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George Frederick Handel



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.