Георг Фридрих Гендель: Оперы и каталогизация произведений

None

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel Gesellschaft (HG) and the Hallische Händel Ausgabe (HHA), but the more recent Händel Werke Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

+List of operas by George Frideric Handel. All works are opera seria in three acts, unless otherwise stated. HWVTitle PremiereVenueLibrettoNotes1Almira8 January 1705Oper am Gänsemarkt, HamburgFriedrich Christian Feustking, after G. PancieriSingspiel2Nero25 February 1705Oper am Gänsemarkt, HamburgFriedrich Christian FeustkingMusic lost3Florindo1708Oper am Gänsemarkt, HamburgHinrich HinschOnly a copy of the libretto and fragments of the music survive4Daphne1708Oper am Gänsemarkt, HamburgHinrich HinschMusic lost5Rodrigo1707Florenceafter F. Salvani6AgrippinaLate 1709 / Early 1710Teatro San Giovanni Grisostomo, VeniceVincenzo Grimani7a/bRinaldo24 February 1711Queen's Theatre, LondonGiacomo Rossi/Aaron Hill, after Torquato Tasso, La Gerusalemme liberata8a/b/cIl pastor fido22 November 1712Queen's Theatre, LondonGiacomo Rossi, after GuariniThe 1712 version is 8a. The 1734 revised versions are designated 8c. The prologue Terpsicore added to the final version is 8b.9Teseo10 January 1713Queen's Theatre, LondonNicola Francesco Haym, after Philippe Quinault5 acts10SillaJune 1713?London?Giacomo Rossi, after PlutarchMusic reused in Amadigi11Amadigi di Gaula25 May 1715King's Theatre, LondonRossi or Haym (? ), after A. H. de la Motte, 169912a/bRadamisto27 April 1720King’s Theatre, LondonHaym (? ), after D. Lalli13Muzio Scevola15 April 1721King’s Theatre, LondonPaolo Antonio Rolli, after Silvio Stampigliaonly Act 3 by Handel14Floridante9 December 1721King’s Theatre, LondonRolli, after Francesco Silvani La costanza in trionfo15Ottone12 January 1723King’s Theatre, LondonHaym, after S B Pallavicino16Flavio14 May 1723King’s Theatre, LondonHaym, after M Norris17Giulio Cesare20 February 1724King’s Theatre, LondonHaym18Tamerlano31 October 1724King’s Theatre, LondonHaym, after Agostin Piovene and Nicholas Pradon19Rodelinda13 February 1725King’s Theatre, LondonHaym, after Antonio Salvi, after Pierre Corneille20Scipione12 March 1726King’s Theatre, LondonRolli21Alessandro5 May 1726King’s Theatre, LondonO Mauro22Admeto31 January 1727King’s Theatre, LondonHaym23Riccardo Primo11 November 1727King’s Theatre, LondonRolli, after Francesco BrianiA2Genserico (or Olibrio)After N. BereganDrafted early 1728. Only part of Act I. Music mostly used in Siroe and Tolomeo.24Siroe17 February 1728King’s Theatre, LondonHaym, after Metastasio25Tolomeo30 April 1728King’s Theatre, LondonHaym, adapted from Carlo Sigismondo Capece26Lotario2 December 1729King’s Theatre, LondonAfter Antonio Salvi27Partenope24 February 1730King’s Theatre, LondonAfter Silvio Stampiglia28Poro2 February 1731King’s Theatre, LondonAfter MetastasioA5Titus l'EmpereurAfter J. Racine: BéréniceOnly one act (first three scenes) with some music used in Ezio. Composed late 1731.29Ezio15 January 1732King’s Theatre, LondonMetastasio30aFernando, Re di CastigliaA reconstruction of Handel's 1st draft of HWV 30b30bSosarme15 February 1732King’s Theatre, LondonAfter Salvi31Orlando27 January 1733King’s Theatre, LondonAfter Capece, after Ludovico Ariosto's Orlando furioso32Arianna in Creta26 January 1734King’s Theatre, LondonAfter Pietro PariatiA11Oreste18 December 1734Covent Garden Theatre, LondonAdapted from G. G. BarlocciPasticcio, composed in 1734. Music entirely by Handel. Overture published in HG volume 48 (p. 102).33Ariodante8 January 1735Covent Garden Theatre, LondonAfter Salvi, after Ariosto's Orlando Furioso34Alcina16 April 1735Covent Garden Theatre, LondonAfter Ariosto's Orlando Furioso35Atalanta12 May 1736Covent Garden Theatre, LondonAfter Belisario Valeriani36Arminio12 January 1737Covent Garden Theatre, LondonAfter Salvi37Giustino16 February 1737Covent Garden Theatre, LondonAdapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino38Berenice18 May 1737Covent Garden Theatre, LondonAfter Salvi39Faramondo3 January 1738King’s Theatre, LondonAdapted from Apostolo Zeno's FaramondoA13Alessandro Severo25 February 1738King’s Theatre, LondonAdapted from ZenoPasticcio, composed in 1738. Music entirely by Handel. Overture published in HG volume 48 (p. 104).40Serse (Xerxes)15 April 1738King’s Theatre, LondonAfter StampigliaA14Giove in Argo1 May 1739King’s Theatre, LondonAdapted from A. M. LucchiniPasticcio, composed in April 1739. Music entirely by Handel. Semi staged.41Imeneo22 November 1740Theatre in Lincoln's Inn Fields, LondonAfter Stampiglia's Imeneo42Deidamia10 January 1741Theatre in Lincoln's Inn Fields, LondonRolli

+List of incidental music by George Frideric HandelHWVTitlePremiereVenueNotes43The Alchemist14 January 1710Queen's Theatre, LondonInstrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo.44ComusJune 1745Ludlow Castle, ShropshireThree songs and a trio written as part of a private arrangement of John Milton's masque Comus.45AlcesteNot performedA masque which was written for an unproduced play by Tobias Smollett. Music composed between December 1749 and January 1750.218Love's but the frailty of the mind17 March 1740Drury Lane Theatre, LondonSung by Mrs. Kitty Clive at her benefit performance of William Congreve's The Way of the World (Act III). Music composed in London, 1740

+List of oratorios by George Frideric HandelHWVTitlePremiereVenueLibrettoTextNotes46aIl trionfo del Tempo e del DisingannoJune 1707RomeBenedetto Pamphili46bIl trionfo del Tempo e della Verità23 March 1737LondonBenedetto Pamphili47La resurrezione8 April 1708RomeCarlo Sigismondo Capece48Brockes Passion23 March or 3 April 1719Hamburg Cathedral (possibly)Barthold Heinrich Brockes50aEsther?1718probably CannonsJohn ArbuthnotIMSLP. Based on Alexander Pope's work. Originally a masque.50bEsther1 May 1732King's Theatre, LondonJohn ArbuthnotIMSLP. Based on Alexander Pope's work. Contains additions by S. Humphreys51Deborah21 February 1733King's Theatre, LondonSamuel HumphreysStanford52Athalia10 July 1733Sheldonian Theatre, OxfordSamuel HumphreysStanford53Saul16 January 1739King's Theatre, LondonCharles JennensStanford54Israel in Egypt4 April 1739King's Theatre, LondonCharles Jennens?Stanford55L'Allegro, il Penseroso ed il Moderato27 February 1740Theatre in Lincoln's Inn Fields, LondonCharles JennensStanford. Based on John Milton's work.56Messiah13 April 1742New Music Hall, DublinCharles JennensStanford57Samson18 February 1743Covent Garden Theatre, LondonNewburgh HamiltonStanford58Semele10 February 1744Covent Garden Theatre, LondonWilliam CongreveStanfordAn opera catalogued as an oratorio59Joseph and his Brethren2 March 1744Covent Garden Theatre, LondonJames MillerStanford60Hercules5 January 1745King's Theatre, LondonThomas BroughtonStanford61Belshazzar27 March 1745King's Theatre, LondonCharles JennensStanford62Occasional Oratorio14 February 1746Covent Garden Theatre, LondonNewburgh HamiltonStanford63Judas Maccabaeus1 April 1747Covent Garden Theatre, LondonThomas MorellStanford64Joshua9 March 1748Covent Garden Theatre, LondonThomas MorellStanford65Alexander Balus23 March 1748Covent Garden Theatre, LondonThomas MorellStanford66Susanna10 February 1749Covent Garden Theatre, LondonNewburgh Hamilton?Stanford67Solomon17 March 1749Covent Garden Theatre, LondonNewburgh Hamilton?Stanford68Theodora16 March 1750Covent Garden Theatre, LondonThomas MorellStanford69The Choice of Hercules1 March 1751Covent Garden Theatre, LondonThomas Morell?Stanford70Jephtha26 February 1752Covent Garden Theatre, LondonThomas MorellStanford71The Triumph of Time and Truth11 March 1757Covent Garden Theatre, LondonThomas Morell?Stanford

