Usuario:Antur/atico2
La siguiente es una lista de las obras compuestas por Georg Friedrich Händel, según catálogo HWV, incluyendo fecha y lugar de estreno, y enlaces a material adicional sobre la música y textos:
Óperas
editarIncidental Music
editarHWV | Title | Premiere | Venue | Notes | Text |
---|---|---|---|---|---|
43 | The Alchemist | 14 January 1710 | Queen's Theatre, London | Instrumental music for the revival of Ben Johnson's play. | |
44 | Music for Comus | circa 9 June 1745 | Exton, Rutland | Written for a private performance of the masque Comus. | |
45 | Alceste (Masque) | Not performed | Written for a play by Tobias Smollett which was not produced. Music composed December 1749—January 1750. |
||
218 | Love's but the frailty of the mind | 17 March 1740 | Drury Lane Theatre, London | Sung by Mrs. Kitty Clive at her benefit performance of William Congreve's "The Way of the World" (Act III). Music composed in London, 1740 |
Oratorios
editarOdes and Masques
editarHWV | Title | Premiere | Venue | Text |
---|---|---|---|---|
72 | Aci, Galatea e Polifemo | 19 July 1708 | Naples | |
49a | Acis and Galatea (masque) | probably 1718 | London | |
49b | Acis and Galatea (Serenata) | 10 June 1732 | King's Theatre, London | Stanford |
73 | Parnasso in festa | 13 March 1734 | King's Theatre, London | |
74 | Ode for the Birthday of Queen Anne | 6 February 1713 | Royal Palace in London | |
75 | Alexander's Feast | 19 February 1736 | King's Theatre, London | Stanford |
76 | Ode for St. Cecilia's Day | 22 November 1739 | Theatre in Lincoln's Inn Fields, London | Stanford |
Cantatas
editarHWV | Title | Composed | Premiere | Notes | Text |
---|---|---|---|---|---|
77 | Ah che pur troppo è vero | Florence, ca. 1707 | |||
78 | Ah! crudel, nel pianto mio | Rome, August 1708 | 2 September, 1708, Palazzo Bonelli, Rome | ||
79 | Diana cacciatrice or Alla caccia | Rome, May 1707 | May-June 1707, Vignanello | Copied for Ruspoli, 1707 | |
80 | Allor ch'io dissi: Addio | Rome, 1707-9 | |||
81 | Alpestre monte | Florence, circa 1707 | |||
82 | Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso | Rome, August 1708 | Probably October 28, 1708 | Copied for Ruspoli, 1708 | |
83 | Aminta e Fillide or Arresta il passo | Early 1708 | Rome, 14 July, 1708 | 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, between parts of "Alexander's Feast" (75), London | Variant insertion in "Cecilia, volgi un sguardo" (89), for performances of "Alexander's Feast" (75), 1737, including music for the castrato Annibali | |
88 | Care selve, aure grate | Rome, 1707/8 | |||
89 | Cecilia, volgi un sguardo | London, January 1736 | 19 or 25 (?) February 1736, London, Covent Garden Theatre. | Played between the two parts of Alexander's Feast (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 performed 5 July 1721, London, King's Theatre, Haymarket. | 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. | At Cardinal Pamphili's palato in May 1707. | ||
100 | Da sete ardente afflitto | Italy, 1708–09 | Copied for Ruspoli, 1709. (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 | Libretto text by Paolo Antonio Rolli | ||
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 132 note. | ||
107 | Ditemi, o piante | Rome, July/August 1708 | Copied for Ruspoli, 1708 | ||
108 | Dolce mio ben, s'io taccio | No autograph. No source attributed to Handel. | |||
109a | Dolc' è pur d'amor l'affanno | London, circa 1717–18 | Libretto ?Text by Paolo Antonio Rolli | ||
109b | Dolc' è pur d'amor l'affanno | London, ?after 1718 | Libretto: ?Text by Paolo Antonio Rolli | ||
110 | Agrippina condotta a morire or Dunque sarà pur vero | Italy, 1707-8 | Early in 1708 | First performed by the castrato soprano, Pasqualino Tiepoli | Libretto: Anonymous |
111a | E partirai, mia vita? | Italy, 1707–09 | |||
111b | E partirai, mia vita? | London, circa 1725–28 | |||
112 | Figli del mesto cor | Probably Italy, 1707–09 | No autograph or Italian-period copies | ||
113 | Figlio d'alte speranze | Florence, 1706–07 | |||
114 | Filli adorata e cara | Rome, 1707–08 | Copied for Ruspoli, 1709 | ||
115 | Fra pensieri quel pensiero | Italy, 1707–08 | |||
116 | Fra tante pene | Florence, 1706–07 | Copied for Ruspoli, 1709 | ||
117 | Hendel, non può mia musa | July/August, 1708 | Copied for Ruspoli, 1708, 1709 | Libretto by Cardinal Benedetto Pamphili | |
118 | Ho fuggito Amore anch'io | London, circa 1722–23 | Printed without final aria in HG. | Libretto by Paolo Antonio Rolli | |
119 | Echeggiate, festeggiate, numi eterni or Io languisco fra le gioie | London, circa 1710–12 | Partly lost. Fragments printed in wrong order in HG. | ||
120a | Irene, idolo mio | Italy, 1707–09 | No autographs or Italian-period copies. | ||
120b | Irene, idolo mio | England, after 1710 | No autographs or Italian-period copies. | ||
121a | La Solitudine or L'aure grate, il fresco rio | London, circa 1722–23 | fragment | ||
121b | La Solitudine or L'aure grate, il fresco rio | London, before 1718 | |||
122 | Apollo e Dafne or La terra è liberata | Probably begun Venice, 1709. Completed Hanover, 1710 | |||
123 | Languia di bocca lusinghiera | Possibly composed in Hanover, 1710 | ?fragment | ||
124 | Look down, harmonious saint | circa 1736 | February 1736 London, Covent Garden Theatre | Recitative and aria; probably a discarded fragment for "Alexander's Feast" (75), 1736. It appeared in the cantata HWV 89 | Libretto by Newburgh Hamilton, from Cecilian Ode 1720. |
