
Born: 23 February 1685
Died: 14 April 1759 in London, England. Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands. In 1751 his eyesight started to fail in one eye. The cause was unknown and progressed into his other eye as well.He died few years hence.
Alternate/ Birth Name: Georg Friedrich Händel (Original form)
Birthplace: Halle, Saxony-Anhalt in the Duchy of Magdeburg. Germany (now called)
Parents:
- Mother: Dorothe Handel
- Father: Georg Handel
Siblings: Three true Siblings. Six Half siblings (Father remained same). Mentioned below are his true siblings.
- Brother: Died at Birth (1684)
- Sister: Dorothea Sophia Handel (1687 - 1718)
- Sister: Johanna Christina Handel (1690 - 1709)
Profession: German-English Baroque composer
Education: In 1692,7 Years of age, Handel took lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow who was the organist of the Liebfrauenkirche in Halle.He studied with Zachow till 1703. In 1702, Handel also joined University of Halle to study Law.
Childhood: Born in Halle, he was the second child of his parents. His father was an eminent barber (body)-surgeon and used to serve as valet and barber to the courts of the Duchy of Saxe-Weissenfels and the Margraviate of Brandenburg. His mother was the Daughter of a Pastor. Since his childhood, Handel was bright, clever, energetic, and singularly tenacious of purpose and showed a talent for music.At the age of seven he could elegantly perform on the pipe organ and harpsichord. Handel's father didn't like his interest in music and discouraged his son in pursuing music as a profession. whereas his mother was in favor of her son and supported his musical aspirations. His Father wanted to make a lawyer out of him. After much struggle with his father ultimately he began his music lessons from Friedrich Wilhelm Zachow with whom he studied for 11 years. In 1697 his father died and his musical education got interrupted which also resulted in him joining university of Halle to study law following his father's wishes in 1702. However, he didn't complete his law study and left it midway to pursue music and organist at the Protestant Cathedral for while then moving to Hamburg, accepting a position as violinist and harpsichordist in the orchestra of the opera house and produced his first two opera Almira and Nero in 1705.
First Break: In 1705, Produced his first two operas (Almira and Nero) while working at the opera house.In 1709, Agrippina, established his reputation as an opera composer, this performance got staged 27 times.
Spouse: Never married.
Children: No Children.
Quotes:
- “Whether I was in my body or out of my body as I wrote it I know not. God knows.” (On composing the "Hallelujah Chorus" in 1741)
- "I did think I did see all heaven before me, and the great God himself." (His reply on being asked what his feelings were while writing the "Hallelujah Chorus"
- "I should be sorry if I only entertained them, I wish to make them better." (In reply to Lord Kinnoull, who had complimented him on his Messiah, "the noble entertainment which he had lately given the town." Beattie had this on the authority of Kinnoull himself.)
- "You have taken far too much trouble over your opera. Here in England that is mere waste of time. What the English like is something that they can beat time to, something that hits them straight on the drum of the ear." (In conversation with Gluck.)
Famous Performances: 1715-1717 (circa)- Water Music Suite no 2 in D major, HWV 349 1718-1736 - Acis and Galatea, HWV 49: Happy we 1720 - Suite for Harpsichord in E minor, HWV 429: Sarabande 1725 (circa) - Arias (2) for Winds: no 1 in F, HWV 410 1738 - Serse, HWV 40: Ombra mai fu "Largo" 1739 - Concerti grossi (12), Op. 6: no 1 in G major, HWV 319 - 4th movement, Allegro 1739 - Concerti grossi (12), Op. 6: no 1 in G major, HWV 319 - Allegro 1739 - Concerto for Organ in F major, HWV 295 "Cuckoo and the Nightingale": Allegro 1742 - Messiah, HWV 56: Hallelujah! 1742 -Messiah, HWV 56: For unto us a child is bor 1742 -Messiah, HWV 56: Lift up your heads, o ye gates 1742 -Messiah, HWV 56: Their sound is gone out into all lands 1742 -Messiah, HWV 56: Worthy is the Lamb that was slain 1742 -Messiah, HWV 56: And the glory of the Lord shall be revealed 1749 - Solomon, HWV 67: Arrival of the Queen of Sheba 1749 - Music for the Royal Fireworks, HWV 351 Musical Journey:
Operas
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
|
Music lost
|
4
|
Daphne
|
1708
|
Theater am Gänsemarkt, Hamburg
|
Hinrich Hinsch
|
Music lost
|
5
|
Rodrigo
|
1707
|
Florence
|
after F. Salvani
|
|
6
|
Agrippina
|
Late 1709 / Early 1710
|
Teatro San Giovanni Grisostomo,
Venice
|
Vincenzo Grimani
|
|
7a/b
|
Rinaldo
|
24 February 1711
|
Queen's Theatre, London
|
Giacomo Rossi/Aaron Hill,
afterTorquato Tasso, La Gerusalemme liberata
|
|
8a/b/c
|
Il pastor fido
|
22 November 1712
|
Queen's Theatre, London
|
Giacomo Rossi, after Guarini
|
|
9
|
Teseo
|
10 January 1713
|
Queen's Theatre, London
|
Nicola Francesco Haym,
afterPhilippe Quinault
|
5 acts
|
10
|
Silla
|
June 1713?