HWVTitlePremiereVenueText49aAcis and Galatea (masque)probably 1718Cannons, near London49bAcis and Galatea (serenata)10 June 1732King's Theatre, LondonStanford72Aci, Galatea e Polifemo19 July 1708Naples73Parnasso in Festa13 March 1734King's Theatre, London74Ode for the Birthday of Queen Anne6 February 1713Royal Palace in London75Alexander's Feast19 February 1736King's Theatre, LondonStanford76Ode for St. Cecilia's Day22 November 1739Theatre in Lincoln's Inn Fields, LondonStanford

+List of cantatas by George Frideric HandelHWVTitleComposedPremiereVenueNotesText77Ah che pur troppo è veroFlorence, c. 170778Ah! crudel, nel pianto mioRome, August 17082 September 1708Palazzo Bonelli, Rome79Diana cacciatrice or Alla cacciaRome, May 1707May – June 1707VignanelloCopied for Francesco Ruspoli, 170780Allor ch'io dissi addioRome, 1707–0881Alpestre monteFlorence, c. 170782Amarilli vezzosa or Daliso ed Amarilli or Il duello amorosoRome, August 1708Probably 28 October 1708Copied for Ruspoli, 170883Aminta e Fillide or Arresta il passoEarly 170814 July 1708RomeCopied for Ruspoli, 1708. The section, "Chi ben ama" printed separately in HG 52b84Aure soavi e lietiRome, May 1707Copied for Ruspoli, 170785Venus and Adonis or Behold where weeping Venus standsLondon, c. 1711No autograph, authenticity uncertain86Bella ma ritrosettaLondon, c. 1717–1887Carco sempre di gloriaLondon, 173716 March 1737LondonVariant insertion in "Cecilia, volgi un sguardo" (89), for performances of Alexander's Feast (HWV 75), 1737, including music for the castrato Domenico Annibali88Care selve, aure grateRome, 1707–0889Cecilia, volgi un sguardoLondon, January 173619 or 25 (?) February 1736Covent Garden Theatre, LondonPlayed between the two parts of Alexander's Feast (HWV 75).90Chi rapì la pace al coreFlorence, c. 1706–07Copied for Ruspoli, 170991aClori, degli occhi mieiFlorence, late 170791bClori, degli occhi mieiLondon, after 171092Clori, mia bella CloriRome, 1707–0893Clori, ove sei?Italy, 1707–0894Clori, si, ch'io t'adoroNo autograph, earliest source c. 1738–4095Clori, vezzosa CloriRome, July/August 1708Copied for Ruspoli, 170896Clori, Tirsi e Fileno or Cor fedele in vano speriRome, July/September 1707Copied for Ruspoli, 14 October 1707.97Crudel tiranno AmorLondon, June 1721Probably 5 July 1721King's Theatre, Haymarket, LondonPerformed at the benefit concert for Margherita Durastanti.98Cuopre tal volta il cieloItaly, 170899Il delirio amoroso or Da quel giorno fataleRome, on or before 14 January 1707. May 1707Cardinal Pamphili's palazzo100Da sete ardente afflittoItaly, 1708–09Copied for Ruspoli, 1709. (HWV 101a & 101b: Dal fatale momento. Spurious, by F. Mancini).102aDalla guerra amorosaItaly, 1708–09Version for bass. Copied for Ruspoli, 1709102bDalla guerra amorosaItaly, 1708–09Version for soprano. Copied for Ruspoli, 1709103Deh! lasciate e vita e voloLondon, c. 1722–25Libretto text by Paolo Antonio Rolli104Del bell'idolo mioRome, 1707–09Copied for Ruspoli in 1709, but possibly written as early as 1707.105Armida abbandonata or Dietro l'orme fuggaciRome, June 1707Possibly 26 June 1707Palazzo Bonelli, RomeCopied for Ruspoli, 1707, 1709.106Dimmi, o mio corItaly, 1707–09See note for HWV 132107Ditemi, o pianteRome, July/August 1708Copied for Ruspoli, 1708108Dolce mio ben, s'io taccioNo autograph. No source attributed to Handel.109aDolc'è pur d'amor l'affannoLondon, c. 1717–18Libretto ?Text by Paolo Antonio Rolli109bDolc'è pur d'amor l'affannoLondon, ?after 1718Libretto: ?Text by Paolo Antonio Rolli110Agrippina condotta a morire or Dunque sarà pur veroItaly, 1707–08Early in 1708First performed by the castrato soprano, Pasqualino TiepoliLibretto: Anonymous111aE partirai, mia vita?Italy, 1707–09111bE partirai, mia vita?London, c. 1725–28112Figli del mesto corProbably Italy, 1707–09No autograph or Italian period copies113Figlio d'alte speranzeFlorence, 1706–07114Filli adorata e caraRome, 1707–08Copied for Ruspoli, 1709115Fra pensieri quel pensieroItaly, 1707–08116Fra tante peneFlorence, 1706–07Copied for Ruspoli, 1709117Hendel, non può mia musaJuly/August 1708Copied for Ruspoli, 1708, 1709Libretto by Cardinal Benedetto Pamphili118Ho fuggito Amore anch'ioLondon, c. 1722–23Printed without final aria in HG. Libretto by Paolo Antonio Rolli119Echeggiate, festeggiate, numi eterni or Io languisco fra le gioieLondon, c. 1710–12Partly lost. Fragments printed in wrong order in HG.120aIrene, idolo mioItaly, 1707–09No autographs or Italian period copies.120bIrene, idolo mioEngland, after 1710No autographs or Italian period copies.121aLa Solitudine or L'aure grate, il fresco rioLondon, c. 1722–23fragment121bLa Solitudine or L'aure grate, il fresco rioLondon, before 1718122Apollo e Dafne or La terra è liberataHanover, 1710Probably begun Venice, 1709123Languia di bocca lusinghieraPossibly composed in Hanover, 1710?fragment124Look down, harmonious saintc. 1736February 1736Covent Garden Theatre, LondonRecitative and aria; probably a discarded fragment for "Alexander's Feast" (HWV 75), 1736. It appeared in the cantata HWV 89Libretto by Newburgh Hamilton, from Cecilian Ode 1720.125aLungi da me, pensier tirannoItaly, July – September 17081st version; no autographs or Italian period copies; one version copied for Francesco Ruspoli, 1708.125bLungi da me, pensier tirannoLondon, after 1710Second version; no autographs.126aLungi da voi, che siete poliRome, July/August 1708126bLungi da voi, che siete poliRome, 1708126cLungi da voi, che siete poliProbably London, after 1710.127aLungi dal mio bel numeRome, 3 March 1708127bLungi dal mio bel nume?London, after 1710127cLungi dal mio bel numeLondon, c. 1725–28128Lungi n'andò FilenoRome, August 1708Copied for Ruspoli, 1708129Manca pur quanto saiRome, July/August 1708Copied for Ruspoli, 1708130Mentre il tutto è in furoreRome, August 1708Copied for Ruspoli, 1708131Menzognere speranzeRome, September 1707Copied for Ruspoli, 1707132aMi palpita il cor?London, after 1710Borrowings: Version of "Dimmi, o mio cor" (HWV 106) with new opening.132bMi palpita il cor?London, after 1718132cMi palpita il cor?London, after 1710132dMi palpita il cor?London, c. 1711–12133Ne' tuoi lumi, o bella CloriRome, September 1707Copied for Ruspoli, 1707, 1709134Pensieri notturni di Filli or Nel dolce dell'oblioRome, 1707–08. Completed 1709135aNel dolce tempoProbably Naples, June/July 1708135bNel dolce tempoLondon, after 1710No autographs, and no early Italian period copies.136aNell'Africane selveNaples, June/July 1708136bNell'Africane selveLondon, after 1710137Nella stagion che di viole e roseRome, April/May 1707Copied for Ruspoli, 1707, 1709. Probably composed for the soprano, Margherita Durastanti.138Nice, che fa? che pensa? ?Hanover, 1710139aNinfe e pastoriRome, 1707–09Copied for Ruspoli, 1709139bNinfe e pastoriProbably London, after 1710139cNinfe e pastoriLondon, c. 1725–28140Nò se emenderá jamásRome, September 1707Copied for Ruspoli, 1707141Non sospirar, non piangereFlorence, Fall 1707142Notte placida e chetaRome, 1707–08Libretto anonymous143Olinto pastore, Tebro fiume, Gloria or O come chiare e belleRome, August/September 17089 September 1708Marquis Ruspoli's Palazzo Bonelli?Copied for Ruspoli, 1708. First performed by the soprano Anna Marie di Piedz144O lucenti, o sereni occhiRome, 1707145Lucrezia (O numi eterni)August 1708Copied for Ruspoli, 1709. Probably composed for the soprano Margherita Durastanti. Libretto by Cardinal Benedetto Pamphili146Occhi miei che faceste?Rome, 1707–08Copied for Ruspoli, 1709147Partì, l'idolo mioLondon, after 1710No autograph or early Italian copies.148Poichè giuraro amoreRome, early 1707Copied for Ruspoli, 1707, 1709149Qual sento io non conosciutoOnly source c. 1738–40150Ero e Leandro or Qual ti riveggio, oh DioRome, 1707Derived from the story of Hero and LeanderLibretto ?Cardinal Pietro Ottoboni.151Qualor crudele, sì ma vaga DoriLondon, after 1710No autograph or early Italian period copies152Qualor l'egre pupilleRome, September 1707Copied for Ruspoli, 1707153Quando sperasti, o coreProbably Naples, June/July 1708Copied for Ruspoli, 1708154Quel fior che all'alba rideLondon, c. 1738–40Published in Handel (ed. Burrows), "Songs and Cantatas for Soprano. "155Sans y penserRome, September 1707Composed in Italy. Copied for Ruspoli, 1707, 1709.156Sarai contenta un diFlorence, 1706–07157Sarei troppo feliceRome, September 1707Copied for Ruspoli, 1707, 1708 (incomplete)Libretto by B. Pamphili.158aSe pari è la tua fèRome, 1708Copied for Ruspoli, 1708, 1709.158bSe pari è la tua fèProbably London, after 1710158cSe pari è la tua fèLondon, c. 1725–28159Se per fatal destinoRome, early 1707Copied for Ruspoli, 1707, 1709160aLa bianca rosa or Sei pur bella, pur vezzosaRome, early 1707Copied for Ruspoli, 1707, 1709160bLa bianca rosa or Sei pur bella, pur vezzosaLondon, c. 1725–28160cLa bianca rosa or Sei pur bella, pur vezzosaLondon, c. 1738–41161aSento là che ristrettoRome, 1708–09161bSento là che ristretto161cSento là che ristrettoLondon, c. 1725–28162Siete rose ruggiadoseLondon, c. 1711–12. Composed with variant163Solitudini care, amata libertàLondon, after 1710No autographs or early Italian period copies164aIl Gelsomino or Son GelsominoLondon, c. 1725–28164bIl Gelsomino or Son GelsominoLondon, c. 1717–18165Spande ancor a mio dispettoItaly, 1707–08166Splenda l'alba in orienteLondon, c. 1711–12Survives only in fragmentary form.167aStanco di più soffrireItaly, 1707–08167bStanco di più soffrireRome, July/August 1708168Partenza di G. B. or Stelle, perfide stelleRome, 1707169Torna il core al suo dilettoProbably Rome, 1707–08170Tra le fiamme (Il consiglio)Rome, 1707Libretto by Cardinal Benedetto Pamphili171Tu fedel? Tu costante?Florence/Rome, 1706–07Copied for Ruspoli, 1707, 1708172Udite il mio consiglioFlorence, 1706–07Copied for Ruspoli, 1707173Un'alma innamorataRome, May 1707June 1707Probably VignanelloCopied for Ruspoli, 1707174Un sospir a chi si muoreFlorence, Fall 1707175Vedendo AmorRome, 1707–08176Amore uccellatore or Venne voglia ad AmoreRome, 1707–08177Zeffiretto, arresta il voloItaly, 1707–09?Copied for Ruspoli, 1709

