. The piece was published by Walsh as Op 1 No. 10 in the original edition that had a faked title page naming Roger as the publisher; the designation Op 1 No.14 is Chrysander's
373	Violin	E major		1732	Opus 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		1730		"Halle sonata No. 1". Authenticity uncertain
375	Flute	E minor		1730		"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		1730		"Halle sonata No. 3". Authenticity uncertain
377	Recorder	B-flat major	circa 1712			All three movements appear as parts of other works
378	Flute	D major	circa 1707?	1979		No autograph, but now considered authentic. It appears in an important manuscript of 18th century solo sonatas in the Brussels Royal Conservatory, and is there attributed to 'Sr Weisse'
379	Flute	E minor	circa 1727–28	1879	Opus 1 No. 1a	The work's authenticity is unquestioned, but the sonata is not part of Handel's Opus 1 as published by Walsh—having been added by Chrysander.
406	Violin	A major	circa 1751			Adagio and Allegro. Three–part accompaniment (? orchestral short score)
407	Violin	G major	circa 1738			Allegro
408	Violin	C minor	circa 1725–29			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	circa 1712			Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a)
412	Violin	A minor	circa 1725–26			Andante
419-1			circa 1710–20			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	circa 1710–20
419-3		G major	circa 1710–20
419-4		F major	circa 1710–20
419-5		C major	circa 1710–20
419-6		C major	circa 1710–20
420		D major	circa 1743–44			Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work
421		D major	circa 1743–44			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				Authenticity doubtful
381	D minor				Authenticity doubtful
382	E-flat major				Authenticity doubtful
383	F major				Authenticity doubtful
384	G major				Authenticity doubtful
385	D major				Authenticity doubtful
386a	C minor	circa 1717–1719	1879		In Chrysander's "G. F. Handel's Werke" (1879) this piece was referred to as Op. 2 No. 1a; Variant form of Op. 2 No 1, not published by Walsh, but found in manuscripts
386b	B minor	before 1727	1733	Opus 2 No. 1	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 1b
387	G minor	?1699	1733	Opus 2 No. 2	Handel's earliest datable composition. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 2
388	B-flat major	circa 1717–1718	1733	Opus 2 No. 3	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 4. The finale appears in the overture to Athalia (HWV 52)
389	F major	circa 1718–1722	1733	Opus 2 No. 4	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 5. The Larghetto appears in the overture to Esther (HWV 50a)
390a	G minor	circa 1717–1722	1733	Opus 2 No. 5	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 6
390b	G minor				Published in HG volume 48. Unlikely to be Handel's work
391	G minor	circa 1707	1733	Opus 2 No. 6	In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 7
392	F major	circa 1706–1707			In Chrysander's "G. F. Handel's Werke" (1879) this composition referred to as Op. 2 No 3. One of the "Dresden" sonatas. No autograph
393	G minor	probably circa 1719			Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 8
394	E major				Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 9
395	E minor				Authenticity uncertain. Probably composed by Johann Adolph Hasse (1699–1783)
396	A major		1739	Opus 5 No. 1
397	D major		1739	Opus 5 No. 2
398	E minor		1739	Opus 5 No. 3
399	G major		1739	Opus 5 No. 4
400	G minor		1739	Opus 5 No. 5
401	F major		1739	Opus 5 No. 6
402	B-flat major		1739	Opus 5 No. 7
403	C major	circa 1738
404	G minor				No autograph
405	F major	circa 1707–1710

Wind ensemble works

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

Keyboard works

HWV	Type	Key	Composed	Published	Notes
305b	Arrangement	F minor	circa 1747		Used as an overture. Solo keyboard arrangement of the Organ Concerto in F major (HWV 305)