|
London
|
Giacomo Rossi, after Plutarch
|
Music reused in Amadigi
|
11
|
Amadigi di Gaula
|
25 May 1715
|
King's Theatre, London
|
Rossi or Haym (?), after A.H. de
la Motte, 1699
|
|
12a/b
|
Radamisto
|
27 April 1720
|
King’s Theatre, London
|
Haym (?), after D. Lalli
|
|
13
|
Muzio Scevola
|
15 April 1721
|
King’s Theatre, London
|
Paolo Antonio Rolli, after Silvio
Stampiglia
|
only Act 3 by Handel
|
14
|
Floridante
|
9 December 1721
|
King’s Theatre, London
|
Rolli, after Francesco
Silvani La costanza in trionfo
|
|
15
|
Ottone
|
12 January 1723
|
King’s Theatre, London
|
Haym, after S B Pallavicino
|
|
16
|
Flavio
|
14 May 1723
|
King’s Theatre, London
|
Haym, after M Norris
|
|
17
|
Giulio Cesare
|
20 February 1724
|
King’s Theatre, London
|
Haym
|
|
18
|
Tamerlano
|
31 October 1724
|
King’s Theatre, London
|
Haym, after Agostin Piovene and
Nicholas Pradon
|
|
19
|
Rodelinda
|
13 February 1725
|
King’s Theatre, London
|
Haym, after Antonio Salvi,
afterPierre Corneille
|
|
20
|
Scipione
|
12 March 1726
|
King’s Theatre, London
|
Rolli
|
|
21
|
Alessandro
|
5 May 1726
|
King’s Theatre, London
|
O Mauro
|
|
22
|
Admeto
|
31 January 1727
|
King’s Theatre, London
|
Haym
|
|
23
|
Riccardo Primo
|
11 November 1727
|
King’s Theatre, London
|
Rolli, after Francesco Briani
|
|
24
|
Siroe
|
17 February 1728
|
King’s Theatre, London
|
Haym, after Metastasio
|
|
25
|
Tolomeo
|
30 April 1728
|
King’s Theatre, London
|
Haym, adapted from Carlo
Sigismondo Capece
|
|
26
|
Lotario
|
2 December 1729
|
King’s Theatre, London
|
After Antonio Salvi
|
|
27
|
Partenope
|
24 February 1730
|
King’s Theatre, London
|
After Silvio Stampiglia
|
|
28
|
Poro
|
2 February 1731
|
King’s Theatre, London
|
After Metastasio
|
|
29
|
Ezio
|
15 January 1732
|
King’s Theatre, London
|
Metastasio
|
|
30
|
Sosarme
|
15 February 1732
|
King’s Theatre, London
|
After Salvi
|
|
31
|
Orlando
|
27 January 1733
|
King’s Theatre, London
|
After Capece, after Ludovico
Ariosto's Orlando furioso
|
|
32
|
Arianna in Creta
|
26 January 1734
|
King’s Theatre, London
|
After Pietro Pariati
|
|
33
|
Ariodante
|
8 January 1735
|
Covent Garden Theatre, London
|
After Salvi, after
Ariosto's Orlando Furioso
|
|
34
|
Alcina
|
16 April 1735
|
Covent Garden Theatre, London
|
After Ariosto's Orlando
Furioso
|
|
35
|
Atalanta
|
12 May 1736
|
Covent Garden Theatre, London
|
After Belisario Valeriani
|
|
36
|
Arminio
|
12 January 1737
|
Covent Garden Theatre, London
|
After Salvi
|
|
37
|
Giustino
|
16 February 1737
|
Covent Garden Theatre, London
|
Adapted from
Pariati's Giustino, after Nicolo Beregan's Il Giustino
|
|
38
|
Berenice
|
18 May 1737
|
Covent Garden Theatre, London
|
After Salvi
|
|
39
|
Faramondo
|
3 January 1738
|
King’s Theatre, London
|
Adapted from Apostolo
Zeno'sFaramondo
|
|
40
|
Serse
|
15 April 1738
|
King’s Theatre, London
|
After Stampiglia
|
Also known as Xerxes
|
41
|
Imeneo
|
22 November 1740
|
Theatre in Lincoln's Inn
Fields, London
|
After Stampiglia's Imeneo
|
|
42
|
Deidamia
|
10 January 1741
|
Theatre in Lincoln's Inn Fields,
London
|
Rolli
|
|
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 (No.
1)
|
F major
|
1717
|
17 July 1717
|
1788
|
Autograph lost. Performed for King
George I on The Thames from a barge containing about 50 musicians. The King
insisted on the performance being repeated more than once
|
349
|
Suite. Water Music (No.
2)
|
D major
|
1717
|
17 July 1717
|
1788
|
Autograph lost. Performed for King
George I on The Thames from a barge containing about 50 musicians. The King
insisted on the performance being repeated more than once
|
350
|
Suite. Water Music (No.
3)
|
G major
|
1717
|
17 July 1717
|
1788
|
Autograph lost. Performed for King
George I on The Thames from a barge containing about 50 musicians. The King
insisted on the performance being repeated more than once
|
351
|
Suite. Music for the Royal
Fireworks
|
|
1749
|
27 April 1749
|
|
Composed for the celebration of
Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian
succession. First performed in Green Park, London
|
352
|
Suite
|
B-flat major
|
1706
|
|
|
No autograph
|
353
|
Suite
|
G major
|
1706
|
|
|
No autograph
|
354
|
Suite
|
B-flat major
|
1708
|
|
|
No autograph
|
355
|
Hornpipe aria
|
C minor
|
circa 1710–1715
|
|
|
No autograph
|
356
|
Hornpipe
|
D major
|
1740
|
|
|
No autograph. Composed for
Vauxhall Gardens
|
413
|
Gigue
|
B-flat major
|
1736
|
|
|
|
Odes and masques
HWV
|
Title
|
Premiere
|
Venue
|
Text
|
72
|
Aci, Galatea e Polifemo
|
19 July 1708
|
Naples
|
|
49a
|
Acis and Galatea (masque)
|
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
|
Solo sonatas
HWV
|
Instrument
|
Key
|
Composed
|
Published
|
Opus
|
Notes
|
357
|
Oboe
|
B-flat major
|
circa 1707–1710
|
|
|
One of Handel's earliest extant
compositions. Probably written during his years in Italy
|
358
|
Recorder or Violin
|
G major
|
circa 1707–1710
|
|
|
The "Fitzwilliam"
sonata. The autographed manuscript, located in the Fitzwilliam Museum, does
not mention the instrument for which it was intended, although Handel
specialists consider it a violin sonata
|
359a
|
Violin
|
D minor
|
circa 1724
|
|
|
The D minor sonata, headed
"Sonata 2", follows the G minor sonata in the Fitzwilliam Museum
autograph. Originally written for violin and published in two different E
minor versions for the flute. See flute sonata in E minor (HWV 359b)
|
359b
|
Flute
|
E minor
|
circa 1724
|
1732
|
Opus 1 No. 1b
|
Of the two sonatas published by
Chrysander as Opus 1 No. 1, this is the one in the original edition, with
Chrysander's No. 1a taken from manuscript sources. The two works
have in common only the opening and closing movements.
