# List of compositions by George Frideric Handel

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.

## Operas

List of operas by George Frideric Handel. All works are opera seria in three acts, unless otherwise stated. :
| HWV | Title | Premiere | Venue | Libretto | Notes |
| 1 | Almira | 8 January 1705 | Oper am Gänsemarkt, Hamburg | Friedrich Christian Feustking, after G. Pancieri | Singspiel |
| 2 | Nero | 25 February 1705 | Oper am Gänsemarkt, Hamburg | Friedrich Christian Feustking | Music lost |
| 3 | Florindo | 1708 | Oper am Gänsemarkt, Hamburg | Hinrich Hinsch | Only a copy of the libretto and fragments of the music survive |
| 4 | Daphne | 1708 | Oper am Gänsemarkt, Hamburg | Hinrich Hinsch | Music lost |
| 5 | Rodrigo | 1707 | Florence | after F. Salvani | |
| 6 | Agrippina | Late 1709 / Early 1710 | Teatro San Giovanni Grisostomo, Venice | Vincenzo Grimani | |
| 7a/b | Rinaldo | 24 February 1711 | Queen's Theatre, London | Giacomo Rossi/Aaron Hill, after Torquato Tasso, La Gerusalemme liberata | |
| 8a/b/c | Il pastor fido | 22 November 1712 | Queen's Theatre, London | Giacomo Rossi, after Guarini | The 1712 version is 8a. The 1734 revised versions are designated 8c. The prologue Terpsicore added to the final version is 8b. |
| 9 | Teseo | 10 January 1713 | Queen's Theatre, London | Nicola Francesco Haym, after Philippe Quinault | 5 acts |
| 10 | Silla | June 1713? | London? | Giacomo Rossi, after Plutarch | Music reused in Amadigi |
| 11 | Amadigi di Gaula | 25 May 1715 | King's Theatre, London | Rossi or Haym (?), after A.H. de la Motte, 1699 | |
| 12a/b | Radamisto | 27 April 1720 | King’s Theatre, London | Haym (?), after D. Lalli | |
| 13 | Muzio Scevola | 15 April 1721 | King’s Theatre, London | Paolo Antonio Rolli, after Silvio Stampiglia | only Act 3 by Handel |
| 14 | Floridante | 9 December 1721 | King’s Theatre, London | Rolli, after Francesco Silvani La costanza in trionfo | |
| 15 | Ottone | 12 January 1723 | King’s Theatre, London | Haym, after S. B. Pallavicino | |
| 16 | Flavio | 14 May 1723 | King’s Theatre, London | Haym, after M Norris | |
| 17 | Giulio Cesare | 20 February 1724 | King’s Theatre, London | Haym | |
| 18 | Tamerlano | 31 October 1724 | King’s Theatre, London | Haym, after Agostin Piovene and Nicholas Pradon | |
| 19 | Rodelinda | 13 February 1725 | King’s Theatre, London | Haym, after Antonio Salvi, after Pierre Corneille | |
| 20 | Scipione | 12 March 1726 | King’s Theatre, London | Rolli | |
| 21 | Alessandro | 5 May 1726 | King’s Theatre, London | O Mauro | |
| 22 | Admeto | 31 January 1727 | King’s Theatre, London | Haym | |
| 23 | Riccardo Primo | 11 November 1727 | King’s Theatre, London | Rolli, after Francesco Briani | |
| A$^2$ | Genserico (or Olibrio) | | | After N. Beregan | Drafted early 1728. Only part of Act I. Music mostly used in Siroe and Tolomeo. |
| 24 | Siroe | 17 February 1728 | King’s Theatre, London | Haym, after Metastasio | |
| 25 | Tolomeo | 30 April 1728 | King’s Theatre, London | Haym, adapted from Carlo Sigismondo Capece | |
| 26 | Lotario | 2 December 1729 | King’s Theatre, London | After Antonio Salvi | |
| 27 | Partenope | 24 February 1730 | King’s Theatre, London | After Silvio Stampiglia | |
| 28 | Poro | 2 February 1731 | King’s Theatre, London | After Metastasio | |
| A$^5$ | Titus l'Empereur | | | After J. Racine: Bérénice | Only one act (first three scenes) with some music used in Ezio. Composed late 1731. |
| 29 | Ezio | 15 January 1732 | King’s Theatre, London | Metastasio | |
| 30a | Fernando, Re di Castiglia | | | | A reconstruction of Handel's 1st draft of HWV 30b |
| 30b | Sosarme | 15 February 1732 | King’s Theatre, London | After Salvi | |
| 31 | Orlando | 27 January 1733 | King’s Theatre, London | After Capece, after Ludovico Ariosto's Orlando furioso | |
| 32 | Arianna in Creta | 26 January 1734 | King’s Theatre, London | After Pietro Pariati | |
| A$^{11}$ | Oreste | 18 December 1734 | Covent Garden Theatre, London | Adapted from G.G. Barlocci | Pasticcio, composed in 1734. Music entirely by Handel. Overture published in HG volume 48 (p. 102). |
| 33 | Ariodante | 8 January 1735 | Covent Garden Theatre, London | After Salvi, after Ariosto's Orlando Furioso | |
| 34 | Alcina | 16 April 1735 | Covent Garden Theatre, London | After Ariosto's Orlando Furioso | |
| 35 | Atalanta | 12 May 1736 | Covent Garden Theatre, London | After Belisario Valeriani | |
| 36 | Arminio | 12 January 1737 | Covent Garden Theatre, London | After Salvi | |
| 37 | Giustino | 16 February 1737 | Covent Garden Theatre, London | Adapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino | |
| 38 | Berenice | 18 May 1737 | Covent Garden Theatre, London | After Salvi | |
| 39 | Faramondo | 3 January 1738 | King’s Theatre, London | Adapted from Apostolo Zeno's Faramondo | |
| A$^{13}$ | Alessandro Severo | 25 February 1738 | King’s Theatre, London | Adapted from Zeno | Pasticcio, composed in 1738. Music entirely by Handel. Overture published in HG volume 48 (p. 104). |
| 40 | Serse (Xerxes) | 15 April 1738 | King’s Theatre, London | After Stampiglia | |
| A$^{14}$ | Giove in Argo | 1 May 1739 | King’s Theatre, London | Adapted from A.M. Lucchini | Pasticcio, composed in April 1739. Music entirely by Handel. Semi-staged. |
| 41 | Imeneo | 22 November 1740 | Theatre in Lincoln's Inn Fields, London | After Stampiglia's Imeneo | |
| 42 | Deidamia | 10 January 1741 | Theatre in Lincoln's Inn Fields, London | Rolli | |