HWVTitleComposedNotesText178A mirarvi io son intento?Hanover, c. 1711First 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 1735.179Ahi, nelle sorti umaneLondon, 31 August 1745180Amor, gioje mi porgeItaly, c. 1707–09181Beato in ver chi puòLondon, 31 October 1742Italian version of Horace, "Beatus ille"182aCaro autor di mia dogliaProbably Italy, c. 1707–09182bCaro autor di mia dogliaLondon, c. 1742183Caro autor di mia dogliaHanover, c. 1710–12Spurious, by Reinhard Keiser.184Che vai pensando, folle pensierItaly, c. 1707–09185Conservate, raddoppiate?Hanover, c. 1711The 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.186Fronda leggiera e mobileLondon, c. 1745The opening theme also appears in "Belshazzar" (HWV 61) as well as the Concerto a due cori No. 1 (HWV 332)187Giù nei Tartarei regniComposed: Italy, c. 1707188Langue, geme, e sospiraLondon, c. 1722Theme 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)189No, di voi non vuo' fidarmiLondon, 3 July 1741Thematic ideas from 2 movements used in "Messiah" (HWV 56)190No, di voi non vuo' fidarmiLondon, 2 November 1742191Quando in calma ride il mareItaly or Hanover, c. 1707–11192Quel fior che all'alba rideLondon, 1 July 17413rd movement uses theme from, "Quel fior che all'alba ride," (HWV 154). Thematic ideas from 2 movements used in "Messiah" (HWV 56)193Se tu non lasci amoreLondon, c. 1722 (?1711)Thematic idea from 1st movement used in "Messiah" (HWV 56) as the duet, "Oh death, where is thy sting." Sections of the concluding movement use in Esther (HWV 50a), 1718, and there's the hint of the famous Air from the "Water Music. "194Sono liete, fortunate?Hanover, c. 1710–11The final movement was later used in the overture to "Judas Maccabeus" (HWV 63).195Spero indarnoLondon, c. 1730–40Single movement, known only from copies. Authenticity uncertain.196Tacete, ohimè, taceteItaly, c. 1707–09Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse. "197Tanti strali al sen mi scocchi?Hanover, c. 1711Fugal movement later used in "Solomon" (HWV 67) for "Take him all. "198Troppo cruda, troppo fiera?Hanover, c. 1711Autograph lost.199Va, speme infida?Hanover, c. 1711Autograph lost.

+List of Italian trios by George Frideric HandelHWVTitleComposedNotesText200Quel fior che all'alba ride?Italy, c. 1707–09Two versions, slightly different texts.201aSe tu non lasci amoreNaples, 12 July 1708201bSe tu non lasci amore1708First movement longer in Naples autograph than in most copies.

+List of hymns by George Frideric HandelHWVTitleVoiceComposedNotesText202Künft'ger Zeiten eitler KummerSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "203Das zitternde Glänzen der spielenden WellenSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "204Süsser Blumen AmbraflockenSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "205Süsse Stille, sanfte Quelle ruhiger GelassenheitSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "206Singe, Seele, Gott zum PreiseSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "207Meine Seele hört im SehenSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "208Die ihr aus dunkeln GrüftenSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "209In den angenehmen BüschenSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "210Flammende Rose, Zierde der ErdenSopranoLondon, c. 1724–26by B. H. Brockes from "Irdisches Vergnügen in Gott. "284Sinners obey the Gospel word (The Invitation)Sopranoc. 1747Probably at the request of Priscilla Rich. by Charles Wesley.285O Love divine, how sweet thou art (Desiring to Love)Sopranoc. 1747Probably at the request of Priscilla Rich. by Charles Wesley.286Rejoice, the Lord is King (On the Resurrection)Sopranoc. 1747Probably at the request of Priscilla Rich. by Charles Wesley.