|
360
|
Recorder
|
G minor
|
circa 1725–1726
|
1732
|
Opus 1 No. 2
|
|
361
|
Violin
|
A major
|
circa 1725–1726
|
1732
|
Opus 1 No. 3
|
|
362
|
Recorder
|
A minor
|
circa 1725–1726
|
1732
|
Opus 1 No. 4
|
|
363a
|
Oboe
|
F major
|
circa 1711–1716
|
|
|
|
363b
|
Flute
|
G major
|
circa 1711–1716
|
1732
|
Opus 1 No. 5
|
|
364a
|
Violin
|
G minor
|
circa 1724
|
1732
|
Opus 1 No. 6
|
|
364b
|
Viola da gamba
|
G minor
|
circa 1724
|
|
|
An authorized transcription of
HWV364a
|
365
|
Recorder
|
C major
|
circa 1725–1726
|
|
Opus 1 No. 7
|
|
366
|
Oboe
|
C minor
|
circa 1711–1712
|
1732
|
Opus 1 No. 8
|
|
367a
|
Recorder
|
D minor
|
circa 1725–1726
|
|
Opus 1 No. 9a
|
Movements 1–5 constitute the
"Fitzwilliam Sonata III". Originally published Flute Sonata in
B minor, Op 1 No 9b (HWV 367b). The contemporary edition of Handel attributes
it to the transverse flute, but the autograph manuscript is clearly for the
recorder
|
367b
|
Flute
|
B minor
|
circa 1725–1726
|
1732
|
Opus 1 No. 9b
|
In the 'Aylesford' collection the
Alla breve appears with the title of FUGE
|
368
|
Violin
|
G minor
|
|
1732
|
Opus 1 No. 10
|
Probably spurious
|
369
|
Recorder
|
F major
|
circa 1725-1726
|
1732
|
Opus 1 No. 11
|
|
370
|
Violin
|
F major
|
|
1732
|
Opus 1 No. 12
|
Probably spurious
|
371
|
Violin
|
D major
|
Circa 1749-1750
|
|
Opus 1 No. 13
|
This sonata represents Handel's
last piece of chamber music
|
372
|
Violin
|
A major
|
|
1732
|
Opus 1 No. 14
|
Probably spurious
|
373
|
Violin
|
E major
|
|
1732
|
Opus 1 No. 15
|
Probably spurious
|
374
|
Flute
|
A minor
|
|
1730
|
|
"Halle sonata No. 1".
Authenticity uncertain.
|
375
|
Flute
|
E minor
|
|
1730
|
|
"Halle sonata No. 2".
Authenticity uncertain.
|
376
|
Flute
|
B minor
|
|
1730
|
|
"Halle sonata No. 3".
Authenticity uncertain.
|
377
|
Recorder
|
B-flat major
|
circa 1724–1725
|
|
|
|
378
|
Flute
|
D major
|
circa 1707
|
1979
|
|
No autograph, but now considered
authentic. It appears in an important manuscript of 18th century solo sonatas
in the Brussels Royal Conservatory, and is there attributed to 'Sr Weisse'
|
379
|
Flute
|
E minor
|
circa 1727–1728
|
1879
|
Opus 1 No. 1a
|
Although the work's authenticity
remains unquestioned, this sonata is not strictly part of Handel's Opus
1—having been added by Chrysander from the British Museum autograph
|
406
|
Violin
|
A major
|
circa 1751
|
|
|
Adagio and Allegro. 3-part
accompaniment (? orchestral short score)
|
407
|
Violin
|
G major
|
circa 1738
|
|
|
Allegro
|
408
|
Violin
|
C minor
|
circa 1725–1729
|
|
|
Allegro. It may be the only
surviving fragment of a completed sonata in C minor
|
409
|
Recorder
|
D minor
|
circa 1725–1726
|
|
|
Andante. Variant of movement from
the Recorder Sonata in D minor (HWV 367a)
|
412
|
Violin
|
A minor
|
circa 1725–1726
|
|
|
Andante
|
419 1-6
|
|
|
circa 1710–1720
|
|
|
Six marches. Known only from
printed sources; published as separate treble and bass parts; instrumentation
unspecified, though title pages mention flute and violin for treble parts.
May have originated as a keyboard work
|
420
|
|
D major
|
circa 1743–1744
|
|
|
Minuet. 2-stave versions in
autograph; instrumentation unspecified, upper stave violins. May have
originated as a keyboard work
|
421
|
|
D major
|
circa 1743–1744
|
|
|
Same as above
|
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)
|
390
|
G minor
|
circa 1717–1722
|
1733
|
Opus 2 No. 5
|
In Chrysander's "G. F.