## Incidental music

List of incidental music by George Frideric Handel :
| HWV | Title | Premiere | Venue | Notes |
| 43 | The Alchemist | 14 January 1710 | Queen's Theatre, London | Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo. |
| 44 | Comus | June 1745 | Ludlow Castle, Shropshire | Three songs and a trio written as part of a private arrangement of John Milton's masque Comus. |
| 45 | Alceste | Not performed | | A masque which was written for an unproduced play by Tobias Smollett. Music composed between December 1749 and 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

List of oratorios by George Frideric Handel :
| HWV | Title | Premiere | Venue | Libretto | Text | Notes |
| 46a | Il trionfo del Tempo e del Disinganno | June 1707 | Rome | Benedetto Pamphili | | |
| 46b | Il trionfo del Tempo e della Verità | 23 March 1737 | London | Benedetto Pamphili | | |
| 47 | La resurrezione | 8 April 1708 | Rome | Carlo Sigismondo Capece | | |
| 48 | Brockes Passion | 23 March or 3 April 1719 | Hamburg Cathedral (possibly) | Barthold Heinrich Brockes | | |
| 50a | Esther | ?1718 | probably Cannons | John Arbuthnot | IMSLP. Based on Alexander Pope's work. | Originally a masque. |
| 50b | Esther | 1 May 1732 | King's Theatre, London | John Arbuthnot | IMSLP. Based on Alexander Pope's work. | Contains additions by S. Humphreys |
| 51 | Deborah | 21 February 1733 | King's Theatre, London | Samuel Humphreys | Stanford | |
| 52 | Athalia | 10 July 1733 | Sheldonian Theatre, Oxford | Samuel Humphreys | Stanford | |
| 53 | Saul | 16 January 1739 | King's Theatre, London | Charles Jennens | Stanford | |
| 54 | Israel in Egypt | 4 April 1739 | King's Theatre, London | Charles Jennens? | Stanford | |
| 55 | L'Allegro, il Penseroso ed il Moderato | 27 February 1740 | Theatre in Lincoln's Inn Fields, London | Charles Jennens | Stanford. Based on John Milton's work. | |
| 56 | Messiah | 13 April 1742 | New Music Hall, Dublin | Charles Jennens | Stanford | |
| 57 | Samson | 18 February 1743 | Covent Garden Theatre, London | Newburgh Hamilton | Stanford | |
| 58 | Semele | 10 February 1744 | Covent Garden Theatre, London | William Congreve | Stanford | An opera catalogued as an oratorio |
| 59 | Joseph and his Brethren | 2 March 1744 | Covent Garden Theatre, London | James Miller | Stanford | |
| 60 | Hercules | 5 January 1745 | King's Theatre, London | Thomas Broughton | Stanford | |
| 61 | Belshazzar | 27 March 1745 | King's Theatre, London | Charles Jennens | Stanford | |
| 62 | Occasional Oratorio | 14 February 1746 | Covent Garden Theatre, London | Newburgh Hamilton | Stanford | |
| 63 | Judas Maccabaeus | 1 April 1747 | Covent Garden Theatre, London | Thomas Morell | Stanford | |
| 64 | Joshua | 9 March 1748 | Covent Garden Theatre, London | Thomas Morell | Stanford | |
| 65 | Alexander Balus | 23 March 1748 | Covent Garden Theatre, London | Thomas Morell | Stanford | |
| 66 | Susanna | 10 February 1749 | Covent Garden Theatre, London | Newburgh Hamilton? | Stanford | |
| 67 | Solomon | 17 March 1749 | Covent Garden Theatre, London | Newburgh Hamilton? | Stanford | |
| 68 | Theodora | 16 March 1750 | Covent Garden Theatre, London | Thomas Morell | Stanford | |
| 69 | The Choice of Hercules | 1 March 1751 | Covent Garden Theatre, London | Thomas Morell? | Stanford | |
| 70 | Jephtha | 26 February 1752 | Covent Garden Theatre, London | Thomas Morell | Stanford | |
| 71 | The Triumph of Time and Truth | 11 March 1757 | Covent Garden Theatre, London | Thomas Morell? | Stanford | |