125a | Lungi da me, pensier tiranno | Italy, 1707–09 | No autographs or Italian-period copies. One version copied for Ruspoli, 1708. | ||
125b | Lungi da me, pensier tiranno | London, after 1710 | No autographs or Italian-period copies. One version copied for Ruspoli,1708. | ||
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 | Completed score 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" (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 score 1709 | |||
135a | Nel dolce tempo | Probably Naples, June/July 1708 | |||
135b | Nel dolce tempo | London, after 1710 | No autographs, and no early Italian-period copies. | ||
136a | Nell' Africane selve | Naples, June/July 1708 | |||
136b | Nell' Africane selve | London, after 1710 | |||
137 | Nella stagion che di viole e rose | Rome, April/May 1707 | Copied for Ruspoli, 1707, 1709. Probably composed for the soprano, Margherita Durastanti. | ||
138 | Nice, che fa? che pensa? | ?Hanover, 1710 | |||
139a | Ninfe e pastori | Rome, 1707–09 | Copied for Ruspoli, 1709 | ||
139b | Ninfe e pastori | Probably London, after 1710 | |||
139c | Ninfe e pastori | London, circa 1725–28 | |||
140 | Nò se emenderá jamás | Rome, September 1707 | Copied for Ruspoli, 1707 | ||
141 | Non sospirar, non piangere | Florence, Fall 1707 | |||
142 | Notte placida e cheta | Rome, 1707–08 | Libretto anonymous | ||
143 | Olinto pastore, Tebro fiume, Gloria or O come chiare e belle | Rome, August/September 1708 | 9 September, 1708 at the 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. | Libretto by Cardinal Benedetto Pamphili | |
146 | Occhi miei che faceste? | Rome, 1707–08 | Copied for Ruspoli, 1709 | ||
147 | Partì, l'idolo mio | London, after 1710 | No autograph or eary Italian copies. | ||
148 | Poichè giuraro amore | Rome, early 1707 | Copied for Ruspoli, 1707, 1709 | ||
149 | Qual sento io non conosciuto | Only source circa 1738–40 | |||
150 | Ero e Leandro or Qual ti riveggio, oh Dio | Rome, 1707 | Derived from the story of Hero and Leander | Libretto ?Cardinal Pietro Ottoboni. | |
151 | Qualor crudele, sì ma vaga Dori | London, after 1710 | No autograph or early Italian-period copies | ||
152 | Qualor l'egre pupille | Rome, September 1707 | Copied for Ruspoli, 1707 | ||
153 | Quando sperasti, o core | Probably Naples, June/July 1708 | Copied for Ruspoli, 1708 | ||
154 | Quel fior che all'alba ride | London, circa 1738–40 | Published in Handel (ed. Burrows), "Songs and Cantatas for Soprano." | ||
155 | Sans y penser | Rome, September 1707 | Composed in Italy. Copied for Ruspoli, 1707, 1709. | ||
156 | Sarai contenta un di | Florence, 1706–07 | |||
157 | Sarei troppo felice | Rome, September 1707 | Copied for Ruspoli, 1707, 1708 (incomplete) | Libretto by B. Pamphili. | |
158a | Se pari è la tua fè | Rome, 1708 | Copied for Ruspoli, 1708, 1709. | ||
158b | Se pari è la tua fè | Probably London, after 1710 | |||
158c | Se pari è la tua fè | London, circa 1725–28 | |||
159 | Se per fatal destino | Rome, early 1707 | Copied for Ruspoli, 1707, 1709 | ||
160a | La bianca rosa or Sei pur bella, pur vezzosa | Rome, early 1707 | Copied for Ruspoli, 1707, 1709 | ||
160b | La bianca rosa or Sei pur bella, pur vezzosa | London, circa 1725–28 | |||
160c | La bianca rosa or Sei pur bella, pur vezzosa | London, circa 1738-41 | |||
161a | Sento là che ristretto | Rome, 1708–09 | |||
161b | Sento là che ristretto | ||||
161c | Sento là che ristretto | London, circa 1725–28 | |||
162 | Siete rose ruggiadose | (with variant), London, circa 1711-12. | |||
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) | Libretto by Cardinal Benedetto Pamphili | |
171 | Tu fedel? Tu costante? | Florence/Rome, 1706–07 | Copied for Ruspoli, 1707, 1708 | ||
172 | Udite il mio consiglio | Florence, 1706-7 | Copied for Ruspoli, 1707 | ||
173 | Un' alma innamorata | Rome, May 1707 | Probably Vignanello, June 1707 | Copied for Ruspoli, 1707 | |
174 | Un sospir a chi si muore | Florence, Fall 1707 | |||
175 | Vedendo Amor | Rome, 1707–08 | |||
176 | Amore uccellatore or Venne voglia ad Amore | Rome, 1707–08 | |||
177 | Zeffiretto, arresta il volo | Italy, 1707–09 | ?Copied for Ruspoli, 1709 |
Italian Duets
editarHWV | 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 1707-9 | ||
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 1707-9 | ||
182b | Caro autor di mia doglia | London, circa 1742 | ||
183 | Caro autor di mia doglia -- Spurious | Hanover, circa 1710-12 | Spurious, by Reinhard Keiser. | |
184 | Che via pensando, folle pensier | Italy, circa 1707-9 | ||
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 1707-9 | 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
editarHWV | Title | Composed | Notes | Text |
---|---|---|---|---|
200 | Quel fior che all'alba ride | ?Italy, circa 1707-9 | Two versions, slightly different texts. | |
201a | Se tu non lasci amore | Naples, 12 July 1708 | ||
201b | Se tu non lasci amore | 1708 | First movement longer in Naples autograph than in most copies. |
Hymns
editarHWV | Title | Voice | Composed | Notes | Text |
---|---|---|---|---|---|
202 | Künft' ger Zeiten eitler Kummer | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
203 | Das zitternde Glänzen der spielenden Wellen | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
204 | Süsser Blumen Ambraflocken | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
