George Frederick Handel

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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.	After Psalm 45: 1, 10, 12 and Isaiah 49:23.