## Odes and masques

| HWV | Title | Premiere | Venue | Text |
| 49a | Acis and Galatea (masque) | probably 1718 | Cannons, near London | |
| 49b | Acis and Galatea (serenata) | 10 June 1732 | King's Theatre, London | Stanford |
| 72 | Aci, Galatea e Polifemo | 19 July 1708 | Naples | |
| 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

List of cantatas by George Frideric Handel :
| HWV | Title | Composed | Premiere | Venue | Notes | Text |
| 77 | Ah che pur troppo è vero | Florence, c. 1707 | | | | |
| 78 | Ah! crudel, nel pianto mio | Rome, August 1708 | 2 September 1708 | Palazzo Bonelli, Rome | | |
| 79 | Diana cacciatrice or Alla caccia | Rome, May 1707 | May – June 1707 | Vignanello | Copied for Francesco Ruspoli, 1707 | |
| 80 | Allor ch'io dissi addio | Rome, 1707–08 | | | | |
| 81 | Alpestre monte | Florence, c. 1707 | | | | |
| 82 | Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso | Rome, August 1708 | Probably 28 October 1708 | | Copied for Ruspoli, 1708 | |
| 83 | Aminta e Fillide or Arresta il passo | Early 1708 | 14 July 1708 | Rome | Copied for Ruspoli, 1708. The section, "Chi ben ama" printed separately in HG 52b | |
| 84 | Aure soavi e lieti | Rome, May 1707 | | | Copied for Ruspoli, 1707 | |
| 85 | Venus and Adonis or Behold where weeping Venus stands | London, c. 1711 | | | No autograph, authenticity uncertain | |
| 86 | Bella ma ritrosetta | London, c. 1717–18 | | | | |
| 87 | Carco sempre di gloria | London, 1737 | 16 March 1737 | London | Variant insertion in "Cecilia, volgi un sguardo" (89), for performances of Alexander's Feast (HWV 75), 1737, including music for the castrato Domenico Annibali | |
| 88 | Care selve, aure grate | Rome, 1707–08 | | | | |
| 89 | Cecilia, volgi un sguardo | London, January 1736 | 19 or 25 (?) February 1736 | Covent Garden Theatre, London | Played between the two parts of Alexander's Feast (HWV 75). | |
| 90 | Chi rapì la pace al core | Florence, c. 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 c. 1738–40 | |
| 95 | Clori, vezzosa Clori | Rome, July/August 1708 | | | Copied for Ruspoli, 1708 | |
| 96 | Clori, Tirsi e Fileno or Cor fedele in vano speri | Rome, July/September 1707 | | | Copied for Ruspoli, 14 October 1707. | |
| 97 | Crudel tiranno Amor | London, June 1721 | Probably 5 July 1721 | King's Theatre, Haymarket, London | Performed at the benefit concert for Margherita Durastanti. | |
| 98 | Cuopre tal volta il cielo | Italy, 1708 | | | | |
| 99 | Il delirio amoroso or Da quel giorno fatale | Rome, on or before 14 January 1707. | May 1707 | Cardinal Pamphili's palazzo | | |
| 100 | Da sete ardente afflitto | Italy, 1708–09 | | | Copied for Ruspoli, 1709. (HWV 101a & 101b: Dal fatale momento. Spurious, by F. Mancini). | |
| 102a | Dalla guerra amorosa | Italy, 1708–09 | | | Version for bass. Copied for Ruspoli, 1709 | |
| 102b | Dalla guerra amorosa | Italy, 1708–09 | | | Version for soprano. Copied for Ruspoli, 1709 | |
| 103 | Deh! lasciate e vita e volo | London, c. 1722–25 | | | | Libretto text by Paolo Antonio Rolli |
| 104 | Del bell'idolo mio | Rome, 1707–09 | | | Copied for Ruspoli in 1709, but possibly written as early as 1707. | |
| 105 | Armida abbandonata or Dietro l'orme fuggaci | Rome, June 1707 | Possibly 26 June 1707 | Palazzo Bonelli, Rome | Copied for Ruspoli, 1707, 1709. | |
| 106 | Dimmi, o mio cor | Italy, 1707–09 | | | See note for HWV 132 | |
| 107 | Ditemi, o piante | Rome, July/August 1708 | | | Copied for Ruspoli, 1708 | |
| 108 | Dolce mio ben, s'io taccio | | | | No autograph. No source attributed to Handel. | |
| 109a | Dolc'è pur d'amor l'affanno | London, c. 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, 1707–08 | 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, c. 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, c. 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, c. 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, c. 1722–23 | | | fragment | |
| 121b | La Solitudine or L'aure grate, il fresco rio | London, before 1718 | | | | |
| 122 | Apollo e Dafne or La terra è liberata | Hanover, 1710 | | | Probably begun Venice, 1709 | |
| 123 | Languia di bocca lusinghiera | Possibly composed in Hanover, 1710 | | | ?fragment | |