+List of Italian arias by George Frideric HandelHWVTitleVoiceComposedText211Aure dolci, deh, spirateAltoLondon, c. 1722–26212Con doppia gloria miaSopranoLondon, c. 1722–26213Con lacrime sì belleAltoLondon, c. 1717–18214Dell'onda instabileAltoLondon, c. 1749215Col valor del vostro brandoSopranoLondon, c. 1711–13216Impari del mio coreSopranoLondon, c. 1749217L'odio, sì, ma poi ritrovòAltoLondon, c. 1722–26219Non so se avrai mai beneSopranoLondon, c. 1710–18220Per dar pace al mio tormentoSopranoLondon, c. 1749221Quant'invidio tua fortunaSopranoLondon, c. 1749222Quanto più amara fu sorte crudeleSopranoLondon, c. 1721–23223S'un dì m'appaga, la mia crudeleSopranoLondon, c. 1738–41224Sì, crudel, torneràSopranoLondon, c. 1738–41225Spera chi sa perchè la sorteAltoLondon, c. 1717–18227Vo' cercando tra fioriSopranoLondon, c. 1726

+List of English songs by George Frideric HandelHWVTitleVoiceComposedNotesText226Hunting Song or The morning is charmingTenor1743Voice in treble clef. Autograph, which survives, presented to Legh in 1751by Charles Legh. Composed in London228 1The unhappy Lovers: As Celia's fatal arrows flewSopranoc. 1730228 2Charming Cloris: Ask not the cause / The poor Shepherd: The Sun was sunk beneath the HillsSopranoc. 1730228 3As on a Sunshine Summer's DaySopranoc. 1729228 4Bacchus Speech in Praise of Wine: Bacchus one day gayly stridingSopranoc. 1730228 5The Polish Minuet or Miss Kitty Grevil's Delight: Charming is your shape and airSopranoc. 1720228 6The Sailor's Complaint: Come and listen to my ditty / Hosier's Ghost: As near Portobello lyingSopranoc. 1735228 7Di godere ha speranza il mio core / Oh my dearest, my lovely creatureSopranoc. 1719228 8The forsaken Maid's Complaint: Faithless ungrateful / The slighted Swain: Cloe proves falseSopranoc. 1720228 9From scourging rebellion or A Song on the Victory obtained over the Rebels by His Royal Highness the Duke of CumberlandTenor1746First 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 1746228 10The forsaken Nymph: Guardian Angels now protect meSopranoc. 1735228 11I like the am'rous Youth that's freeSoprano1737First 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 12Phillis: My fair, ye Swains, is gone astraySopranoc. 1725228 13Not, Cloe, that I better amSopranoc. 1730228 14Strephon's Complaint of Love: Oh cruel Tyrant LoveSopranoc. 1730228 15The 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 discoverSopranoc. 1730228 16Phillis be kind and hearSopranoc. 1730228 17Phillis advised: Phillis the lovelySopranoc. 1739228 18Stand round, my brave boys or Song made for the Gentlemen Volunteers of the City of LondonTenor1745First 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 19The faithful Maid / The Melancholy Nymph: 'Twas when the seas were roaringSoprano1715First performance: 23 February 1715: London, Drury Lane Theatre. Incidental music; sung in Gay's "The Beggar's Opera" Lucy's song XXVIII "How Cruel are the Traytors," probably sung in John Gay's "Comic Tragick Pastoral Farce" or The What D'Ye Call It, (Act II)228 20The Rapture / Matchless Clarinda: When I survey Clarinda's charms / Venus now leavesSopranoc. 1725228 21The Death of the Stag: When Phoebus the tops of the Hills does adornSopranoc. 1740228 22Who to win a Woman's favourSopranoc. 1746228 23An Answer to Collin's Complaint: Ye winds to whome Collin complainsSopranoc. 1716228 24Yes, I'm in loveSopranoc. 1740

+List of German church cantatas by George Frideric HandelHWVTitleComposednotes229 1Das gantze Haupt ist krank à 8Halle, c. 1700–03music lost229 2Es ist der alte Bund, Mensch à 12Halle, c. 1700–03music lost229 3Führwahr, er trug unsere Krankheit à 15Halle, c. 1700–03music lost229 4Thue Rechnung von deinem Haußhalten à 13Halle, c. 1700–03music lost229 5Victoria. Der Tod ist verschlungen à 14Halle, c. 1700–03music lost229 6Was werden wir essen à 10/12Halle, c. 1700–03music lost229 7Wer ist der, so von Edom kömmt à 12Halle, c. 1700–03music lost

+List of Italian sacred cantatas by George Frideric HandelHWVTitleVoiceComposedNotes230Ah! che troppo ineguali or O del ciel! Maria reginaSoprano?Rome 1707–08Recitative and aria.233Donna, che in cielSopranoFirst 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. "234Il pianto di Maria or Giunta l'ora fatalSopranoSpurious. Misattributed to Handel; composed by Giovanni Battista Ferrandini (1710–91).

+List of Latin church music including motets, Psalm settings, and antiphons by George Frideric HandelHWVTypeTitleVoiceKeyComposedPremiereVenueNotesText231MotetCoelestis dum spirat auraSopranoD major/G major?Rome, 170713 June 1707VignanelloMotet for the Feast of St. Anthony of Padua232Psalm settingDixit DominusSoprano, Alto, Tenor, Bass ChorusG minorRome, April 1707Dixit Dominus represents Handel's earliest dated autograph, and it is the earliest surviving autograph from his large scale compositions. Psalm 110(Vulgate 109)235AntiphonHaec est Regina virginumSopranoG major?Rome, 1707?15/16 July 1707RomeProbably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Madonna del Carmine".236Psalm settingLaudate pueri dominumSopranoF major?Hamburg, c. 1706Laudate pueri dominum in F major is Handel's earliest surviving autograph. Might have been composed in Halle, 1701 2. Psalm 113(Vulgate 112)237Psalm settingLaudate pueri dominumSoprano, ChorusD majorRome, 8 July 1707Opening theme originally found in A. Lotti's Missa Sapientiae. Psalm 113(Vulgate 112)238Psalm settingNisi DominusAlto, Tenor, Bass, ChorusG majorRome, 13 July 1707?16 July 1707RomeProbably written for a grand Vespers service held at the church of S. Maria di Monte Santo in Rome, the feast day of "Our Lady of Mount Carmel". The fugal theme is originally found in Antonio Lotti's Missa Sapientiae. Psalm 127(Vulgate 126)239MotetO qualis de coelo sonusSopranoG major?Rome, May – June 170712 June 1707VignanelloFor Pentecost240MotetSaeviat tellus inter rigoresSopranoD major?Rome, 1707?16 July 1707RomeMotet for the Feast of Madonna del Carmine241AntiphonSalve ReginaSopranoG minor?Rome, 1707?19 June 1707VignanelloProbably first performed on Trinity Sunday at Francesco Ruspoli's private chapel.242MotetSilete ventiSopranoB flat majorLondon, c. 1723–25243AntiphonTe decus virgineumAltoG minorRome, 1707?15/16 July 1707RomeProbably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Our Lady of Mount Carmel".244CantataKyrie eleisonChorusMisattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel c. 1749.245CantataGloria in excelsis deoChorusMisattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel c. 1749.269Amen allelujaSoprano, BassD minor1735 46Probably intended as a vocal study.270AmenSoprano, BassF major1735 46Probably intended as a vocal study.271Amen allelujaSoprano, BassG minor1735 46Probably intended as a vocal study.272Alleluja amenSoprano, BassD minor1735 46Probably intended as a vocal study.273Alleluja amenSoprano, BassG major1735 46Probably intended as a vocal study.274Alleluja amenSoprano, BassA minor1735 46Probably intended as a vocal study.276Amen hallelujahSoprano, BassF major1744 47Probably intended as a vocal study.277Hallelujah amenSoprano, BassF major1744 47Probably intended as a vocal study.