205 | Süsse Stille, sanfte Quelle ruhiger Gelassenheit | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
206 | Singe, Seele, Gott zum Preise | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
207 | Meine Seele hört im Sehen | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
208 | Die ihr aus dunkeln Grüften | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
209 | In den angenehmen Büschen | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
210 | Flammende Rose, Zierde der Erden | Soprano | London, circa 1724-6 | by B.H. Brockes from "Irdisches Vergnügen in Gott." | |
269-77 | Settings of 'Amen' and '(H)alleluja, amen' | Soprano | London, circa 1734-41, 1744-7 | ||
284 | Sinners obey the Gospel word (The Invitation) | Soprano | circa 1747 | Probably at the request of Priscilla Rich. | by Charles Wesley. |
285 | O Love divine, how sweet thou art (Desiring to Love) | Soprano | circa 1747 | Probably at the request of Priscilla Rich. | by Charles Wesley. |
286 | Rejoice, the Lord is King (On the Resurrection) | Soprano | circa 1747 | Probably at the request of Priscilla Rich. | by Charles Wesley. |
Italian Arias
editarHWV | Title | Voice | Composed | Text |
---|---|---|---|---|
211 | Aure dolci, deh, spirate | Alto | London, circa 1722-6 | |
212 | Con doppia gloria mia | Soprano | London, circa 1722-6 | |
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 1722-6 | |
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 1721-3 | |
223 | S'un di m'appaga, la mia crudele | Soprano | London, circa 1738-41 | |
224 | Si, crudel, tornerà | Soprano | London, circa 1738-41 | |
225 | Spera chi sa perchè la sorte | Alto | London, circa 1717-18 | |
227 | Vo' cercando tra fiori | Soprano | London, circa 1726 |
English Songs
editarHWV | Title | Voice | Composed | Notes | Text |
---|---|---|---|---|---|
226 | Hunting Song or The morning is charming | Tenor | London, 1743 | Voice in treble clef. Autograph, which survives, presented to Legh in 1751 | by Charles Legh |
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
editarHWV | Title | Composed |
---|---|---|
229-1 | Das gantze Haupt ist krank à 8 | Halle, circa 1700-3 |
229-2 | Es ist der alte Bund, Mensch à 12 | Halle, circa 1700-3 |
229-3 | Führwahr, er trug unsere Krankheit à 15 | Halle, circa 1700-3 |
229-4 | Thue Rechnung von deinem Haußhalten à 13 | Halle, circa 1700-3 |
229-5 | Victoria. Der Tod ist verschlungen à 14 | Halle, circa 1700-3 |
229-6 | Was werden wir essen à 10/12 | Halle, circa 1700-3 |
229-7 | Wer ist der, so von Edom kömmt à 12 | Halle, circa 1700-3 |
Italian Sacred Cantatas
editarHWV | Title | Voice | Composed | Notes |
---|---|---|---|---|
230 | Ah! che troppo ineguali or O del ciel! Maria regina | Soprano | ?Rome 1707-8 | 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. |
Motets
editarHWV | Title | Voice | Composed | Performed | 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 | ?Whitsun 1707, Vignanello | |
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
editarHWV | 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
editarHWV | 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 fesitval of the Carmelite order. |
241 | Salve regina | Soprano | ?Rome, 1707 | First performance: ?Trinity Sunday, 19 June, 1707, Marquis 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
editarHWV | Title | Composed | First Performed | Notes | Text |
---|---|---|---|---|---|
246 | O be joyful in the Lord; Chandos Anthem No. 1 or Jubilate ('Cannons') in D major | Cannons, 1717-18 | St. Lawrence, Cannons Park, Edgware. | 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, Cannons Park, Edgware. | Psalm 9, 11, 12, & 13 from Tate and Brady's "New Version of the Psalms." | |
248 | Have mercy upon me; Chandos Anthem No. 3 | Cannons, 1717-18 | St. Lawrence, Cannons Park, Edgware. | Psalm 51, the Misere. | |
249a | O sing unto the Lord a new song | 1714 | ?26 September 1714: London, Chapel Royal, St. James's Palace | Psalm 96 | |
249b | O sing unto the Lord a new song; Chandos Anthem No. 4 | Cannons, 1717-18 | St. Lawrence, Cannons Park, Edgware. | 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, Cannons Park, Edgware. | Two movements added later. | Psalms 144 & 145 |
250b | I will magnify thee | 1724 | ?5 January 1724: London, Chapel Royal, St. James's Palace | Psalms 89, 96, 145 | |
251a | As pants the hart | Circa 1712-13 for the King's Chapel Royal. | Psalm 42 | ||
251b | As pants the hart; Chandos Anthem No. 6 | Cannons, 1717-18 | St. Lawrence, Cannons Park, Edgware. | Text and some music derived from "As pants the hart" (HWV 251a). May have been the first Chandos Anthem composed. | Psalm 42 |
251c | As pants the hart | ?7 October 1722: London, Chapel Royal, St. James's Palace. | Psalm 42 | ||
251d | As pants the hart | circa 1722 | Psalm 42 | ||
252 | My song shall be alway; Chandos Anthem No. 7 | Cannons, 1717-18 | St. Lawrence, Cannons Park, Edgware. | 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 Pepusch or Nicola Haym instead. | Psalm 89 |
253 | O come, let us sing unto the Lord; Chandos Anthem No. 8 | Cannons, 1717-18 | St. Lawrence, Cannons Park, Edgware. | "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, Cannons Park, Edgware. | 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, Cannons Park, Edgware. | Psalms 18, 20, 27-30, 34, 45 | |