Handel's Werke" this piece referred to as Op. 2 No 6
|
391
|
G minor
|
circa 1707
|
1733
|
Opus 2 No. 6
|
In Chrysander's "G. F.
Handel's Werke" this piece referred to as Op. 2 No 7
|
392
|
F major
|
circa 1706–1707
|
|
|
In Chrysander's "G. F.
Handel's Werke" (1879) this composition referred to as Op. 2 No 3. One
of the "Dresden" sonatas. No autograph
|
393
|
G minor
|
probably circa 1719
|
|
|
Authenticity uncertain. In
Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2
No 8
|
394
|
E major
|
|
|
|
Authenticity uncertain. In
Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2
No 9
|
395
|
E minor
|
|
|
|
Authenticity uncertain. Probably
composed by Johann Adolph Hasse (1699–1783)
|
396
|
A major
|
|
1739
|
Opus 5 No. 1
|
|
397
|
D major
|
|
1739
|
Opus 5 No. 2
|
|
398
|
E minor
|
|
1739
|
Opus 5 No. 3
|
|
399
|
G major
|
|
1739
|
Opus 5 No. 4
|
|
400
|
G minor
|
|
1739
|
Opus 5 No. 5
|
|
401
|
F major
|
|
1739
|
Opus 5 No. 6
|
|
402
|
B-flat major
|
|
1739
|
Opus 5 No. 7
|
|
403
|
C major
|
circa 1738
|
|
|
|
404
|
G minor
|
|
|
|
No autograph
|
405
|
F major
|
circa 1707–1710
|
|
|
|
Oratorios
HWV
|
Title
|
Premiere
|
Venue
|
Text
|
46a
|
Il trionfo del Tempo e del
Disinganno
|
June 1707
|
Rome
|
|
46b
|
Il trionfo del Tempo e della
Verità
|
17 March 1737
|
London
|
|
47
|
La resurrezione
|
8 April 1708
|
Rome
|
|
48
|
Brockes Passion
|
23 March 1719
|
Hamburg Cathedral (possibly)
|
|
50a/b
|
Esther
|
probably 1718
|
probably Cannons
|
Stanford
|
51
|
Deborah
|
21 February 1733
|
King's Theatre, London
|
Stanford
|
52
|
Athalia
|
10 July 1733
|
Sheldonian Theatre, Oxford
|
Stanford
|
53
|
Saul
|
16 January 1739
|
King's Theatre, London
|
Stanford
|
54
|
Israel in Egypt
|
4 April 1739
|
King's Theatre, London
|
Stanford
|
55
|
L'Allegro, il Penseroso ed il
Moderato
|
27 February 1740
|
Theatre in Lincoln's Inn
Fields, London
|
Stanford
|
56
|
Messiah
|
13 April 1742
|
New Music Hall, Dublin
|
Stanford
|
57
|
Samson
|
18 February 1743
|
Covent Garden Theatre, London
|
Stanford
|
58
|
Semele
|
10 February 1744
|
Covent Garden Theatre, London
|
Stanford
|
59
|
Joseph and his Brethren
|
2 March 1744
|
Covent Garden Theatre, London
|
Stanford
|
60
|
Hercules
|
5 January 1745
|
King's Theatre, London
|
Stanford
|
61
|
Belshazzar
|
27 March 1745
|
King's Theatre, London
|
Stanford
|
62
|
Occasional Oratorio
|
14 February 1746
|
Covent Garden Theatre, London
|
Stanford
|
63
|
Judas Maccabaeus
|
1 April 1747
|
Covent Garden Theatre, London
|
Stanford
|
64
|
Joshua
|
9 March 1748
|
Covent Garden Theatre, London
|
Stanford
|
65
|
Alexander Balus
|
23 March 1748
|
Covent Garden Theatre, London
|
Stanford
|
66
|
Susanna
|
10 February 1749
|
Covent Garden Theatre, London
|
Stanford
|
67
|
Solomon
|
17 March 1749
|
Covent Garden Theatre, London
|
Stanford
|
68
|
Theodora
|
16 March 1750
|
Covent Garden Theatre, London
|
Stanford
|
69
|
The Choice of Hercules
|
1 March 1751
|
Covent Garden Theatre, London
|
Stanford
|
70
|
Jephtha
|
26 February 1752
|
Covent Garden Theatre, London
|
Stanford
|
71
|
The Triumph of Time and Truth
|
11 March 1757
|
Covent Garden Theatre, London
|
Stanford
|
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
|
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.
|
Italian arias
HWV
|
Title
|
Voice
|
Composed
|
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
|
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).
|
244
|
Kyrie eleison
|
Chorus
|
|
Spurious. Misattributed to Handel;
by A. Lotti ("Missa Sapientiae"). MS copy Handel from circa 1749.
|
245
|
Gloria in excelsis deo
|
Chorus
|
|
Spurious. Misattributed to Handel;
by A. Lotti ("Missa Sapientiae"). MS copy Handel from circa 1749.
|
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."
|
269-77
|
Settings of 'Amen' and
'(H)alleluja, amen'
|
Soprano
|
London, circa 1734–41, 1744–47
|
|
|
284
|
Sinners obey the Gospel word (The
Invitation)
|
Soprano
|
circa 1747
|
Probably at the request of
Priscilla Rich.
|
by Charles Wesley.
|
285
|
O Love divine, how sweet thou art
(Desiring to Love)
|
Soprano
|
circa 1747
|
Probably at the request of
Priscilla Rich.
|
by Charles Wesley.
|
286
|
Rejoice, the Lord is King (On the
Resurrection)
|
Soprano
|
circa 1747
|
Probably at the request of
Priscilla Rich.
|
by Charles Wesley.