+List of anthems by George Frideric HandelHWVTitleComposedPremiereVenueNotesText246O be joyful in the LordCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 1 or Jubilate ('Cannons') in D major. Also considered a Canticle. Opening theme originally found in "Laudate Pueri" (HWV 236), which itself borrowed the theme from A. Lotti's Missa Sapientia. Psalm 100 (the Jubilate).247In the Lord put I my trustCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 2. Transcribed for orchestra by Edward Elgar in 1923 as the Overture in D minor, and by Stokowski in 1924Psalm 9, 11, 12, & 13 from Tate and Brady's New Version of the Psalms of David.248Have mercy upon meCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 3. Psalm 51 (the Miserere).249aO come, let us sing unto the Lord1714?26 September 1714Chapel Royal, St. James's Palace, London. Psalm 96249bO come, let us sing unto the LordCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 4. Partly based on "O sing unto the Lord a new song" (HWV 249a). The overture was later reused in Handel's oboe concerto No. 2. "Prayer Book" version of Psalm 93 & 96.250aI will magnify theeCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 5. Two movements added later. The overture was later reused in Handel's oboe concerto No. 2. Psalms 144 & 145250bI will magnify thee1724?5 January 1724Chapel Royal, St. James's Palace, LondonPsalms 89, 96, 145251aAs pants the hartc. December 1712 to May 17131713King's Chapel RoyalScored for organ and basso continuo alone. Psalm 42251bAs pants the hartCannons, 1717–181718St. Lawrence, Whitchurch, LondonChandos Anthem No. 6 (although believed to be one of the first Chandos Anthems composed). Orchestrated version of HWV 251a. Psalm 42251cAs pants the hartc. 1722?7 October 1722Chapel Royal, St. James's Palace, LondonOrchestrated version of HWV 251d. Psalm 42251dAs pants the hartc. 1722Scored for organ and basso continuo alone. There is no evidence that the work was performed during Handel's lifetime. Psalm 42251eAs pants the hart173828 March 1738King's Theatre, HaymarketWritten for a benefit eveningPsalm 42252My song shall be alwayCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 7. Partly derived from the "Te Deum in D" (HWV 280). The trio "Thou rulest the raging sea" performed at Cannons but probably spurious; possibly composed by Johann Christoph Pepusch or Nicola Francesco Haym instead. Psalm 89253O come, let us sing unto the LordCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 8. "Prayer Book" psalms 95 (the venite), 96, 97, 99, 103254O praise the Lord with one consentCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 9. Psalms 117, 135, 148 in metrical versions of Nahum Tate and Nicolas Brady's "New Version of the Psalms" (1696).255The Lord is my lightCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 10. Psalms 18, 20, 27–30, 34, 45256aLet God ariseCannons, 1717–18St. Lawrence, Whitchurch, LondonChandos Anthem No. 11. 1st movement of 'symphony' added later. Psalms 68 & 76256bLet God arise1726?16 January 1726Chapel Royal, St. James's Palace, LondonPsalm 58257O praise the Lord, ye angels of hisSpurious. Misattributed to Handel in Arnold's edition and in HG 36. By Maurice Greene, before 1728.258Zadok the Priest?9 September 1727 – 11 October 172711 October 1727Westminster AbbeyCoronation Anthem No. 1. For the Coronation of King George II and Queen Caroline. Performed at the Anointing. English version of antiphon "Unxerunt Salomonem Sadoc sacerdos," after I Kings 1, 39–48.259Let Thy Hand Be Strengthened?9 September 1727 – 11 October 172711 October 1727Westminster AbbeyCoronation Anthem No. 2. For the Coronation of King George II and Queen Caroline. Sung at the Recognition (the King being presented to the people). Psalm 89: 13–14.260The King Shall Rejoice?9 September 1727 – October 172711 October 1727Westminster AbbeyCoronation Anthem No. 3. For the Coronation of King George II and Queen Caroline. Should have been sung at the Recognition, but instead it was performed at the Crowning. Psalm 21: 1,2,3,5261My Heart is Inditing?9 September 1727 – 11 October 172711 October 1727Westminster AbbeyCoronation Anthem No. 4. For the Coronation of King George II and Queen Caroline. Performed during the coronation of the Queen. After Psalm 45: 1, 10, 12 and Isaiah 49:23.262This is the day which the Lord hath made(Anthem for the wedding of Princess Anne)173414 March 1734French Chapel, St. James's PalacePerformed during the wedding of William, Prince of Orange, and Anne, Princess Royal. Psalms 45, 118, Proverbs, Ecclesiasticus263Sing unto God(Anthem for the wedding of Prince Frederick)173627 April 1736German Chapel, St. James's Palace, LondonFor the wedding of Frederick, Prince of Wales, and Princess Augusta of Saxe Coburg. Revised for the wedding of Princess Mary. Psalms 68, 106, 128264Funeral Anthem for Queen Caroline5(?) – 12 December 173717 December 1737King Henry VII's Chapel, Westminster AbbeyProbably first performed fully choral without solo movements. The Sinfonia was not performed at the funeral and was probably added later. From Lamentations, Samuel, Job, Ecclesiasticus, Philippians, Wisdom, and Psalms 103, 112.265Dettingen Anthem ("The King Shall Rejoice")30 July – 3 August 174327 November 1743Chapel Royal, St. James's Palace, LondonPerformed during a service in King George II's presence to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. Entirely different setting of the text than "The King Shall Rejoice" from the Coronation Anthems of 1727. Psalms 20, 21266How beautiful are the feet of them (Peace Anthem)174925 April 1749Chapel Royal, St. James's Palace, LondonTo celebrate the peace of Aix la Chapelle (Aachen). Performed with the "Queen Caroline" Te Deum (HWV 280). Isaiah, Psalms 29, 96, Revelation267(?) First draft of the "Peace Anthem" (See HWV 266)Probably early 1749A 209 measure composition of which the last 19 measures are incomplete.268Foundling Hospital Anthem174927 May 1749Foundling Hospital Chapel, LondonFirst performance probably in fully choral version. The solo movements were probably added c. 1751. Psalms 8, 41, 72, 112, Daniel, Revelation

+List of canticles by George Frideric HandelHWVTitleKeyComposedPremiereVenueNotesText278Utrecht Te DeumD major14 January 17137 July 1713St Paul's Cathedral, London"We praise thee, O God" (Ambrosian hymn)279Utrecht JubilateD major?January – February 1713.7 July 1713St Paul's Cathedral, London"O be joyful in the Lord" (Psalm 100)280Te Deum ("Queen Caroline")D major1714?26 September 1714Chapel Royal, St. James's Palace, London"We praise thee, O God" (Ambrosian hymn)281Te Deum ("Chandos" or "Cannons")B flat majorc. 1717–18c. 1717–18St. Lawrence, Whitchurch, LondonComposed by Handel during his stay with the Duke of Chandos at Cannons. "We praise thee, O God" (Ambrosian hymn)282Te DeumA major1726?16 January 1726Chapel Royal, St. James's Palace, London"We praise thee, O God" (Ambrosian hymn)283Te Deum ("Dettingen")D major17 July – c. 29 July 174327 November 1743Chapel Royal, St. James's Palace, LondonPerformed during a service, in King George II's presence, to celebrate his safe return to England. Also, to celebrate the victory of combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. "We praise thee, O God" (Ambrosian hymn)

+List of concertos by George Frideric HandelHWVInstrumentKeyComposedPremiereVenuePublishedOpusNotes287OboeG minor?Hamburg?c.1704–051863"Oboe concerto No. 3"288ViolinB flat majorItaly, c. 1707"Sonata a 5". Possibly for

Corelli in Rome289OrganG minor1735–3619 February 1736London, Covent Garden Theatre1738Opus 4 No. 1First performed with "Alexander's Feast" (HWV 75)290OrganB flat major17355 March 1735London, Covent Garden Theatre1738Opus 4 No. 2First performed with the oratorio "Esther" (HWV 50b)291OrganG minor17355 March 1735London, Covent Garden Theatre1738Opus 4 No. 3Variant versions of last movement. First performed with the oratorio "Esther" (HWV 50b)292OrganF major25 March 17351 April 1735London, Covent Garden Theatre1738Opus 4 No. 4Originally concluded with 'Alleluja' chorus (HG 20, p. 161), short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" (HWV 52)293OrganF major?26 March 1735London, Covent Garden Theatre1738Opus 4 No. 5Performed with revival of "Deborah" (HWV 51).294Harp, later OrganB flat majorc. 1730 for Harp; 1732 for Organunknown; first performed with a choral work (HWV 75) in 1736London, Covent Garden Theatre1738Opus 4 No. 6Composed as a harp concerto, later arranged for organ; served as prototype for the organ concerto series295OrganF major2 April 17394 April 1739London, King's Theatre, Haymarket1740"2nd Set" No. 1Referred to as Organ Concerto "No. 13". The bird song motives of the 2nd movement earned the concerto the nickname, "The Cuckoo and the Nightingale"296aOrganA major173920 March 1739London, King's Theatre, Haymarket1740"2nd Set" No. 2Referred to as organ concerto "No. 14"296bOrganA majorc. 1743–46Pasticcio. Arranged by Handel297OrganD minor1740"2nd Set" No. 3Referred to as organ concerto "No. 15". Arranged from Concerto Grosso Op.6 No.10 (HWV 328).298OrganG major1740"2nd Set" No. 4Referred to as organ concerto "No. 16". Arranged from Concerto Grosso Op.6 No.1 (HWV 319).299OrganD major1740"2nd Set" No. 5Referred to as organ concerto "No. 17". Arranged from Concerto Grosso Op.6 No.5 (HWV 323).300OrganG minor1740"2nd Set" No. 6Referred to as organ concerto "No. 18". Arranged from Concerto Grosso in G minor Op.6 No.6 (HWV 324).301OboeB flat major1740"Oboe concerto No. 1"302aOboeB flat major1740"Oboe concerto No. 2"303OrganD minorc. 1738An adagio for two organs. Ending adapted by Handel to lead into another movement. Later published as the first movement of Organ Concerto in D minor, Op 7 No 4 (HWV 309)304OrganD minorc. 1746?14 February 17461797Sometimes referred to as organ concerto "No. 15". First performed with the premiere of The Occasional Oratorio (HWV 62).305OrganF majorc. 1747–48Sometimes referred to as organ concerto "No. 16". Arranged by Handel from the Concerto a due cori in F major (HWV 334) (3 movements) and Marche in F.306OrganB flat major17 February 174027 February 1740London, Lincoln's Inn Fields Theatre1761Opus 7 No. 1First movement includes an independent pedal part307OrganA major5 February 174318 February 1743London, Covent Garden Theatre1761Opus 7 No. 2Performed with the oratorio Samson (HWV 57)308OrganB flat major1–4 January 17511 March 1751London, Covent Garden Theatre1761Opus 7 No. 3Two variant autographs of 1st movement. Handel's last orchestral work309OrganD minor?c. 1744?14 February 1746London1761Opus 7 No. 4?Performed with premiere of "The Occasional Oratorio" (HWV 62)310OrganG minor31 January 175016 March 1750London, Covent Garden Theatre1761Opus 7 No. 5Performed with "Theodora" (HWV 68). Final gavotte in published version probably added later by Smith Jr.311OrganB flat majorc. 1748–4917491761Opus 7 No. 6Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication343OrganG majorc. 1738–39Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto

+List of concerti grossi by George Frideric HandelHWVKeyComposedPremiereVenuePublishedOpusNotes312B flat major?Hanover, c. 17101734Opus 3 No. 1No Handel autograph. Earliest surviving manuscript score from c. 1724. Probably the earliest concerto in the Op. 3 set313B flat majorc. 1715–17181734Opus 3 No. 2314G majorc. 1717–1718c. 1717–17181734Opus 3 No. 3Arranged (? by Walsh)315F major171620 June 1716London, King's Theatre, Haymarket1734Opus 3 No. 4Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi"Anh. B 319F major1734Opus 3 No. 4a or 4bOf questionable authorship, was removed in Walsh's 2nd edition 316D minor1717–17181734Opus 3 No. 5In Walsh's 2nd edition of the Op. 3 concertos, the 3rd, 4th, & 5th movements were added317D major(?) 1733–17341734Opus 3 No. 6Published by Walsh in 1734 as an organ concerto318C major25 January 1736February 17361740First performance between the acts of the oratorio, Alexander's Feast (HWV 75)319G major29 September 17391740Opus 6 No. 1320F major4 October 17391740Opus 6 No. 2321E minor6 October 17391740Opus 6 No. 3322A minor8 October 17391740Opus 6 No. 4323D major10 October 17391740Opus 6 No. 5Known as the "St. Cecilia's Concerto," as the first two movements and the last use thematic material from the overture to the Ode for St. Cecilia's Day (HWV 76)324G minor15 October 17391740Opus 6 No. 6325B flat major12 October 17391740Opus 6 No. 7326C minor18 October 17391740Opus 6 No. 8327F majorProbably between 10–11 October 17391740Opus 6 No. 9The second two movements were borrowed from the Organ Concerto in F major, HWV 295, and the minuet and allegro fugue from the overture to Imeneo. The newly composed Gigue was originally intended for the Concerto Grosso in F major (HWV 320)328D minor22 October 17391740Opus 6 No. 10The gavotte like last movement was originally intended by Handel for the Concerto Grosso in B minor (HWV 330)329A major30 October 17391740Opus 6 No. 11A reworking of the Organ Concerto in A major, HWV 296.330B minor20 October 17391740Opus 6 No. 12331F major20 March 1723London, Drury Lane TheatreTwo movements, thematically related to the Water Music Suite in F major (HWV 348)331 1F majorWater Music, Suite Variant No 1. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348)331 2F majorWater Music, Suite Variant No 2. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348)332B flat major1747–1748(?) 9 March 1748London, Covent Garden TheatreConcerto a due cori in B flat major, No. 1. Composed for performances with oratorios; probably performed during Joshua (HWV 64)333F major1747–1748(?) 23 March 1748London, Covent Garden TheatreConcerto a due cori in F major, No. 2. Composed for performances with oratorios; probably performed during Alexander Balus (HWV 65)334F major1747–1748(?) 1 April 1748London, Covent Garden TheatreConcerto a due cori in F major, No. 3. Composed for performances with oratorios; probably performed during Judas Maccabaeus (HWV 63)335aD majorc. 1746Version of the overture to the Fireworks music.335bF majorc. 1746Version of the overture to the Fireworks music.

+List of orchestral works by George Frideric HandelHWVTypeKeyComposedPremierePublishedNotes302bLargoF majorc. 1738Autograph headed "Suite de pieces" (presumably this was the opening movement)336OvertureB flat majorc. 1707–1708Autograph lost. Probably completed in Germany or Italy. May be the original French overture to Il Trionfo del Tempo e del Disinganno.337OvertureD majorc. 1722–1725Probably 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.338Adagio/AllegroB minor/D major1722Originally, 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 Ottone339SinfoniaB flat majorc. 1706–17071979No 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 Italy340AllegroG major?c. 1710–1715No autograph341SuiteD major1733Almost certainly spurious342OvertureF majorc. 1736344Chorus and MinuetB flat major1708No autograph. Apparently movements from the Hamburg opera Florindo (HWV 3) (See HWV 354)345MarchD majorbefore 1738No autograph347SinfoniaB flat majorc. 1747348Suite. Water Music suite No. 1F major171717 July 17171788Autograph 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 once349Suite. Water Music suite No. 2D major171717 July 17171788Autograph 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 once350Suite. Water Music suite No. 3G major171717 July 17171788Autograph 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 once351Suite. Music for the Royal FireworksD major174927 April 1749Composed 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, London352SuiteB flat major1706No autograph353SuiteG major1706No autograph354SuiteB flat major1708No autograph355Hornpipe ariaC minor?c. 1710–1715No autograph356HornpipeD major1740No autograph. Composed for Vauxhall Gardens413GigueB flat major1736