256a | Let God arise; Chandos Anthem No. 11 | Cannons, 1717-18 | St. Lawrence, Cannons Park, Edgware. | 1st movement of 'symphony' added later. | Psalms 68 & 76 |
256b | Let God arise | 1726 | ?16 January 1726: London, Chapel Royal, St. James's Palace | 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 at 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 at 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 at 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 at 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. |
262 | This is the day which the Lord hath made or Anthem for Wedding of Princess Anne | 1734 | 14 March 1734: French Chapel, St. James's Palace | Performed during the wedding of William, Prince of Orange, and Anne, Princess Royal. | Psalms 45, 118, Proverbs, Ecclesiasticus |
263 | Sing unto God or Anthem for Wedding of Prince Frederick | 1736 | 27 April 1736: London, German Chapel, St. James's Palace | For the wedding of Frederick, Prince of Wales, and Princess Augusta of Saxe-Coburg. Revised for the wedding of Princess Mary. | Psalms 68, 106, 128 |
264 | The ways of Zion do mourn or Funeral Anthem for Queen Caroline | 5(?) - 12 December 1737 | 17 December 1737: King Henry VII's Chapel, Westminster Abbey | Probably first performed fully choral without solo movements. The Sinfonia was not performed at the funeral and was probably added later. | from Lamentations, Samuel, Job, Ecclesiasticus, Philippians, Wisdom, and Psalms 103, 112. |
265 | Dettingen Anthem or The King shall rejoice | 30 July - 3 August 1743 | 27 November 1743: London, Chapel Royal, St. James's Palace. | Performed during a service in King George II's presence to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. | Psalms 20, 21 |
266 | How beautiful are the feet of them or His Anthem on the Peace or Peace Anthem | 1749 | 25 April 1749: London, Chapel Royal, St. James's Palace, along with the "Queen Caroline" Te Deum (HWV 280). | To celebrate the peace of Aix-la-Chapelle (Aachen). | Isaish, Psalms 29, 96, Revelation |
267 | (?) First draft of the "Peace Anthem" (See HWV 266) | Probably early 1749. | A 209-measure composition of which the last 19 measures are incomplete. | ||
268 | Blessed are they that considereth the poor or Foundling Hospital Anthem | 1749 | 27 May 1749: London, Foundling Hospital Chapel | First performance probably in fully choral version. The solo movements were probably added circa 1751. | Psalms 8, 41, 72, 112, Daniel, Revelation |
Canticles
editarHWV | Title | Key | Composed | First Performed | Notes | Text |
---|---|---|---|---|---|---|
278 | Te Deum ("Utrecht") | D major | 14 January 1713 | 7 July 1713: London, St. Paul's Cathedral | "We praise thee, O God" (Ambrosian hymn) | |
279 | Jubilate ("Utrecht ") | D major | ?January-February 1713. | 7 July 1713: London, St. Paul's Cathedral | "O be joyful in the Lord" (Psalm 100) | |
280 | Te Deum ("Queen Caroline") | D major | 1714 | ?26 September 1714: London, Chapel Royal, St. James's Palace | "We praise thee, O God" (Ambrosian hymn) | |
281 | Te Deum ("Chandos" or "Cannons") | B flat major | Circa 1717-18 | circa 1717-18: St. Lawrence's Church, Cannons | Composed by Handel during his stay with the Duke of Chandos at Cannons. | "We praise thee, O God" (Ambrosian hymn) |
282 | Te Deum | A major | 1726 | ?16 January 1726: London, Chapel Royal, St. James's Palace | "We praise thee, O God" (Ambrosian hymn) | |
283 | Te Deum ("Dettingen") | D major | 17 July - circa 29 July 1743 | 27 November 1743: London, Chapel Royal, St. James's Palace. | Performed during a service, in King George II's presence, to celebrate his safe return to England. Also, to celebrate the combined Austrian and British armies over the French at Dettingen in Lower Franconia on 27 June 1743. | "We praise thee, O God" (Ambrosian hymn) |
Concertos
editarHWV | Instrument | Key | Completed | First Performed | Published | Opus | Notes |
---|---|---|---|---|---|---|---|
287 | Oboe | G minor | ?Hamburg, circa 1704-5 | 1863 | Oboe concerto number 3 | ||
288 | Violin | B flat major | Italy, circa 1707 | “Sonata a 5”. Earliest concerto by Handel. Possibly for Corelli in Rome | |||
289 | Organ | G minor | 1735-6 | 19 February 1736: London, Covent Garden Theatre | 1738 | Opus 4 No. 1 | First performed with "Alexander's Feast" (HWV 75) |
290 | Organ | B flat major | 1735 | 5 March 1735: London, Covent Garden Theatre | 1738 | Opus 4 No. 2 | First performed with the oratorio "Esther" (HWV 50b) |
291 | Organ | G minor | 1735 | 5 March 1735: London, Covent Garden Theatre | 1738 | Opus 4 No. 3 | Variant versions of last movement. First performed with the oratorio "Esther" (HWV 50b) |
292 | Organ | F major | 25 March 1735 | 1 April 1735: London, Covent Garden Theatre | 1738 | Opus 4 No. 4 | Originally concluded with 'Alleluja' chorus (HG 20, p. 161), short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" (HWV 52) |
293 | Organ | F major | ?26 March 1735: London, Covent Garden Theatre | 1738 | Opus 4 No. 5 | Performed with revival of "Deborah" (HWV 51). | |
294 | Organ | B flat major | 1736 | 19 February 1736: London, Covent Garden Theatre | 1738 | Opus 4 No. 6 | Originally composed for the harp, but later rearranged for the organ |
295 | Organ | F major | 2 April 1739 | 4 April 1739: London, King's Theatre, Haymarket | 1740 | "2nd Set" No. 1 | Referred to as Organ Concerto "No. 13". The bird-song motives of the 2nd movement earned the concerto the nickname, "The Cuckoo and the Nightingale" |