425	Air (Saraband)	E major			An individual movement. Composed by Handel at St. Giles extempore. Autograph c. 1740–50 includes Handel's transcription of opening melody
426	Suite de pièce Vol. 1 No. 1	A major	prior to 1720	1720
427	Suite de pièce Vol. 1 No. 2	F major	prior to 1720	1720
428	Suite de pièce Vol. 1 No. 3	D minor	prior to 1720	1720
429	Suite de pièce Vol. 1 No. 4	E minor	prior to 1720	1720
430	Suite de pièce Vol. 1 No. 5	E major	prior to 1720	1720	“The Harmonious Blacksmith” or “Air and Variations in E major”. Also found in early manuscript scores as a "Chaconne" in G major (at least 2 variant forms)
431	Suite de pièce Vol. 1 No. 6	F-sharp minor	prior to 1720	1720
432	Suite de pièce Vol. 1 No. 7	G minor	prior to 1720	1720
433	Suite de pièce Vol. 1 No. 8	F minor	prior to 1720	1720
434	Suite de pièce Vol. 2 No. 1	B-flat major	?1710–1717	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	?1705–1717	1733	21 variations. A chaconne. The Ritornello in G major (HWV 343) was added to this composition
436	Suite de pièce Vol. 2 No. 3	D minor	Nowrap|circa 1721–1726	1733
437	Suite de pièce Vol. 2 No. 4	D minor	circa 1703–1706	1733
438	Suite de pièce Vol. 2 No. 5	E minor	circa 1710–1717	1733
439	Suite de pièce Vol. 2 No. 6	G minor	circa 1703–1706	1733
440	Suite de pièce Vol. 2 No. 7	B-flat major	circa 1703–1706	1733	revised 1717-18
441	Suite de pièce Vol. 2 No. 8	G major	circa 1703–1706	1733
442	Suite de piece Vol. 2 No. 9	G major	circa 1703–1706	1733	62 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh)
443	Suite	C major	1700–1703		Includes Chaconne (of which there are 26 variations)
444	Partita	C minor	circa 1705–1706
445	Suite	C minor	1705–1706
446	Suite	C minor	circa 1703–1706		Composed for two harpsichords, but the music for only one harpsichord survives
447	Suite	D minor	circa 1738–1739		Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452)
448	Suite	D minor	circa 1705–1706
449	Suite	D minor	circa 1705
450	Partita	G major	circa 1700–1705
451	Suite	G minor	circa 1703–1706		Allemande and Courante only
452	Suite	G minor	circa 1738–1739		Written for Princess Louisa. Companion piece to the Suite in D minor (HWV 447)
453	Suite	G minor	circa 1705–1706
454	Partita	A major	circa 1703–1706
455	Suite	B-flat major	circa 1705		Keyboard version of the overture in B-flat major (HWV 336) and the suite in B-flat major (HWV 354)
456-1	Arrangement		circa 1720–1727		Arrangement of the overture to the Italian opera “Il pastor fido"
456-2	Arrangement		circa 1720–1727		Arrangement of the overture to the Italian opera "Amadigi"
456-3	Arrangement		circa 1720–1727		Arrangement of the overture to the Italian opera "Flavio"
456-4	Arrangement		circa 1720–1727		Arrangement of the overture to the Italian opera "Rodelinda"
456-5	Arrangement		circa 1720–1727		Arrangement of the overture to the Italian opera "Riccardo Primo"
457	Air	C major	circa 1720–1721
458	Air	C minor	?circa 1710–1720		Authenticity uncertain
459	Air	C minor	?circa 1710–1720		Authenticity uncertain
460	Air (March)	D major	circa 1720–1721
461	Air (Hornpipe)	D minor	circa 1717–1718
462	Air and minuet	D minor	circa 1724–1726
463	Air	F major	circa 1707–1709
464	Air	F major	circa 1724–1726		A version of the air from the "Water Music" (HWV 348–350)
465	Air and two Doubles	F major	circa 1710–1720
466	Air	G minor	circa 1710–1720		For two-manual harpsichord (or possibly organ)
467	Air Lentement	G minor	circa 1710–1720
468	Air	A major	circa 1727–1728
469	Air	B-flat major	circa 1738–1739		Re-used in orchestral form in the Sinfonia in B-flat major (HWV 347) and the Organ Concerto in B-flat major (HWV 311)
470	Air	B-flat major	circa 1710–1720		For two-manual harpsichord (or possibly organ)
471	Air	B-flat major	circa 1710–1720
472	Allegro	C major	circa 1705
473	Allegro	C major	25 August 1738		Clock-Organ
474	Air	G major	circa 1736–1738		Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ
475	Allegro	D minor	circa 1710–1720
476	Allemande	F major	circa 1730–1735