|
Cantatas
HWV
|
Title
|
Composed
|
Premiere
|
Venue
|
Notes
|
77
|
Ah che pur troppo è vero
|
Florence, ca. 1707
|
|
|
|
78
|
Ah! crudel, nel pianto mio
|
Rome, August 1708
|
2 September 1708
|
Palazzo Bonelli, Rome
|
|
79
|
Diana cacciatrice or Alla caccia
|
Rome, May 1707
|
May – June 1707
|
Vignanello
|
Copied for Francesco Ruspoli,
1707
|
80
|
Allor ch'io dissi: Addio
|
Rome, 1707–09
|
|
|
|
81
|
Alpestre monte
|
Florence, circa 1707
|
|
|
|
82
|
Amarilli vezzosa or Daliso ed
Amarilli or Il duello amoroso
|
Rome, August 1708
|
Probably 28 October 1708
|
|
Copied for Ruspoli, 1708
|
83
|
Aminta e Fillide or Arresta il
passo
|
Early 1708
|
14 July 1708
|
Rome
|
Copied for Ruspoli, 1708. The
section, "Chi ben ama" printed separately in HG 52b
|
84
|
Aure soavi, e lieti
|
Rome, May 1707
|
|
|
Copied for Ruspoli, 1707, 1708,
1709
|
85
|
Venus and Adonis or Behold where
weeping Venus stands
|
London, circa 1711
|
|
|
No autograph, authenticity
uncertain
|
86
|
Bella ma ritrosetta
|
London, circa 1717–18
|
|
|
|
87
|
Carco sempre di gloria
|
London, 1737
|
16 March 1737
|
London
|
Variant insertion in
"Cecilia, volgi un sguardo" (89), for performances of Alexander's
Feast (HWV 75), 1737, including music for the castrato Annibali
|
88
|
Care selve, aure grate
|
Rome, 1707–08
|
|
|
|
89
|
Cecilia, volgi un sguardo
|
London, January 1736
|
19 or 25 (?) February 1736
|
Covent Garden Theatre, London
|
Played between the two parts
of Alexander's Feast (HWV 75).
|
90
|
Chi rapì la pace al core
|
Florence, circa 1706–07
|
|
|
Copied for Ruspoli, 1709
|
91a
|
Clori, degli occhi miei
|
Florence, late 1707
|
|
|
|
91b
|
Clori, degli occhi miei
|
London, after 1710
|
|
|
|
92
|
Clori, mia bella Clori
|
Rome, 1707–08
|
|
|
|
93
|
Clori, ove sei
|
Italy, 1707–08
|
|
|
|
94
|
Clori, si, ch'io t'adoro
|
|
|
|
No autograph, earliest source
circa 1738–40
|
95
|
Clori, vezzosa Clori
|
Rome, July/August 1708
|
|
|
Copied for Ruspoli, 1708
|
96
|
Clori, Tirsi e Fileno or Cor
fedele in vano speri
|
Rome, July/September 1707
|
|
|
Copied for Ruspoli, 14 October
1707.
|
97
|
Crudel tiranno Amor
|
London, June 1721
|
Probably 5 July 1721
|
King's Theatre, Haymarket, London
|
Performed at the benefit concert
for Margherita Durastanti.
|
98
|
Cuopre tal volta il cielo
|
Italy, 1708
|
|
|
|
99
|
Il delirio amoroso or Da quel
giorno fatale
|
Rome, on or before 14 January
1707.
|
May 1707
|
Cardinal Pamphili's palazzo
|
|
100
|
Da sete ardente afflitto
|
Italy, 1708–09
|
|
|
Copied for Ruspoli, 1709. (HWV
101a & 101b: Dal fatale momento. Spurious, by F. Mancini).
|
102a
|
Dalla guerra amorosa
|
Italy, 1708–09
|
|
|
Copied for Ruspoli, 1709
|
102b
|
Dalla guerra amorosa
|
Italy, 1708–09
|
|
|
Copied for Ruspoli, 1709
|
103
|
Deh! lasciate e vita e volo
|
London, circa 1722–25
|
|
|
|
104
|
Del bel idolo mio
|
Rome, 1708–09
|
|
|
Copied for Ruspoli, 1709
|
105
|
Armida abbandonata or Dietro
l'orme fuggaci
|
Rome, June 1707
|
Possibly 26 June 1707
|
Palazzo Bonelli, Rome
|
Copied for Ruspoli, 1707, 1709.
|
106
|
Dimmi, o mio cor
|
Italy, 1707–09
|
|
|
See note for HWV 132
|
107
|
Ditemi, o piante
|
Rome, July/August 1708
|
|
|
Copied for Ruspoli, 1708
|
108
|
Dolce mio ben, s'io taccio
|
|
|
|
No autograph. No source attributed
to Handel.
|
109a
|
Dolc' è pur d'amor l'affanno
|
London, circa 1717–18
|
|
|
|
109b
|
Dolc' è pur d'amor l'affanno
|
London, ?after 1718
|
|
|
|
110
|
Agrippina condotta a morire or
Dunque sarà pur vero
|
Italy, 1707–08
|
Early in 1708
|
|
First performed by the castrato
soprano, Pasqualino Tiepoli
|
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
|
118
|
Ho fuggito Amore anch'io
|
London, circa 1722–23
|
|
|
Printed without final aria in HG.
|
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
|
125a
|
Lungi da me, pensier tiranno
|
Italy, July – September 1708[1]
|
|
|
1st version; no autographs or
Italian-period copies; one version copied for Francesco Ruspoli, 1708.
|
125b
|
Lungi da me, pensier tiranno
|
London, after 1710
|
|
|
Second version; no autographs.