296a | Organ | A major | 1739 | 20 March 1739: London, King's Theatre, Haymarket | 1740 | "2nd Set" No. 2 | Referred to as organ concerto "No. 14" |
296b | Organ | A major | Arranged by Handel circa 1743-6 | Pasticcio | |||
297 | Organ | D minor | 1740 | "2nd Set" No. 3 | Referred to as organ concerto "No. 15" | ||
298 | Organ | G major | 1740 | "2nd Set" No. 4 | Referred to as organ concerto "No. 16" | ||
299 | Organ | D major | 1740 | "2nd Set" No. 5 | Referred to as organ concerto "No. 17" | ||
300 | Organ | G minor | 1740 | "2nd Set" No. 6 | Referred to as organ concerto "No. 18" | ||
301 | Oboe | B flat major | 1740 | Oboe Concerto No 2a. Authenticity is uncertain | |||
302a | Oboe | B flat major | 1740 | Oboe Concerto No 1 | |||
303 | Organ (two) | D minor | circa 1738 | An adagio for two organs. Ending adapted by Handel to lead into another movement | |||
304 | Organ | D minor | circa 1746 | ?14 February 1746 | 1797 | Referred to as organ concerto "No. 15". First performed with the premiere of The Occasional Oratorio (HWV 62) | |
305 | Organ | F major | Arranged by Handel circa 1747-8 | ||||
306 | Organ | B flat major | 17 February 1740 | 27 February 1740: London, Lincoln's Inn Fields Theatre | 1761 | Opus 7 No. 1 | First movement includes an independent pedal part |
307 | Organ | A major | 5 February 1743 | 18 February 1743: London, Covent Garden Theatre | 1761 | Opus 7 No. 2 | Performed with the oratorio Samson (HWV 57) |
308 | Organ | B flat major | 1-4 January 1751 | 1 March 1751: London, Covent Garden Theatre | 1761 | Opus 7 No. 3 | Two variant autographs of 1st movement. Handel's last orchestral work |
309 | Organ | D minor | ?circa 1744 | ?14 February 1746 | 1761 | Opus 7 No. 4 | ?Performed with premiere of "The Occasional Oratorio" (HWV 62) |
310 | Organ | G minor | 31 January 1750 | 16 March 1750: London, Covent Garden Theatre | 1761 | Opus 7 No. 5 | Performed with "Theodora" (HWV 68). Final gavotte in published version probably added later by Smith Jr. |
311 | Organ | B flat major | circa 1748-9 | 1761 | 1749 | Opus 7 No. 6 | Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication |
343 | Organ | G major | circa 1738-9 | Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto |
Concerti Grossi
editarHWV | Key | Completed | First Performed | Published | Opus | Notes |
---|---|---|---|---|---|---|
312 | B flat major | ?Hanover, circa 1710 | 1734 | Opus 3 No. 1 | No Handel autograph. Earliest surviving manuscript score from circa 1724. Probably the earliest concerto in the Op. 3 set | |
313 | B flat major | circa 1715-18 | 1734 | Opus 3 No. 2 | ||
314 | G major | Arranged (? by Walsh) from music composed circa 1717-18 | 1734 | Opus 3 No. 3 | ||
315 | F major | 1716 | 20 June 1716: London, King's Theatre, Haymarket | Opus 3 No. 4a | Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi" | |
316 | D minor | 1717-18 | 1734 | Opus 3 No. 5 | In Walsh's 2nd edition of the Op. 3 concertos, the 3rd, 4th, & 5th movements were added | |
317 | D major | (?) 1733-4 | 1734 | Opus 3 No. 6 | Published by Walsh in 1734 as an organ concerto | |
318 | C major | 25 January 1736 | February 1736 | 1740 | First performance between the acts of the oratorio, Alexander's Feast (HWV 75) | |
319 | G major | 29 September 1739 | 1740 | Opus 6 No. 1 | ||
320 | F major | 4 October 1739 | 1740 | Opus 6 No. 2 | ||
321 | E minor | 6 October 1739 | 1740 | Opus 6 No. 3 | ||
322 | A minor | 8 October 1739 | 1740 | Opus 6 No. 4 | ||
323 | D major | 10 October 1739 | 1740 | Opus 6 No. 5 | Known as the "St. Cecilia's Concerto," as the first two movements and the last use thematic material from the overture to the Ode for St. Cecilia's Day (HWV 76) | |
324 | G minor | 15 October 1739 | 1740 | Opus 6 No. 6 | ||
325 | B flat major | 12 October 1739 | 1740 | Opus 6 No. 7 | ||
326 | C minor | 18 October 1739 | 1740 | Opus 6 No. 8 | ||
327 | F major | Probably between October 10 & 11, 1739 | 1740 | Opus 6 No. 9 | The Gigue was originally intended by Handel for the Concerto Grosso in F major (HWV 320) | |
328 | D minor | 22 October 1739 | 1740 | Opus 6 No. 10 | The gavotte-like last movement was originally intended by Handel for the Concerto Grosso in B minor (HWV 330) | |
329 | A major | 30 October 1739 | 1740 | Opus 6 No. 11 | ||
330 | B minor | 20 October 1739 | 1740 | Opus 6 No. 12 | ||
331 | F major | 20 March 1723: London, Drury Lane Theatre | Two movements, thematically related to the Water Music Suite in F major (HWV 348) | |||
331-1 | F major | Water Music, Suite Variant No 1. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348) | ||||
331-2 | F major | Water Music, Suite Variant No 2. Two movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348) | ||||
332 | B flat major | 1747-8 | (?) 9 March 1748: London, Covent Garden Theatre | Concerto a due cori in B flat major, No. 1. Composed for performances with oratorios - probably performed during Joshua (HWV 64) | ||
333 | F major | 1747-8 | (?) 23 March 1748: London, Covent Garden Theatre | Concerto a due cori in B flat major, No. 2. Composed for performances with oratorios - probably performed during Alexander Balus (HWV 65) | ||
334 | F major | 1747-8 | (?) 1 April 1748: London, Covent Garden Theatre | Concerto a due cori in B flat major, No. 3. Composed for performances with oratorios - probably performed during Judas Maccabaeus (HWV 63) | ||