| 124 | Look down, harmonious saint | c. 1736 | February 1736 | Covent Garden Theatre, London | Recitative and aria; probably a discarded fragment for "Alexander's Feast" (HWV 75), 1736. It appeared in the cantata HWV 89 | Libretto by Newburgh Hamilton, from Cecilian Ode 1720. |
| 125a | Lungi da me, pensier tiranno | Italy, July – September 1708 | | | 1st version; no autographs or Italian-period copies; one version copied for Francesco Ruspoli, 1708. | |
| 125b | Lungi da me, pensier tiranno | London, after 1710 | | | Second version; no autographs. | |
| 126a | Lungi da voi, che siete poli | Rome, July/August 1708 | | | | |
| 126b | Lungi da voi, che siete poli | Rome, 1708 | | | | |
| 126c | Lungi da voi, che siete poli | Probably London, after 1710. | | | | |
| 127a | Lungi dal mio bel nume | Rome, 3 March 1708 | | | | |
| 127b | Lungi dal mio bel nume | ?London, after 1710 | | | | |
| 127c | Lungi dal mio bel nume | London, c. 1725–28 | | | | |
| 128 | Lungi n'andò Fileno | Rome, August 1708 | | | Copied for Ruspoli, 1708 | |
| 129 | Manca pur quanto sai | Rome, July/August 1708 | | | Copied for Ruspoli, 1708 | |
| 130 | Mentre il tutto è in furore | Rome, August 1708 | | | Copied for Ruspoli, 1708 | |
| 131 | Menzognere speranze | Rome, September 1707 | | | Copied for Ruspoli, 1707 | |
| 132a | Mi palpita il cor | ?London, after 1710 | | | Borrowings: Version of "Dimmi, o mio cor" (HWV 106) with new opening. | |
| 132b | Mi palpita il cor | ?London, after 1718 | | | | |
| 132c | Mi palpita il cor | ?London, after 1710 | | | | |
| 132d | Mi palpita il cor | ?London, c. 1711–12 | | | | |
| 133 | Ne' tuoi lumi, o bella Clori | Rome, September 1707 | | | Copied for Ruspoli, 1707, 1709 | |
| 134 | Pensieri notturni di Filli or Nel dolce dell'oblio | Rome, 1707–08. Completed 1709 | | | | |
| 135a | Nel dolce tempo | Probably Naples, June/July 1708 | | | | |
| 135b | Nel dolce tempo | London, after 1710 | | | No autographs, and no early Italian-period copies. | |
| 136a | Nell'Africane selve | Naples, June/July 1708 | | | | |
| 136b | Nell'Africane selve | London, after 1710 | | | | |
| 137 | Nella stagion che di viole e rose | Rome, April/May 1707 | | | Copied for Ruspoli, 1707, 1709. Probably composed for the soprano, Margherita Durastanti. | |
| 138 | Nice, che fa? che pensa? | ?Hanover, 1710 | | | | |
| 139a | Ninfe e pastori | Rome, 1707–09 | | | Copied for Ruspoli, 1709 | |
| 139b | Ninfe e pastori | Probably London, after 1710 | | | | |
| 139c | Ninfe e pastori | London, c. 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 | Marquis Ruspoli's Palazzo Bonelli | ?Copied for Ruspoli, 1708. First performed by the soprano Anna Marie di Piedz | |
| 144 | O lucenti, o sereni occhi | Rome, 1707 | | | | |
| 145 | Lucrezia (O 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 early Italian copies. | |
| 148 | Poichè giuraro amore | Rome, early 1707 | | | Copied for Ruspoli, 1707, 1709 | |
| 149 | Qual sento io non conosciuto | | | | Only source c. 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, c. 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, c. 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, c. 1725–28 | | | | |
| 160c | La bianca rosa or Sei pur bella, pur vezzosa | London, c. 1738–41 | | | | |
| 161a | Sento là che ristretto | Rome, 1708–09 | | | | |
| 161b | Sento là che ristretto | | | | | |
| 161c | Sento là che ristretto | London, c. 1725–28 | | | | |
| 162 | Siete rose ruggiadose | London, c. 1711–12. | | | Composed with variant | |
| 163 | Solitudini care, amata libertà | London, after 1710 | | | No autographs or early Italian-period copies | |
| 164a | Il Gelsomino or Son Gelsomino | London, c. 1725–28 | | | | |
| 164b | Il Gelsomino or Son Gelsomino | London, c. 1717–18 | | | | |
| 165 | Spande ancor a mio dispetto | Italy, 1707–08 | | | | |
| 166 | Splenda l'alba in oriente | London, c. 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 | Tra le fiamme (Il consiglio) | Rome, 1707 | | | | 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, 1706–07 | | | Copied for Ruspoli, 1707 | |
| 173 | Un'alma innamorata | Rome, May 1707 | June 1707 | Probably Vignanello | Copied for Ruspoli, 1707 | |
| 174 | Un sospir a chi si muore | Florence, Fall 1707 | | | | |
| 175 | Vedendo Amor | Rome, 1707–08 | | | | |
| 176 | Amore uccellatore or Venne voglia ad Amore | Rome, 1707–08 | | | | |
| 177 | Zeffiretto, arresta il volo | Italy, 1707–09 | | | ?Copied for Ruspoli, 1709 | |