|
126a
|
Lungi da voi, che siete poli
|
Rome, July/August 1708
|
|
|
|
126b
|
Lungi da voi, che siete poli
|
Rome, 1708
|
|
|
|
126c
|
Lungi da voi, che siete poli
|
Probably London, after 1710.
|
|
|
|
127a
|
Lungi dal mio bel nume
|
Rome, 3 March 1708
|
|
|
|
127b
|
Lungi dal mio bel nume
|
London, after 1710
|
|
|
|
127c
|
Lungi dal mio bel nume
|
London, circa 1725–28
|
|
|
|
128
|
Lungi n'andò Fileno
|
Rome, August 1708
|
|
|
Copied for Ruspoli, 1708
|
129
|
Manca pur quanto sai
|
Rome, July/August 1708
|
|
|
Copied for Ruspoli, 1708
|
130
|
Mentre il tutto è in furore
|
Rome, August 1708
|
|
|
Copied for Ruspoli, 1708
|
131
|
Menzognere speranze
|
Rome, September 1707
|
|
|
Copied for Ruspoli, 1707
|
132a
|
Mi palpita il cor
|
London, after 1710
|
|
|
Borrowings: Version of
"Dimmi, o mio cor" (HWV 106) with new opening.
|
132b
|
Mi palpita il cor
|
London, after 1718
|
|
|
|
132c
|
Mi palpita il cor
|
London, after 1710
|
|
|
|
132d
|
Mi palpita il cor
|
?London, circa 1711–12
|
|
|
|
133
|
Ne' tuoi lumi, o bella Clori
|
Rome, September 1707
|
|
|
Copied for Ruspoli, 1707, 1709
|
134
|
Pensieri notturni di Filli or Nel
dolce dell'oblio
|
Rome, 1707–08. Completed 1709
|
|
|
|
135a
|
Nel dolce tempo
|
Probably Naples, June/July 1708
|
|
|
|
135b
|
Nel dolce tempo
|
London, after 1710
|
|
|
No autographs, and no early
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
|
|
|
|
143
|
Olinto pastore, Tebro fiume,
Gloria or O come chiare e belle
|
Rome, August/September 1708
|
9 September 1708
|
Marquis Ruspoli's Palazzo Bonelli
|
Copied for Ruspoli, 1708. First
performed by the soprano Anna Marie di Piedz
|
144
|
O luceniti, o sereni occhi
|
Rome, 1707–09
|
|
|
|
145
|
La Lucrezia or Oh numi eterni
|
August, 1708
|
|
|
Copied for Ruspoli, 1709. Probably
composed for the soprano, Margherita Durastanti.
|
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
|
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)
|
158a
|
Se pari è la tua fè
|
Rome, 1708
|
|
|
Copied for Ruspoli, 1708, 1709.
|
158b
|
Se pari è la tua fè
|
Probably London, after 1710
|
|
|
|
158c
|
Se pari è la tua fè
|
London, circa 1725–28
|
|
|
|
159
|
Se per fatal destino
|
Rome, early 1707
|
|
|
Copied for Ruspoli, 1707, 1709
|
160a
|
La bianca rosa or Sei pur bella,
pur vezzosa
|
Rome, early 1707
|
|
|
Copied for Ruspoli, 1707, 1709
|
160b
|
La bianca rosa or Sei pur bella,
pur vezzosa
|
London, circa 1725–28
|
|
|
|
160c
|
La bianca rosa or Sei pur bella,
pur vezzosa
|
London, circa 1738–41
|
|
|
|
161a
|
Sento là che ristretto
|
Rome, 1708–09
|
|
|
|
161b
|
Sento là che ristretto
|
|
|
|
|
161c
|
Sento là che ristretto
|
London, circa 1725–28
|
|
|
|
162
|
Siete rose ruggiadose
|
London, circa 1711–12.
|
|
|
Composed with variant
|
163
|
Solitudini care, amata libertà
|
London, after 1710
|
|
|
No autographs or early
Italian-period copies
|
164a
|
Il Gelsomino or Son Gelsomino
|
London, circa 1725–28
|
|
|
|
164b
|
Il Gelsomino or Son Gelsomino
|
London, circa 1717–18
|
|
|
|
165
|
Spande ancor a mio dispetto
|
Italy, 1707–08
|
|
|
|
166
|
Splenda l'alba in oriente
|
London, circa 1711–12
|
|
|
Survives only in fragmentary form.