477	Allemande	A major	circa 1724–1726
478	Allemande	A minor	circa 1705
479	Allemande	B minor	circa 1721–1722
480	Chorale	G minor	circa 1736–1740		Chorale melody "Jesu, meine Freude" in the middle part. Possibly for organ. A two-bar epilogue may represent a planned variation
481	Capriccio	F major	circa 1703–1706
482-1	Arrangement		circa 1720–1725		Arrangement of the overture to the Italian opera 'Rinaldo'
482-2	Arrangement		circa 1720–1725		Arrangement of the overture to the Italian opera 'Floridante'
482-3	Arrangement		circa 1720–1725		Arrangement of the overture to the Italian opera 'Radamisto'
482-4	Arrangement		circa 1720–1725		Arrangement of the overture to the Italian opera 'Muzio Scevola'
483	Capriccio	G minor	circa 1720–1721
484	Chaconne with 49 variations	C major	circa 1700–1705		Version of the Chaconne in Suite HWV 443
485	Chaconne	F major	circa 1705		For a two-manual harpsichord
486	Chaconne	G minor	circa 1705
487	Concerto	G major	circa 1710–1720		Two movements
488	Allegro (Courante)	F major	circa 1717–1718		In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442)
489	Courante	B minor	circa 1722
490	Fantasie pour le clavecin,	C major	circa 1703–1706
491	Gavotte	G major	circa 1705
492	Gigue	F major	circa 1726–1727
493	Gigue	G minor	circa 1704–1705		Two versions
494	Impertinence (Bourée)	G minor	circa 1705
495	Lesson	D minor	circa 1705–1710		Early form (two variants) of the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428), movement six
496	Lesson	A minor	circa 1715–1720
497 to 558	62 Minuets	Various			Two-stave pieces, probably for keyboard. Some related to minuets in other works
559	Passepied	C major	circa 1721–1722
560	Passepied	A major	circa 1705
561	Prelude	D minor	circa 1705–1706		Version of the prelude to the Suite de pièce in D minor, Vol. 2 No. 4 (HWV 437)
562	Prelude (Harpeggio)	D minor	circa 1711–1712
563	Prelude	D minor	circa 1700–1703
564	Prelude	D minor	circa 1705
565	Prelude	D minor	circa 1710–1720		An early version of the Prelude to the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428)
566	Prelude	E major	circa 1710–1720		Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)
567	Preludium	F major	circa 1710–1720
568	Preludium	F minor	circa 1710–1720		Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)
569	Preludium	F minor	?circa 1710–1720		Arpeggio del Cook. Authorship uncertain
570	Prelude (Harpeggio)	F-sharp minor	circa 1717–1718		Originally associated with the Suite de pièce in F-sharp minor, Vol. 1 No. 6 (HWV 431)
571	Prelude and Capriccio	G major	circa 1703–1706		Two movements
572	Prelude	G minor	circa 1710–1717		Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432)
573	Prelude (Harpeggio)	G minor	circa 1705
574	Prelude and Allegro (Sonata)	G minor	circa 1705		Two movements
575	Prelude (Harpeggio)	A minor	circa 1717–1718		Coupled with the "Lesson in A minor"; HWV 496
576	Prelude and Allegro	A minor	circa 1705–1706		Two movements
577	Sonata (Fantasia) pour le clavecin,	C major	circa 1703–1705
578	Sonata	C major	circa 1750		Clock-Organ. Music related to a setting of 'Amen' (HWV 277), the Concerto Grosso in C major for "Alexander's Feast" (HWV 318), and the "Air Lentement in G minor" (HWV 467)
579	Sonata (Fantasia)	G major	?circa 1707–1710		For a two-manual harpsichord (or possibly organ)
580	Sonata (Larghetto)	G minor	?circa 1707–1710		One movement
581	Sonatina	D minor	circa 1705		One movement
582	Sonatina (Fugue)	G major	circa 1721–1722		One movement
583	Sonatina	G minor	?circa 1721–1722		One movement
584	Sonatina	A minor	circa 1706–1708		One movement. Authenticity uncertain
585	Sonatina	B-flat major	circa 1721–1722		One movement
586	Toccata	G minor	circa 1710–1720
587 to 597	Eleven pieces	C, F, and G	circa 1735–1740		"10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). Includes arrangements of opera arias
598 to 604	Seven pieces	C major	circa 1730–1740		Clock-Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels."