## Italian duets

| HWV | Title | Composed | Notes | Text |
| 178 | A mirarvi io son intento | ?Hanover, c. 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, c. 1707–09 | | |
| 181 | Beato in ver chi può | London, 31 October 1742 | Italian version of Horace, "Beatus ille" | |
| 182a | Caro autor di mia doglia | Probably Italy, c. 1707–09 | | |
| 182b | Caro autor di mia doglia | London, c. 1742 | | |
| 183 | Caro autor di mia doglia | Hanover, c. 1710–12 | Spurious, by Reinhard Keiser. | |
| 184 | Che vai pensando, folle pensier | Italy, c. 1707–09 | | |
| 185 | Conservate, raddoppiate | ?Hanover, c. 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, c. 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, c. 1707 | | |
| 188 | Langue, geme, e sospira | London, c. 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 | No, di voi non vuo' fidarmi | London, 3 July 1741 | Thematic ideas from 2 movements used in "Messiah" (HWV 56) | |
| 190 | No, di voi non vuo' fidarmi | London, 2 November 1742 | | |
| 191 | Quando in calma ride il mare | Italy or Hanover, c. 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, 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." | |
| 194 | Sono liete, fortunate | ?Hanover, c. 1710–11 | The final movement was later used in the overture to "Judas Maccabeus" (HWV 63). | |
| 195 | Spero indarno | London, c. 1730–40 | Single movement, known only from copies. Authenticity uncertain. | |
| 196 | Tacete, ohimè, tacete | Italy, c. 1707–09 | Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse." | |
| 197 | Tanti strali al sen mi scocchi | ?Hanover, c. 1711 | Fugal movement later used in "Solomon" (HWV 67) for "Take him all." | |
| 198 | Troppo cruda, troppo fiera | ?Hanover, c. 1711 | Autograph lost. | |
| 199 | Va, speme infida | ?Hanover, c. 1711 | Autograph lost. | |