|
167a
|
Stanco di più soffrire
|
Italy, 1707–08
|
|
|
|
167b
|
Stanco di più soffrire
|
Rome, July/August 1708
|
|
|
|
168
|
Partenza di G. B. or Stelle,
perfide stelle
|
Rome, 1707
|
|
|
|
169
|
Torna il core al suo diletto
|
Probably Rome, 1707–08
|
|
|
|
170
|
Il consiglio or Tra le fiamme
|
Rome, 1707–08
|
|
|
(possibly spring 1708 for the
eminent German gambist Ernst Christian Hesse)
|
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
|
English songs
HWV
|
Title
|
Composed
|
Premiere
|
Venue
|
226
|
Hunting Song or The morning is
charming
|
Tenor
|
1743
|
Voice in treble clef. Autograph,
which survives, presented to Legh in 1751
|
228-1
|
The unhappy Lovers: As Celia's
fatal arrows flew
|
Soprano
|
circa 1730
|
|
228-2
|
Charming Cloris: Ask not the cause
/ The poor Shepherd: The Sun was sunk beneath the Hills
|
Soprano
|
circa 1730
|
|
228-3
|
As on a Sunshine Summer's Day
|
Soprano
|
circa 1729
|
|
228-4
|
Bacchus Speech in Praise of Wine:
Bacchus one day gayly striding
|
Soprano
|
circa 1730
|
|
228-5
|
The Polish Minuet or Miss Kitty
Grevil's Delight: Charming is your shape and air
|
Soprano
|
circa 1720
|
|
228-6
|
The Sailor's Complaint: Come and
listen to my ditty / Hosier's Ghost: As near Portobello lying
|
Soprano
|
circa 1735
|
|
228-7
|
Di godere ha speranza il mio core
/ Oh my dearest, my lovely creature
|
Soprano
|
circa 1719
|
|
228-8
|
The forsaken Maid's Complaint:
Faithless ungrateful / The slighted Swain: Cloe proves false
|
Soprano
|
circa 1720
|
|
228-9
|
From scourging rebellion or A Song
on the Victory obtained over the Rebels by His Royal Highness the Duke of
Cumberland
|
Tenor
|
1746
|
First performance: Sung
by Thomas Lowe at Vauxhall Gardens, 15 May 1746. Composed to
celebrate the Duke of Cumberland's defeat of the Jacobite forces at Culloden
on 16 April 1746
|
228-10
|
The forsaken Nymph: Guardian
Angels now protect me
|
Soprano
|
circa 1735
|
|
228-11
|
I like the am'rous Youth that's
free
|
Soprano
|
1737
|
First performance: 28 February
1737: London, Drury Lane Theatre. Published: 1741. Sung by Catherine
("Kitty") Clive in James Miller's comedy, "The Universal
Passions" (Act II)
|
228-12
|
Phillis: My fair, ye Swains, is
gone astray
|
Soprano
|
circa 1725
|
|
228-13
|
Not, Cloe, that I better am
|
Soprano
|
circa 1730
|
|
228-14
|
Strephon's Complaint of Love: Oh
cruel Tyrant Love
|
Soprano
|
circa 1730
|
|
228-15
|
The Satyr's Advice to a
Stock-Jobber: On the shore of a low ebbing sea / Ye Swains that are courting
a Maid / Molly Mogg: Says my uncle, I pray you discover
|
Soprano
|
circa 1730
|
|
228-16
|
Phillis be kind and hear
|
Soprano
|
circa 1730
|
|
228-17
|
Phillis advised: Phillis the
lovely
|
Soprano
|
circa 1739
|
|
228-18
|
Stand round, my brave boys or Song
made for the Gentlemen Volunteers of the City of London
|
Tenor
|
1745
|
First performance : Sung by
Thomas Lowe in "The Relapse or Virtue in Danger" by John Vanbrugh,
at Drury Lane Theatre, London: 14 November 1745. Published: 1745. Published
as "A Song made for the Gentlemen Volunteers of the City of London"
(1745)
|
228-19
|
The faithful Maid / The Melancholy
Nymph: 'Twas when the seas were roaring
|
Soprano
|
1715
|
First performance: 23 February
1715: London, Drury Lane Theatre. Incidental music; probably sung in John
Gay's "Comic Tragick Pastoral Farce" or "What D'ye Call
it," (Act II)
|
228-20
|
The Rapture / Matchless Clarinda:
When I survey Clarinda's charms / Venus now leaves
|
Soprano
|
circa 1725
|
|
228-21
|
The Death of the Stag: When
Phoebus the tops of the Hills does adorn
|
Soprano
|
circa 1740
|
|
228-22
|
Who to win a Woman's favour
|
Soprano
|
circa 1746
|
|
228-23
|
An Answer to Collin's Complaint:
Ye winds to whome Collin complains
|
Soprano
|
circa 1716
|
|
228-24
|
Yes, I'm in love
|
Soprano
|
circa 1740
|
|
German church cantatas
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
|
Motets
HWV
|
Title
|
Voice
|
Composed
|
Premiere
|
Venue
|
Notes
|
231
|
Coelestis dum spirat aura
|
Soprano
|
Rome, 1707
|
13 June 1707
|
Vignanello
|
Motet for the Feast of St. Anthony
of Padua
|
239
|
O qualis de coelo sonus
|
Soprano
|
Rome, May – June 1707
|
1707
|
Vignanello
|
Premier: Whitsun
|
240
|
Saeviat tellus inter rigores
|
Soprano
|
Rome, 1707
|
16 July 1707
|
Rome
|
Motet for the Feast of Madonna del
Carmine
|
242
|
Silete venti
|
Soprano
|
London, circa 1724
|
|
|
|
Psalm settings
HWV
|
Title
|
Voice
|
Composed
|
Notes
|
Text
|
232
|
Dixit Dominus
|
Soprano, Alto, Chorus
|
April 1707, Rome
|
Dixit Dominus represents Handel's
earliest dated autograph, and it is the earliest surviving autograph from his
large-scale compositions.
|
Psalm 110 (Vulgate 109)
|
236
|
Laudate pueri dominum in F major
|
Soprano
|
circa 1706, Germany
|
Laudate pueri dominum in F major
is Handel's earliest surviving autograph.
|
Psalm 113 (Vulgate 112)
|
237
|
Laudate pueri dominum in D major
|
Soprano, Chorus
|
8 July 1707, Rome
|
|
Psalm 113 (Vulgate 112)
|
238
|
Nisi Dominus
|
Soprano, Alto, Tenor, Bass, Chorus
|
13 July 1707, Rome
|
First performance: Probably
written for a grand Vespers service held at the church of S. Maria di Monte
Santo in Rome on 16 July 1707, the feast day of "Our Lady of Mount
Carmel", the major fesitval of the Carmelite order.
|
Psalm 127 (Vulgate 126)
|
Antiphons
HWV
|
Title
|
Voice
|
Composed
|
Notes
|
235
|
Haec est Regina virginum
|
Soprano
|
Rome, 1707
|
First performance: Probably
written for services held at the church of S. Maria di Monte Santo in Rome
circa 16 July 1707 to celebrate the feast day of "Madonna del
Carmine" (Our Lady of Mount Carmel), the major festival of the Carmelite
order.