335a | D major | circa 1748-9 | ||||
335b | F major |
Orchestral Works
editarHWV | Type | Key | Completed | First Performed | Published | Notes |
---|---|---|---|---|---|---|
302b | Largo | F major | circa 1738 | Autograph headed "Suite de pieces" (presumably this was the opening movement) | ||
336 | Overture | B flat major | Probably Germany or Italy | Autograph lost | ||
337 | Overture | D major | circa 1722-5 | 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 | Probably Hamburg or Italy, circa 1706-7 | 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) | |
340 | Allegro | G major | ?circa 1710-15 | 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 | Water Music, Suite 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 | Water Music, Suite 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 | Water Music, Suite 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. Royal Fireworks Music | 1749 | 27 April 1749: London, Green Park | Composed for the celebration of Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian succession | ||
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 1710-15 | No autograph | ||
356 | Hornpipe | D major | 1740 | No autograph. Composed for Vauxhall Gardens | ||
413 | Gigue | B flat major | 1736 |
Solo Sonatas
editarHWV | Instrument | Key | Completed | Published | Opus | Notes |
---|---|---|---|---|---|---|
357 | Oboe | B flat major | circa 1707-10 | One of Handel's earliest extant compositions. Probably written during his years in Italy | ||
358 | Recorder or Violin | G major | circa 1707-10 | 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, Op 1 No 1b (HWV 359b) | ||
359b | Flute | E minor | circa 1724 | 1732 | Opus 1 No. 1b | Of the two sonatas published by Chrysander as Op 1 No 1, this is the one in the original edition, Chrysander's No. 1A being taken from MSS, they have in common only the opening and closing movements |
360 | Recorder | G minor | circa 1725-6 | 1732 | Opus 1 No. 2 | |
361 | Violin | A major | circa 1725-6 | 1732 | Opus 1 No. 3 | |
362 | Recorder | A minor | circa 1725-6 | 1732 | Opus 1 No. 4 | |
363a | Oboe | F major | circa 1711-16 | |||
363b | Flute | G major | circa 1711-16 | 1732 | Opus 1 No. 5 | |
364a | Violin | G minor | circa 1724 | 1732 | Opus 1 No. 6 | |
364b | Viola da gamba | G minor | circa 1724 | An authorized transcription of HWV364a | ||
365 | Recorder | C major | circa 1725-6 | Opus 1 No. 7 | ||
366 | Oboe | C minor | circa 1711-12 | 1732 | Opus 1 No. 8 | |
367a | Recorder | D minor | circa 1725-6 | 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 1725-6 | 1732 | Opus 1 No. 9b | In the 'Alyesford' collection the Alla breve appears with the title, FUGE |
368 | Violin | G minor | 1732 | Opus 1 No. 10 | Probably spurious | |
369 | Recorder | F major | circa 1725-6 | 1732 | Opus 1 No. 11 | |
370 | Violin | F major | 1732 | Opus 1 No. 12 | Probably spurious | |
371 | Violin | D major | Circa 1749-50 | Opus 1 No. 13 | This sonata represents Handel's last piece of chamber music | |
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" No. 1. Authenticity uncertain. Sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works) | ||
375 | Flute | E minor | 1730 | "Halle" No. 2. Authenticity uncertain. Sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works) | ||
376 | Flute | B minor | 1730 | "Halle" No. 3. Authenticity uncertain. Sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works) | ||
377 | Recorder | B flat major | circa 1724-5 | |||
378 | Flute | D major | ?circa 1707 | No autograph, but probably authentic. This is a recent discovery. It appears in an important manuscript of 18th century solo sonatas in the Brussels Royal Conservatory, published in facsimile in 1979, and is there attributed to 'Sr Weisse' | ||
379 | Flute | E minor | circa 1727-8 | 1879 | Opus 1 No. 1a | Although its authenticity remains unquestioned, this sonata is not, strictly, part of Op. 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 1725-9 | Allegro. It may be the only surviving fragment of a completed sonata in C minor | ||
409 | Recorder | D minor | circa 1725-6 | Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a) | ||
412 | Violin | A minor | circa 1725-6 | Andante | ||
419-1 | circa 1710-20 | A march. 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 | ||||
419-2 | circa 1710-20 | A march. 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 | ||||
419-3 | circa 1710-20 | A march. 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 | ||||
419-4 | circa 1710-20 | A march. 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 | ||||
419-5 | circa 1710-20 | A march. 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 | ||||
419-6 | circa 1710-20 | A march. 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 1743-4 | Minuet. 2-stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work | |||
421 | D major | circa 1743-4 | Minuet. 2-stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work |
Trio Sonatas
editarHWV | Key | Completed | 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 1717-19 | 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 1717-18 | 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 1718-22 | 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 1717-22 | 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 1706-7 | 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 1707-10 |