## Italian trios

List of Italian trios by George Frideric Handel :
| HWV | Title | Composed | Notes |
| 200 | Quel fior che all'alba ride | ?Italy, c. 1707–09 | Two versions, slightly different texts. |
| 201a | Se tu non lasci amore | Naples, 12 July 1708 | |
| 201b | Se tu non lasci amore | 1708 | First movement longer in Naples autograph than in most copies. |

## Hymns

List of hymns by George Frideric Handel :
| HWV | Title | Voice | Composed | Notes | Text |
| 202 | Künft'ger Zeiten eitler Kummer | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 203 | Das zitternde Glänzen der spielenden Wellen | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 204 | Süsser Blumen Ambraflocken | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 205 | Süsse Stille, sanfte Quelle ruhiger Gelassenheit | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 206 | Singe, Seele, Gott zum Preise | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 207 | Meine Seele hört im Sehen | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 208 | Die ihr aus dunkeln Grüften | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 209 | In den angenehmen Büschen | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 210 | Flammende Rose, Zierde der Erden | Soprano | London, c. 1724–26 | | by B.H. Brockes from "Irdisches Vergnügen in Gott." |
| 284 | Sinners obey the Gospel word (The Invitation) | Soprano | c. 1747 | Probably at the request of Priscilla Rich. | by Charles Wesley. |
| 285 | O Love divine, how sweet thou art (Desiring to Love) | Soprano | c. 1747 | Probably at the request of Priscilla Rich. | by Charles Wesley. |
| 286 | Rejoice, the Lord is King (On the Resurrection) | Soprano | c. 1747 | Probably at the request of Priscilla Rich. | by Charles Wesley. |

## Italian arias

List of Italian arias by George Frideric Handel :
| HWV | Title | Voice | Composed |
| 211 | Aure dolci, deh, spirate | Alto | London, c. 1722–26 |
| 212 | Con doppia gloria mia | Soprano | London, c. 1722–26 |
| 213 | Con lacrime sì belle | Alto | London, c. 1717–18 |
| 214 | Dell'onda instabile | Alto | London, c. 1749 |
| 215 | Col valor del vostro brando | Soprano | London, c. 1711–13 |
| 216 | Impari del mio core | Soprano | London, c. 1749 |
| 217 | L'odio, sì, ma poi ritrovò | Alto | London, c. 1722–26 |
| 219 | Non so se avrai mai bene | Soprano | London, c. 1710–18 |
| 220 | Per dar pace al mio tormento | Soprano | London, c. 1749 |
| 221 | Quant'invidio tua fortuna | Soprano | London, c. 1749 |
| 222 | Quanto più amara fu sorte crudele | Soprano | London, c. 1721–23 |
| 223 | S'un dì m'appaga, la mia crudele | Soprano | London, c. 1738–41 |
| 224 | Sì, crudel, tornerà | Soprano | London, c. 1738–41 |
| 225 | Spera chi sa perchè la sorte | Alto | London, c. 1717–18 |
| 227 | Vo' cercando tra fiori | Soprano | London, c. 1726 |