+List of solo sonatas for various instruments (with keyboard accompaniment) by George Frideric HandelHWVInstrumentKeyComposedPublishedOpusNotes357OboeB flat majorc. 1707–10One of Handel's earliest extant compositions. Probably written during his years in Italy358UnspecifiedG majorc. 1707–10A "Fitzwilliam" sonata. The autographed manuscript, located in the Fitzwilliam Museum, does not mention instrumentation, nor are there tempo markings for the movements. It is tentatively assigned to the violin in the HHA, though the recorder is also a possibility.359aViolinD minorc. 1724The D minor sonata, headed "Sonata 2", follows the G major sonata (HWV 358) in the Fitzwilliam Museum autograph. Originally written for violin and published in two different E minor versions for the flute. See flute sonata in E minor (HWV 359b)359bFluteE minorc. 17241732Opus 1 No. 1bOf the two sonatas published by Chrysander as Opus 1 Sonata I, this one (Sonata Ib) is the one in Walsh's original edition (where it is called Sonata I).360RecorderG minorc. 17121732Opus 1 No. 2361ViolinA majorc. 1725–261732Opus 1 No. 3The only violin sonata to have been published exactly as written by Handel.362RecorderA minorc. 17121732Opus 1 No. 4363aOboeF majorc. 1711–16363bFluteG majorc. 1711–161732Opus 1 No. 5364aViolinG minorc. 1722–241732Opus 1 No. 6Both Walsh and Chrysander published the work as an oboe sonata.364bViola da gambaG minorc. 1724A transcription of HWV 364a—as suggested by Handel on the manuscript.365RecorderC majorc. 1712Opus 1 No. 7366OboeC minorc. 1711–121732Opus 1 No. 8367aRecorderD minorc. 1712Opus 1 No. 9aMovements 1–5 constitute the "Fitzwilliam Sonata III" in Thurston Dart's arrangement. Originally published Flute Sonata in B minor, Op 1 No 9b (HWV 367b). The contemporary edition of Handel attributes it to the transverse flute, but the autograph manuscript is clearly for the recorder.367bFluteB minorc. 1725–261732Opus 1 No. 9bIn the 'Aylesford' collection the Alla breve appears with the title of FUGE368ViolinG minor1732Opus 1 No. 10Probably spurious369RecorderF majorc. 17121732Opus 1 No. 11370ViolinF major1732Opus 1 No. 12Probably spurious371ViolinD majorc. 1749–50Opus 1 No. 13This sonata represents Handel's last piece of chamber music. The piece was not published by Walsh; the designation Op 1 No.13 is Chrysander's372ViolinA major1732Opus 1 No. 14Probably spurious. The piece was published by Walsh as Op 1 No. 10 in the original edition that had a faked title page naming Roger as the publisher; the designation Op 1 No.14 is Chrysander's373ViolinE major1732Opus 1 No. 15Probably spurious. The piece was published by Walsh as Op 1 No. 12 in the original edition that had a faked title page naming Roger as the publisher; the designation Op 1 No.15 is Chrysander's374FluteA minor1730"Halle sonata No. 1". Authenticity uncertain375FluteE minor1730"Halle sonata No. 2". Authenticity uncertain. The first two movements are identical to those of HWV 366, and the last also appears (out of context) at the end of Walsh's printing of HWV 434376FluteB minor1730"Halle sonata No. 3". Authenticity uncertain377RecorderB flat majorc. 1712All three movements appear as parts of other works378FluteD majorc. 1707?1979No 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'379FluteE minorc. 1727–281879Opus 1 No. 1aThe work's authenticity is unquestioned, but the sonata is not part of Handel's Opus 1 as published by Walsh—having been added by Chrysander.406ViolinA majorc. 1751Adagio and Allegro. Three–part accompaniment (? orchestral short score)407ViolinG majorc. 1738Allegro408ViolinC minorc. 1725–29Allegro. It may be the only surviving fragment of a completed sonata in C minor. Used as the finale to the Recorder sonata in A minor (HWV 362).409RecorderD minorc. 1712Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a)412ViolinA minorc. 1725–26Andante419 1UnspecifiedG majorc. 1710–20HWV 419 1 6 are six marches. They are known only from printed sources; were published as separate treble and bass parts; with instrumentation unspecified, though title pages mention flute and violin for treble parts. May have originated as a keyboard work.419 2UnspecifiedG majorc. 1710–20419 3UnspecifiedG majorc. 1710–20419 4UnspecifiedF majorc. 1710–20419 5UnspecifiedC majorc. 1710–20419 6UnspecifiedC majorc. 1710–20420UnspecifiedD majorc. 1743–44Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work421UnspecifiedD majorc. 1743–44Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work

+List of trio sonatas by George Frideric HandelHWVKeyComposedPublishedOpusNotes380B flat majorAuthenticity uncertain381D minorAuthenticity uncertain382E flat majorAuthenticity uncertain383F majorAuthenticity uncertain384G majorAuthenticity uncertain385D majorAuthenticity uncertain386aC minorc. 1717–17191879In 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 manuscripts386bB minorbefore 17271733Opus 2 No. 1In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 1b387G minor?16991733Opus 2 No. 2Handel's earliest datable composition. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 2388B flat majorc. 1717–17181733Opus 2 No. 3In 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)389F majorc. 1718–17221733Opus 2 No. 4In 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)390aG minorc. 1717–17221733Opus 2 No. 5In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 6390bG minorPublished in HG volume 48. Unlikely to be Handel's work391G minorc. 17071733Opus 2 No. 6In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 7392F majorc. 1706–1707In Chrysander's "G. F. Handel's Werke" (1879) this composition referred to as Op. 2 No 3. One of the "Dresden" sonatas. No autograph393G minorprobably c. 1719Authenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 8394E majorAuthenticity uncertain. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 9395E minorAuthenticity uncertain. Probably composed by Johann Adolph Hasse (1699–1783)396A major1739Opus 5 No. 1397D major1739Opus 5 No. 2398E minor1739Opus 5 No. 3399G major1739Opus 5 No. 4A tempo ordinario movement is based on the overture to "Parnasso in Festa" (HWV 73).400G minor1739Opus 5 No. 5401F major1739Opus 5 No. 6402B flat major1739Opus 5 No. 7403C majorc. 1738404G minorNo autograph405F majorc. 1707–1710

+List of wind ensemble works by George Frideric HandelHWVTypeKeyComposedNotes346MarchF major?before 1729410AriaF majorc. 1725411AriaF majorc. 1725414March for FifeC majorc. 1747415March for FifeD majorc. 1747416MarchD majorc. 1734417MarchD majorc. 1746–1747May have originated as a keyboard work as a two stave version of the march exists418MarchG major?c. 1741422MinuetG majorc. 1746–1747423MinuetG majorc. 1746–1747424OvertureD majorc. 1741'Fitzwilliam' Overture