Wind Ensemble Works
editarHWV | Type | Key | Completed | Notes |
---|---|---|---|---|
346 | March | F major | ?before 1729 | |
410 | Aria | F major | circa 1725 | |
411 | Aria | F major | circa 1725 | |
414 | March for Fife | C major | circa 1747 | |
415 | March for Fife | D major | circa 1747 | |
416 | March | D major | circa 1734 | |
417 | La March | D major | circa 1746-7 | May have originated as a keyboard work as a two-stave version of the march exists |
418 | March | G major | ?circa 1741 | |
422 | Minuet | G major | circa 1746-7 | |
423 | Minuet | G major | circa 1746-7 | |
424 | Overture | D major | circa 1741 | 'Fitzwilliam' Overture |
Keyboard Works
editarHWV | Type | Key | Completed | Published | Notes |
---|---|---|---|---|---|
305b | Arrangement | F minor | circa 1747 | Used as an overture. Solo keyboard arrangement of the Organ Concerto in F major (HWV 305) | |
425 | Air (Saraband) | E major | An individual movement. Composed by Handel at St. Giles extempore. Autograph c. 1740-50 includes Handel's transcription of opening melody | ||
426 | Suite de pièce Vol. 1 No. 1 | A major | Prior to 1720 | 1720 | |
427 | Suite de pièce Vol. 1 No. 2 | F major | Prior to 1720 | 1720 | |
428 | Suite de pièce Vol. 1 No. 3 | D minor | Prior to 1720 | 1720 | |
429 | Suite de pièce Vol. 1 No. 4 | E minor | Prior to 1720 | 1720 | |
430 | Suite de pièce Vol. 1 No. 5 | E major | Prior to 1720 | 1720 | “The Harmonious Blacksmith” or “Air and Variations in E major”. Also found in early manuscript scores as a "Chaconne" in G major (at least 2 variant forms) |
431 | Suite de pièce Vol. 1 No. 6 | F sharp minor | Prior to 1720 | 1720 | |
432 | Suite de pièce Vol. 1 No. 7 | G minor | Prior to 1720 | 1720 | |
433 | Suite de pièce Vol. 1 No. 8 | F minor | Prior to 1720 | 1720 | |
434 | Suite de pièce Vol. 2 No. 1 | B flat major | ?1710-17 | 1733 | 434-4: minuet in G minor. Not part of the Suite de piece in B flat major |
435 | Suite de pièce Vol. 2 No. 2 | G major | ?1705-17 | 1733 | 21 variations. A chaconne. The Ritornello in G major (HWV 343) was added to this composition |
436 | Suite de pièce Vol. 2 No. 3 | D minor | circa 1721-6 | 1733 | |
437 | Suite de pièce Vol. 2 No. 4 | D minor | circa 1703-6 | 1733 | |
438 | Suite de pièce Vol. 2 No. 5 | E minor | circa 1710-17 | 1733 | |
439 | Suite de pièce Vol. 2 No. 6 | G minor | circa 1703-6 | 1733 | |
440 | Suite de pièce Vol. 2 No. 7 | B flat major | circa 1703-6 | 1733 | revised 1717-18 |
441 | Suite de pièce Vol. 2 No. 8 | G major | circa 1703-6 | 1733 | |
442 | Suite de piece Vol. 2 No. 9 | G major | circa 1703-6 | 1733 | 62 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh) |
443 | Suite | C major | 1700-3 | Includes Chaconne (of which there are 26 variations) | |
444 | Partita | C minor | circa 1705-6 | ||
445 | Suite | C minor | 1705-6 | ||
446 | Suite | C minor | circa 1703-6 | Composed for two harpsichords, but the music for only one harpsichord survives | |
447 | Suite | D minor | circa 1738-9 | Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452) | |
448 | Suite | D minor | circa 1705-6 | ||
449 | Suite | D minor | circa 1705 | ||
450 | Partita | G major | circa 1700-5 | ||
451 | Suite | G minor | circa 1703-6 | Allemande and Courante only | |
452 | Suite | G minor | circa 1738-9 | Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 447) | |
453 | Suite | G minor | circa 1705-6 | ||
454 | Partita | A major | circa 1703-6 | ||
455 | Suite | B flat major | circa 1705 | Keyboard version of the overture in B flat major (HWV 336) and the suite in B flat major (HWV 354) | |
456-1 | Arrangement | circa 1720-7 | Arrangement of the overture to the Italian opera “Il pastor fido" | ||
456-2 | Arrangement | circa 1720-7 | Arrangement of the overture to the Italian opera "Amadigi" | ||
456-3 | Arrangement | circa 1720-7 | Arrangement of the overture to the Italian opera "Flavio" | ||
456-4 | Arrangement | circa 1720-7 | Arrangement of the overture to the Italian opera "Rodelinda" | ||
456-5 | Arrangement | circa 1720-7 | Arrangement of the overture to the Italian opera "Riccardo Primo" | ||
457 | Air | C major | circa 1720-1 | ||
458 | Air | C minor | ?circa 1710-20 | Authenticity uncertain | |
459 | Air | C minor | ?circa 1710-20 | Authenticity uncertain | |
460 | Air (March) | D major | circa 1720-1 | ||
461 | Air (Hornpipe) | D minor | circa 1717-18 | ||
462 | Air and minuet | D minor | circa 1724-6 | ||
463 | Air | F major | circa 1707-9 | ||
464 | Air | F major | circa 1724-6 | A version of the air from the "Water Music" (HWV 348-50) | |
465 | Air and two Doubles | F major | circa 1710-20 | ||
466 | Air | G minor | circa 1710-20 | For two-manual harpsichord (or possibly organ) | |
467 | Air Lentement | G minor | circa 1710-20 | ||
468 | Air | A major | circa 1727-8 | ||
469 | Air | B flat major | circa 1738-9 | Re-used in orchestral form in the Sinfonia in B flat major (HWV 347) and the Organ Concerto in B flat major (HWV 311) | |
470 | Air | B flat major | circa 1710-20 | For two-manual harpsichord (or possibly organ) | |
471 | Air | B flat major | circa 1710-20 | ||
472 | Allegro | C major | circa 1705 | ||
473 | Allegro | C major | 25 August 1738 | Clock-Organ | |
474 | Air | G major | circa 1736-8 | Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ | |
475 | Allegro | D minor | circa 1710-20 | ||