## English songs

List of English songs by George Frideric Handel :
| HWV | Title | Voice | Composed | Notes | Text |
| 226 | Hunting Song or The morning is charming | Tenor | 1743 | Voice in treble clef. Autograph, which survives, presented to Legh in 1751 | by Charles Legh. Composed in London |
| 228-1 | The unhappy Lovers: As Celia's fatal arrows flew | Soprano | c. 1730 | | |
| 228-2 | Charming Cloris: Ask not the cause / The poor Shepherd: The Sun was sunk beneath the Hills | Soprano | c. 1730 | | |
| 228-3 | As on a Sunshine Summer's Day | Soprano | c. 1729 | | |
| 228-4 | Bacchus Speech in Praise of Wine: Bacchus one day gayly striding | Soprano | c. 1730 | | |
| 228-5 | The Polish Minuet or Miss Kitty Grevil's Delight: Charming is your shape and air | Soprano | c. 1720 | | |
| 228-6 | The Sailor's Complaint: Come and listen to my ditty / Hosier's Ghost: As near Portobello lying | Soprano | c. 1735 | | |
| 228-7 | Di godere ha speranza il mio core / Oh my dearest, my lovely creature | Soprano | c. 1719 | | |
| 228-8 | The forsaken Maid's Complaint: Faithless ungrateful / The slighted Swain: Cloe proves false | Soprano | c. 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 | c. 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 | c. 1725 | | |
| 228-13 | Not, Cloe, that I better am | Soprano | c. 1730 | | |
| 228-14 | Strephon's Complaint of Love: Oh cruel Tyrant Love | Soprano | c. 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 | c. 1730 | | |
| 228-16 | Phillis be kind and hear | Soprano | c. 1730 | | |
| 228-17 | Phillis advised: Phillis the lovely | Soprano | c. 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; 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) | |
| 228-20 | The Rapture / Matchless Clarinda: When I survey Clarinda's charms / Venus now leaves | Soprano | c. 1725 | | |
| 228-21 | The Death of the Stag: When Phoebus the tops of the Hills does adorn | Soprano | c. 1740 | | |
| 228-22 | Who to win a Woman's favour | Soprano | c. 1746 | | |
| 228-23 | An Answer to Collin's Complaint: Ye winds to whome Collin complains | Soprano | c. 1716 | | |
| 228-24 | Yes, I'm in love | Soprano | c. 1740 | | |

## German church cantatas

List of German church cantatas by George Frideric Handel :
| HWV | Title | Composed | notes |
| 229-1 | Das gantze Haupt ist krank à 8 | Halle, c. 1700–03 | music lost |
| 229-2 | Es ist der alte Bund, Mensch à 12 | Halle, c. 1700–03 | music lost |
| 229-3 | Führwahr, er trug unsere Krankheit à 15 | Halle, c. 1700–03 | music lost |
| 229-4 | Thue Rechnung von deinem Haußhalten à 13 | Halle, c. 1700–03 | music lost |
| 229-5 | Victoria. Der Tod ist verschlungen à 14 | Halle, c. 1700–03 | music lost |
| 229-6 | Was werden wir essen à 10/12 | Halle, c. 1700–03 | music lost |
| 229-7 | Wer ist der, so von Edom kömmt à 12 | Halle, c. 1700–03 | music lost |

## Italian sacred cantatas

List of Italian sacred cantatas by George Frideric Handel :
| HWV | Title | Voice | Composed | Notes |
| 230 | Ah! che troppo ineguali or O del ciel! Maria regina | Soprano | ?Rome 1707–08 | Recitative and aria. |
| 233 | Donna, che in ciel | Soprano | | First performance: ?2 February 1708, Rome on the "anniversary of the deliverance of Rome from the earthquake on the feast of the Purification of the Virgin." |
| 234 | Il pianto di Maria or Giunta l'ora fatal | Soprano | | Spurious. Misattributed to Handel; composed by Giovanni Battista Ferrandini (1710–91). |