+List of keyboard works by George Frideric HandelHWVTypeKeyComposedPublishedNotes305bArrangementF minorc. 1747Used as an overture. Solo keyboard arrangement of the Organ Concerto in F major (HWV 305)425Air (Saraband)E majorAn individual movement. Composed by Handel at St. Giles extempore. Autograph c. 1740–50 includes Handel's transcription of opening melody426Suite de pièce Vol. 1 No. 1A majorprior to 17201720427Suite de pièce Vol. 1 No. 2F majorprior to 17201720428Suite de pièce Vol. 1 No. 3D minorprior to 17201720429Suite de pièce Vol. 1 No. 4E minorprior to 17201720430Suite de pièce Vol. 1 No. 5E majorprior to 172017204th.“The Harmonious Blacksmith” or "Air and Variations in E major". Also found in early manuscript scores as a "Chaconne" in G major (at least 2 variant forms)431Suite de pièce Vol. 1 No. 6F sharp minorprior to 17201720432Suite de pièce Vol. 1 No. 7G minorprior to 172017206th. Passacaglia433Suite de pièce Vol. 1 No. 8F minorprior to 17201720434Suite de pièce Vol. 2 No. 1B flat major?1710–17171733434 4: minuet in G minor which is also used in the flute sonata in E minor (HWV 375). Not part of the Suite de piece in B flat major. 434 3 has the theme used by Johannes Brahms for his Handel Variations.435Suite de pièce Vol. 2 No. 2G major?1705–1717173321 variations. A chaconne. The Ritornello in G major (HWV 343) was added to this composition436Suite de pièce Vol. 2 No. 3D minorNowrap|c. 1721–17261733437Suite de pièce Vol. 2 No. 4D minorc. 1703–170617334th. Sarabande: the piece was used in an orchestral arrangement for Stanley Kubrick's Barry Lyndon.438Suite de pièce Vol. 2 No. 5E minorc. 1710–17171733439Suite de pièce Vol. 2 No. 6G minorc. 1703–17061733440Suite de pièce Vol. 2 No. 7B flat majorc. 1703–17061733revised 1717–18441Suite de pièce Vol. 2 No. 8G majorc. 1703–17061733442Suite de piece Vol. 2 No. 9G majorc. 1703–1706173362 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh)443SuiteC major1700–1703Includes Chaconne (of which there are 26 variations)444PartitaC minorc. 1705–1706445SuiteC minor1705–1706446SuiteC minorc. 1703–1706Composed for two harpsichords, but the music for only one harpsichord survives447SuiteD minorc. 1738–1739Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452)448SuiteD minorc. 1705–1706449SuiteD minorc. 1705450PartitaG majorc. 1700–1705451SuiteG minorc. 1703–1706Allemande and Courante only452SuiteG minorc. 1738–1739Written for Princess Louisa. Companion piece to the Suite in D minor (HWV 447)453SuiteG minorc. 1705–1706454PartitaA majorc. 1703–1706455SuiteB flat majorc. 1705Keyboard version of the overture in B flat major (HWV 336) and the suite in B flat major (HWV 354)456 1Arrangementc. 1720–1727Arrangement of the overture to the Italian opera "Il pastor fido"456 2Arrangementc. 1720–1727Arrangement of the overture to the Italian opera "Amadigi"456 3Arrangementc. 1720–1727Arrangement of the overture to the Italian opera "Flavio"456 4Arrangementc. 1720–1727Arrangement of the overture to the Italian opera "Rodelinda"456 5Arrangementc. 1720–1727Arrangement of the overture to the Italian opera "Riccardo Primo"457AirC majorc. 1720–1721458AirC minor?c. 1710–1720Authenticity uncertain459AirC minor?c. 1710–1720Authenticity uncertain460Air (March)D majorc. 1720–1721461Air (Hornpipe)D minorc. 1717–1718462Air and minuetD minorc. 1724–1726463AirF majorc. 1707–1709464AirF majorc. 1724–1726A version of the air from the "Water Music" (HWV 348–350)465Air and two DoublesF majorc. 1710–1720466AirG minorc. 1710–1720For two manual harpsichord (or possibly organ)467Air LentementG minorc. 1710–1720468AirA majorc. 1727–1728469AirB flat majorc. 1738–1739Re used in orchestral form in the Sinfonia in B flat major (HWV 347) and the Organ Concerto in B flat major (HWV 311)470AirB flat majorc. 1710–1720For two manual harpsichord (or possibly organ)471AirB flat majorc. 1710–1720472AllegroC majorc. 1705473AllegroC major25 August 1738Clock Organ474AirG majorc. 1736–1738Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ475AllegroD minorc. 1710–1720476AllemandeF majorc. 1730–1735477AllemandeA majorc. 1724–1726478AllemandeA minorc. 1705479AllemandeB minorc. 1721–1722480ChoraleG minorc. 1736–1740Chorale melody "Jesu, meine Freude" in the middle part. Possibly for organ. A two bar epilogue may represent a planned variation481CapriccioF majorc. 1703–1706482 1Arrangementc. 1720–1725Arrangement of the overture to the Italian opera 'Rinaldo'482 2Arrangementc. 1720–1725Arrangement of the overture to the Italian opera 'Floridante'482 3Arrangementc. 1720–1725Arrangement of the overture to the Italian opera 'Radamisto'482 4Arrangementc. 1720–1725Arrangement of the overture to the Italian opera 'Muzio Scevola'483CapriccioG minorc. 1720–1721484Chaconne with 49 variationsC majorc. 1700–1705Version of the Chaconne in Suite HWV 443485ChaconneF majorc. 1705For a two manual harpsichord486ChaconneG minorc. 1705487ConcertoG majorc. 1710–1720Two movements488Allegro (Courante)F majorc. 1717–1718In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442)489CouranteB minorc. 1722490Fantasie pour le clavecin,C majorc. 1703–1706491GavotteG majorc. 1705492GigueF majorc. 1726–1727493GigueG minorc. 1704–1705Two versions494Impertinence (Bourée)G minorc. 1705495LessonD minorc. 1705–1710Early form (two variants) of the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428), movement six496LessonA minorc. 1715–1720497 to 55862 MinuetsVariousTwo stave pieces, probably for keyboard. Some related to minuets in other works559PassepiedC majorc. 1721–1722560PassepiedA majorc. 1705561PreludeD minorc. 1705–1706Version of the prelude to the Suite de pièce in D minor, Vol. 2 No. 4 (HWV 437)562Prelude (Harpeggio)D minorc. 1711–1712563PreludeD minorc. 1700–1703564PreludeD minorc. 1705565PreludeD minorc. 1710–1720An early version of the Prelude to the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428)566PreludeE majorc. 1710–1720Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)567PreludiumF majorc. 1710–1720568PreludiumF minorc. 1710–1720Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433)569PreludiumF minor?c. 1710–1720Arpeggio del Cook. Authorship uncertain570Prelude (Harpeggio)F sharp minorc. 1717–1718Originally associated with the Suite de pièce in F sharp minor, Vol. 1 No. 6 (HWV 431)571Prelude and CapriccioG majorc. 1703–1706Two movements572PreludeG minorc. 1710–1717Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432)573Prelude (Harpeggio)G minorc. 1705574Prelude and Allegro (Sonata)G minorc. 1705Two movements575Prelude (Harpeggio)A minorc. 1717–1718Coupled with the "Lesson in A minor"; HWV 496576Prelude and AllegroA minorc. 1705–1706Two movements577Sonata (Fantasia) pour le clavecin,C majorc. 1703–1705578SonataC majorc. 1750Clock Organ. Music related to a setting of 'Amen' (HWV 277), the Concerto Grosso in C major for "Alexander's Feast" (HWV 318), and the "Air Lentement in G minor" (HWV 467)579Sonata (Fantasia)G major?c. 1707–1710For a two manual harpsichord (or possibly organ)580Sonata (Larghetto)G minor?c. 1707–1710One movement581SonatinaD minorc. 1705One movement582Sonatina (Fugue)G majorc. 1721–1722One movement583SonatinaG minor?c. 1721–1722One movement584SonatinaA minorc. 1706–1708One movement. Authenticity uncertain585SonatinaB flat majorc. 1721–1722One movement586ToccataG minorc. 1710–1720587 to 597Eleven piecesC, F, and Gc. 1735–1740"10 [sic] Tunes for Clay's Musical Clock" (Clock Organ). Includes arrangements of opera arias598 to 604Seven piecesC major, A minorc. 1730–1740Clock Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels. "605FugueG minorc. 1711–17181735No 1 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735606FugueG majorc. 1711–17181735No 2 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735607FugueB flat majorc. 1711–17181735No 3 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735608FugueB minorc. 1711–17181735No 4 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735609FugueA minorc. 1711–17181735No 5 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735610FugueC minorc. 1711–17181735No 6 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735611FugueF majorc. 1705No autograph612FugueE majorNo autograph. Single source is from a manuscript of organ voluntaries; probably authentic, though the text of final bars is defective. The fugue subject is related to the "Water Music" overtureA151 – 37MinuetsVariousArranged from music of opera arias

+List of Handel's compositions that are not included in the HWV CatalogueGenreNameComposedPremiereVenueNotesAriaThe Beauteous Cloe or 'Cloe, you're witty'A recycling of the aria 'S'io dir potessi' from Ottone (HWV 15), possibly by Handel himself. AriaDicente mis ojosReworked version of the final aria of the Spanish cantata Nò se emenderá jamás (HWV 140)SongThe Dream or 'Beneath a shady willow'Based on the middle section of the opening chorus of Acis and Galatea (HWV 49a)Latin sacred cantataGloria?1703–17093 June 2001The International Händel Göttingen FestivalFor soprano, two part violins, basso continuo. Identified in the year 2001 at the Royal Academy of Music's library (London). The manuscript is not in Handel's hand. Italian AriaLusinga questo corc. 1712–1717For soprano. Probably completed in LondonOrchestralMarch in 'Judas Maccabaeus' in F majorc. 1747–1748As addition to oratorio "Judas Maccabaeus" (HWV 63) or to Concerto a due cori in F major (HWV 334)Wind ensembleMarche in G majorc. 1746–1747Independent wind version of the oratorio, "Judas Maccabeus" march (HWV 63, no. 32a)Wind ensembleMarche lentement in C majorc. 1741Wind version of the oratorio, Samson's (HWV 57) "Dead March"Italian AriaNo Kossi presto nòFor soprano. Text apparently macaronic Italian GermanAriaDer Mund spricht zwarReworked version of the aria from the opera Almira (HWV 1)Opera (pasticcio)Lucio Vero1745November 1745King's Theatre, LondonA pasticcio opera containing music by Handel and performed by the "Middlesex" opera company (named after Lord Middlesex)Oratorio (pasticcio)173828 March 1738King's Theatre, Haymarket, LondonHandel's benefit performance. Bilingual pasticcio, including much music from "Deborah" (HWV 51), "As pants the hart" (Chandos Anthem No. 6; HWV 251b), a Coronation Anthem, and organ concertosOratorio (pasticcio)Nabal16 March 1764Covent Garden Theatre, LondonOratorio (pasticcio)RebeccaOratorio (pasticcio)Gideon10 February 1769Covent Garden Theatre, LondonAriaQuand on suit l'amoureuse loiA short da capo aria in the style of a gavotteOperaRossane1743November 1743King's Theatre, LondonRevived 24 February 1747 and 20 February 1748 at the King’s Theatre, Haymarket, London. Lampugnani arranged music from Handel's "Alessandro" (HWV 21), which was subsequently performed by the "Middlesex" opera companyFrench songSans y penserAnother version of the French song (HWV 155) in a lower key and a simpler bass lineItalian AriaSa perchè pena il corc. 1712–1717For altoOrchestral SuiteWater Music chamber suiteNine movements. The arrangement is contemporary, but the authenticity is uncertain. Published by Burrows in 1991Secular/Sacred Hybrid OratorioTobitCompiled by John Christopher Smith from Handel’s operas, oratorios and other works, the oratorio Tobit, sometimes described as a pastiche, provided a winning synthesis of religion and entertainment at a time when newly minted oratorios, drawing chiefly on biblical subjects were in vogue.