476 | Allemande | F major | circa 1730-5 | ||
477 | Allemande | A major | circa 1724-6 | ||
478 | Allemande | A minor | circa 1705 | ||
479 | Allemande | B minor | circa 1721-2 | ||
480 | Chorale | G minor | circa 1736-40 | Chorale melody "Jesu meine Freude" in the middle part. Possibly for organ. A two-bar epilogue may represent a planned variation | |
481 | Capriccio | F major | circa 1703-6 | ||
482-1 | Arrangement | circa 1720-5 | Arrangement of the overture to the Italian opera 'Rinaldo' | ||
482-2 | Arrangement | circa 1720-5 | Arrangement of the overture to the Italian opera 'Floridante' | ||
482-3 | Arrangement | circa 1720-5 | Arrangement of the overture to the Italian opera 'Radamisto' | ||
482-4 | Arrangement | circa 1720-5 | Arrangement of the overture to the Italian opera 'Muzio Scevola' | ||
483 | Capriccio | G minor | circa 1720-1 | ||
484 | Chaconne with 49 variations | C major | circa 1700-5 | Version of the Chaconne in Suite HWV 443 | |
485 | Chaconne | F major | circa 1705 | For a two-manual harpsichord | |
486 | Chaconne | G minor | circa 1705 | ||
487 | Concerto | G major | circa 1710-20 | Two movements | |
488 | Allegro (Courante) | F major | circa 1717-18 | In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442) | |
489 | Courante | B minor | circa 1722 | ||
490 | Fantasie pour le clavecin, | C major | circa 1703-6 | ||
491 | Gavotte | G major | circa 1705 | ||
492 | Gigue | F major | circa 1726-7 | ||
493 | Gigue | G minor | circa 1704-5 | Two versions | |
494 | Impertinence (Bourée) | G minor | circa 1705 | ||
495 | Lesson | D minor | circa 1705-10 | Early form (two variants) of the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428), movement six | |
496 | Lesson | A minor | circa 1715-20 | ||
497 to 558 | 62 Minuets | Various | Two-stave pieces, probably for keyboard. Some related to minuets in other works | ||
559 | Passepied | C major | circa 1721-2 | ||
560 | Passepied | A major | circa 1705 | ||
561 | Prelude | D minor | circa 1705-6 | Version of the prelude to the Suite de pièce in D minor, Vol. 2 No. 4 (HWV 437) | |
562 | Prelude (Harpeggio) | D minor | circa 1711-12 | ||
563 | Prelude | D minor | circa 1700-3 | ||
564 | Prelude | D minor | circa 1705 | ||
565 | Prelude | D minor | circa 1710-20 | An early version of the Prelude to the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428) | |
566 | Prelude | E major | circa 1710-20 | Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433) | |
567 | Preludium | F major | circa 1710-20 | ||
568 | Preludium | F minor | circa 1710-20 | Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433) | |
569 | Preludium | F minor | ?circa 1710-20 | Arpeggio del Cook. Authorship uncertain | |
570 | Prelude (Harpeggio) | F sharp minor | circa 1717-18 | Originally associated with the Suite de pièce in F sharp minor, Vol. 1 No. 6 (HWV 431) | |
571 | Prelude and Capriccio | G major | circa 1703-6 | Two movements | |
572 | Prelude | G minor | circa 1710-17 | Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432) | |
573 | Prelude (Harpeggio) | G minor | circa 1705 | ||
574 | Prelude and Allegro (Sonata) | G minor; 2 movements | circa 1705 | ||
575 | Prelude (Harpeggio) | A minor | circa 1717-18 | Coupled with the "Lesson in A minor"; HWV 496 | |
576 | Prelude and Allegro | A minor | circa 1705-6 | Two movements | |
577 | Sonata (Fantasia) pour le clavecin, | C major | circa 1703-5 | ||
578 | Sonata | C major | circa 1750 | Clock-Organ. Music related to a setting of 'Amen' (HWV 277), the Concerto Grosso in C major for "Alexander's Feast" (HWV 318), and the "Air Lentement in G minor" (HWV 467) | |
579 | Sonata (Fantasia) | G major | ?circa 1707-10 | For a two-manual harpsichord (or possibly organ) | |
580 | Sonata (Larghetto) | G minor; 1 movement | ?circa 1707-10 | One movement | |
581 | Sonatina | D minor | circa 1705 | One movement | |
582 | Sonatina (Fugue) | G major | circa 1721-2 | One movement | |
583 | Sonatina | G minor | ?circa 1721-2 | One movement | |
584 | Sonatina | A minor | circa 1706-8 | One movement. Authenticity uncertain | |
585 | Sonatina | B flat major | circa 1721-2 | One movement | |
586 | Toccata | G minor | circa 1710-20 | ||
587 to 597 | Eleven pieces | C, F, and G | circa 1735-40 | "10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). Includes arrangements of opera arias | |
598 to 604 | Seven pieces | C major | circa 1730-40 | Clock-Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels." | |
605 | Fugue | G minor | circa 1711-18 | 1735 | |
606 | Fugue | G major | circa 1711-18 | 1735 | |
608 | Fugue | B minor | circa 1711-18 | ||
609 | Fugue | A minor | circa 1711-18 | 1735 | |
610 | Fugue | C minor | circa 1711-18 | ||
611 | Fugue | F major | circa 1705 | No autograph | |
612 | Fugue | E major | No autograph. Single source is from a manuscript of organ voluntaries; probably authentic, though the text of final bars is defective. The fugue subject is related to the "Water Music" overture |
External links
editar
[[ca:Händel Werke Verzeichnis]]
[[fr:Liste des œuvres de Haendel]]
[[ko:게오르크 프리드리히 헨델의 작품 목록]]
[[mk:Листа на композиции од Георг Фридрих Хендл]]
[[ms:Senarai kerja penggubahan oleh George Frideric Handel]]
[[sv:Verklista för Georg Friedrich Händel]]
Felicidades
editarMuchas felicidades para estas fiestas, paz y prosperidad en el 2012. Antur - Mensajes 23:43 16 dic 2011 (UTC) |