|
241
|
Salve Regina
|
Soprano
|
Rome, 1707
|
First performance: Trinity
Sunday, 19 June 1707, Francesco Ruspoli's private chapel
at Vignanello.
|
243
|
Te decus virgineum
|
Alto
|
Rome, 1707
|
First performance: Probably
written for services held at the church of S. Maria di Monte Santo in Rome
circa 16 July 1707 to celebrate the feast day of "Our Lady of Mount
Carmel" (the major fesitval of the Carmelite order).
|
Anthems
HWV
|
Title
|
Composed
|
Premiere
|
Venue
|
Notes
|
Text
|
246
|
O be joyful in the Lord; Chandos
Anthem No. 1 or Jubilate ('Cannons') in D major
|
Cannons,1717–18
|
|
St.
Lawrence, Whitchurch, London
|
Also considered a Canticle.
|
Psalm
100 (the Jubilate).
|
247
|
In the Lord put I my trust;
Chandos Anthem No. 2
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
|
Psalm 9, 11, 12, & 13
from Tate and Brady's New Version of the Psalms of David.
|
248
|
Have mercy upon me; Chandos Anthem
No. 3
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
|
Psalm 51 (the Miserere).
|
249a
|
O sing unto the Lord a new song
|
1714
|
26 September 1714
|
Chapel Royal, St. James's Palace,
London
|
|
Psalm 96
|
249b
|
O sing unto the Lord a new song;
Chandos Anthem No. 4
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
Partly based on "O sing unto
the Lord a new song" (HWV 249a).
|
"Prayer Book" version of
Psalms 93 & 96.
|
250a
|
I will magnify thee; Chandos
Anthem No. 5
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
Two movements added later.
|
Psalms 144 & 145
|
250b
|
I will magnify thee
|
1724
|
5 January 1724
|
Chapel Royal, St. James's Palace,
London
|
|
Psalms 89, 96, 145
|
251a
|
As pants the hart
|
Circa December 1712 to May 1713
|
1713
|
King's Chapel Royal
|
Scored for organ and basso
continuo alone
|
Psalm 42
|
251b
|
As pants the hart
|
Cannons,1717–18
|
1718
|
St. Lawrence, Whitchurch, London
|
Orchestrated version of HWV 251a.
Chandos Anthem No. 6. The first Chandos Anthem composed(?)
|
Psalm 42
|
251c
|
As pants the hart
|
circa 1722
|
7 October 1722
|
Chapel Royal, St. James's Palace,
London
|
Orchestrated version of HWV 251d
|
Psalm 42
|
251d
|
As pants the hart
|
circa 1722
|
|
|
Scored for organ and basso
continuo alone
|
Psalm 42
|
251e
|
As pants the hart
|
1738
|
1738
|
King’s Theatre, Haymarket
|
Written for a benefit evening
|
Psalm 42
|
252
|
My song shall be alway; Chandos
Anthem No. 7
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
Partly derived from the "Te
Deum in D" (HWV 280). The trio "Thou rulest the raging sea" performed
at Cannons but probably spurious; possibly composed by Johann Christoph
Pepusch or Nicola Francesco Haym instead.
|
Psalm 89
|
253
|
O come, let us sing unto the Lord;
Chandos Anthem No. 8
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
|
"Prayer Book" psalms 95
(the venite), 96, 97, 99, 103
|
254
|
O praise the Lord with one
consent; Chandos Anthem No. 9
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
|
Psalms 117, 135, 148 in metrical
versions of Nahum Tate and Nicolas Brady's "New Version of the
Psalms" (1696).
|
255
|
The Lord is my light; Chandos
Anthem No. 10
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
|
Psalms 18, 20, 27–30, 34, 45
|
256a
|
Let God arise; Chandos Anthem
No. 11
|
Cannons,1717–18
|
|
St. Lawrence, Whitchurch, London
|
1st movement of 'symphony' added
later.
|
Psalms 68 & 76
|
256b
|
Let God arise
|
1726
|
?16 January 1726
|
Chapel Royal, St. James's Palace,
London
|
|
Psalm 58
|
257
|
O praise the Lord, ye angels of
his (spurious)
|
|
|
Misattributed to Handel in
Arnold's edition and in HG 36. By Maurice Greene, before 1728.
|
|
|
258
|
Zadok the priest; Coronation
Anthem No. 1
|
9 September 1727 – 11 October 1727
|
11 October 1727
|
Westminster Abbey
|
For the Coronation of King George
II and Queen Caroline. Performed at the Anointing.
|
English version of antiphon
"Unxerunt Salomonem Sadoc sacerdos," after I Kings 1, 39–48.
|
259
|
Let thy hand be strengthened;
Coronation Anthem No. 2
|
9 September 1727 – 11 October 1727
|
11 October 1727
|
Westminster Abbey
|
For the Coronation of King George
II and Queen Caroline. Sung at the Recognition (the King being presented to
the people).
|
Psalm 89: 13–14.
|
260
|
The King shall rejoice; Coronation
Anthem No. 3
|
9 September 1727 – 11 October 1727
|
11 October 1727
|
Westminster Abbey
|
For the Coronation of King George
II and Queen Caroline. Should have been sung at the Recognition, but instead
it was performed at the Crowning.
|
Psalm 21: 1,2,3,5
|
261
|
My heart is inditing; Coronation
Anthem No. 4
|
9 September 1727 – 11 October 1727
|
11 October 1727
|
Westminster Abbey
|
For the Coronation of King George
II and Queen Caroline. Performed during the coronation of the Queen.
|
| |