605	Fugue	G minor	circa 1711–1718	1735	No 1 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
606	Fugue	G major	circa 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	circa 1711–1718	1735	No 3 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
608	Fugue	B minor	circa 1711–1718	1735	No 4 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
609	Fugue	A minor	circa 1711–1718	1735	No 5 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
610	Fugue	C minor	circa 1711–1718	1735	No 6 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735
611	Fugue	F major	circa 1705		No autograph
612	Fugue	E major			No autograph. Single source is from a manuscript of organ voluntaries; probably authentic, though the text of final bars is defective. The fugue subject is related to the "Water Music" overture
A15 1 – 37	Minuets	Various			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	11 May 1725	London, King's Theatre, Haymarket (10 performances to 19 June)	?Nicola Haym, after A. Zeno, 1697	Revival on 30 November 1725: London, King's Theatre, Haymarket (4 performances to 11 December)
A3	Opera (pasticcio)	Ormisda	1730	4 April 1730	London, King's Theatre, Haymarket (13 performances to 14 May; also 9 June)	?Rossi, after Zeno, 1722	12 songs changed at 21 April 1730 performance, for Strada's benefit. Revival on 28 November 1730: London, King's Theatre, Haymarket (5 performances to 8 December).
A4	Opera (pasticcio)	Venceslao	1731	11 January 1731	London, King's Theatre, Haymarket (4 performances to 23 January)	?Rossi, after Zeno, 1724
A6	Opera (pasticcio)	Lucio Papirio dittatore	1732	23 May 1732	London, King's Theatre, Haymarket (4 performances to 6 June)	After Zeno/C.I. Frugoni, 1729
A7	Opera (pasticcio)	Catone	1732	4 November 1732	London, King's Theatre, Haymarket	After Metastasio, 1728/9
A8	Opera (pasticcio)	Semiramide or Semiramis riconosciuta	1733	30 October 1733	London, King's Theatre, Haymarket	After Metastasio, 1729
A9	Opera (pasticcio)	Caio Fabricio	1733	4 December 1733	London, King's Theatre, Haymarket	After Zeno, 1732
A10	Opera (pasticcio)	Arbace	1734	5 January 1734	London, King's Theatre, Haymarket	After Metastasio, 1730
A12	Opera (pasticcio)	Didone	1737	13 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'				A recycling of the aria 'S'io dir potessi' from Ottone (HWV 15), possibly by Handel himself.
Aria	Dicente mis ojos				Reworked version of the final aria of the Spanish cantata Nò se emenderá jamás (HWV 140)
	The Dream or 'Beneath a shady willow'				Based on the middle section of the opening chorus of Acis and Galatea (HWV 49a)
Latin sacred cantata	Gloria	?1703–1709	3 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	circa 1712–1717			For soprano. Probably completed in London
Orchestral	March in 'Judas Maccabaeus' in F major	circa 1747–1748			As addition to oratorio "Judas Maccabaeus" (HWV 63) or to Concerto a due cori in F major (HWV 334)
Wind ensemble	Marche in G major	circa 1746–1747			Independent wind version of the oratorio, "Judas Maccabeus" march (HWV 63, no. 32a)
Wind ensemble	Marche lentement in C major	circa 1741			Wind version of the oratorio, Samson's (HWV 57) "Dead March"
Italian Aria	No Kossi presto nò				For soprano. Text apparently macaronic Italian-German
Aria	Der Mund spricht zwar				Reworked version of the aria from the opera Almira (HWV 1)
Opera (pasticcio)	Lucio Vero	1745	November 1745	King's Theatre, London	A pasticcio opera containing music by Handel and performed by the "Middlesex" opera company (named after Lord Middlesex)
Oratorio (pasticcio)		1738	28 March 1738	King's Theatre, Haymarket, London	Handel's benefit performance. Bilingual pasticcio, including much music from "Deborah" (HWV 51), "As pants the hart" (Chandos Anthem No. 6; HWV 251b), a Coronation Anthem, and organ concertos
Oratorio (pasticcio)	Nabal		16 March 1764	Covent Garden Theatre, London
Oratorio (pasticcio)	Rebecca
Oratorio (pasticcio)	Gideon		10 February 1769	Covent Garden Theatre, London
Aria	Quand on suit l'amoureuse loi				A short da capo aria in the style of a gavotte
Opera	Rossane	1743	November 1743	King's Theatre, London	Revived 24 February 1747 and 20 February 1748 at the King’s Theatre, Haymarket, London. Lampugnani arranged music from Handel's "Alessandro" (HWV 21), which was subsequently performed by the "Middlesex" opera company
French song	Sans y penser				Another version of the French song (HWV 155) in a lower key and a simpler bass line
Italian Aria	Sa perchè pena il cor	circa 1712–1717			For alto
Orchestral Suite	Water Music chamber suite				Nine movements. The arrangement is contemporary, but the authenticity is uncertain. Published by Burrows in 1991