## Latin church music

List of Latin church music including motets, Psalm settings, and antiphons by George Frideric Handel :
| HWV | Type | Title | Voice | Key | Composed | Premiere | Venue | Notes | Text |
| 231 | Motet | Coelestis dum spirat aura | Soprano | D major/G major | ?Rome, 1707 | 13 June 1707 | Vignanello | Motet for the Feast of St. Anthony of Padua | |
| 232 | Psalm setting | Dixit Dominus | Soprano, Alto, Tenor, Bass Chorus | G minor | Rome, April 1707 | | | Dixit Dominus represents Handel's earliest dated autograph, and it is the earliest surviving autograph from his large-scale compositions. | Psalm 110 (Vulgate 109) |
| 235 | Antiphon | Haec est Regina virginum | Soprano | G major | ?Rome, 1707 | ?15/16 July 1707 | Rome | Probably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Madonna del Carmine". | |
| 236 | Psalm setting | Laudate pueri dominum | Soprano | F major | ?Hamburg, c. 1706 | | | Laudate pueri dominum in F major is Handel's earliest surviving autograph. Might have been composed in Halle, 1701-2. | Psalm 113 (Vulgate 112) |
| 237 | Psalm setting | Laudate pueri dominum | Soprano, Chorus | D major | Rome, 8 July 1707 | | | Opening theme originally found in A. Lotti's Missa Sapientiae. | Psalm 113 (Vulgate 112) |
| 238 | Psalm setting | Nisi Dominus | Alto, Tenor, Bass, Chorus | G major | Rome, 13 July 1707 | ?16 July 1707 | Rome | Probably 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) |
| 239 | Motet | O qualis de coelo sonus | Soprano | G major | ?Rome, May – June 1707 | 12 June 1707 | Vignanello | For Pentecost | |
| 240 | Motet | Saeviat tellus inter rigores | Soprano | D major | ?Rome, 1707 | ?16 July 1707 | Rome | Motet for the Feast of Madonna del Carmine | |
| 241 | Antiphon | Salve Regina | Soprano | G minor | ?Rome, 1707 | ?19 June 1707 | Vignanello | Probably first performed on Trinity Sunday at Francesco Ruspoli's private chapel. | |
| 242 | Motet | Silete venti | Soprano | B-flat major | London, c. 1723–25 | | | | |
| 243 | Antiphon | Te decus virgineum | Alto | G minor | Rome, 1707 | ?15/16 July 1707 | Rome | Probably written for services held at the church of S. Maria di Monte Santo to celebrate the feast day of "Our Lady of Mount Carmel". | |
| 244 | Cantata | Kyrie eleison | Chorus | | | | | Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel c. 1749. | |
| 245 | Cantata | Gloria in excelsis deo | Chorus | | | | | Misattributed to Handel; by A. Lotti ("Missa Sapientiae"), but copied by Handel c. 1749. | |
| 269 | | Amen...alleluja | Soprano, Bass | D minor | 1735-46 | | | Probably intended as a vocal study. | |
| 270 | | Amen | Soprano, Bass | F major | 1735-46 | | | Probably intended as a vocal study. | |
| 271 | | Amen...alleluja | Soprano, Bass | G minor | 1735-46 | | | Probably intended as a vocal study. | |
| 272 | | Alleluja...amen | Soprano, Bass | D minor | 1735-46 | | | Probably intended as a vocal study. | |
| 273 | | Alleluja...amen | Soprano, Bass | G major | 1735-46 | | | Probably intended as a vocal study. | |
| 274 | | Alleluja...amen | Soprano, Bass | A minor | 1735-46 | | | Probably intended as a vocal study. | |
| 276 | | Amen...hallelujah | Soprano, Bass | F major | 1744-47 | | | Probably intended as a vocal study. | |
| 277 | | Hallelujah...amen | Soprano, Bass | F major | 1744-47 | | | Probably intended as a vocal study. | |

## Anthems

List of anthems by George Frideric Handel :
| HWV | Title | Composed | Premiere | Venue | Notes | Text |
| 246 | O be joyful in the Lord | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos 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). |
| 247 | In the Lord put I my trust | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 2. Transcribed for orchestra by Edward Elgar in 1923 as the Overture in D minor, and by Stokowski in 1924 | Psalm 9, 11, 12, & 13 from Tate and Brady's New Version of the Psalms of David. |
| 248 | Have mercy upon me | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 3. | Psalm 51 (the Miserere). |
| 249a | O come, let us sing unto the Lord | 1714 | ?26 September 1714 | Chapel Royal, St. James's Palace, London. | | Psalm 96 |
| 249b | O come, let us sing unto the Lord | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos 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. |
| 250a | I will magnify thee | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 5. Two movements added later. The overture was later reused in Handel's oboe concerto No. 2. | Psalms 144 & 145 |
| 250b | I will magnify thee | 1724 | ?5 January 1724 | Chapel Royal, St. James's Palace, London | | Psalms 89, 96, 145 |
| 251a | As pants the hart | c. December 1712 to May 1713 | 1713 | King's Chapel Royal | Scored for organ and basso continuo alone. | Psalm 42 |
| 251b | As pants the hart | Cannons, 1717–18 | 1718 | St. Lawrence, Whitchurch, London | Chandos Anthem No. 6 (although believed to be one of the first Chandos Anthems composed). Orchestrated version of HWV 251a. | Psalm 42 |
| 251c | As pants the hart | c. 1722 | ?7 October 1722 | Chapel Royal, St. James's Palace, London | Orchestrated version of HWV 251d. | Psalm 42 |
| 251d | As pants the hart | c. 1722 | | | Scored for organ and basso continuo alone. There is no evidence that the work was performed during Handel's lifetime. | Psalm 42 |
| 251e | As pants the hart | 1738 | 28 March 1738 | King's Theatre, Haymarket | Written for a benefit evening | Psalm 42 |
| 252 | My song shall be alway | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos 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 89 |
| 253 | O come, let us sing unto the Lord | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 8. | "Prayer Book" psalms 95 (the venite), 96, 97, 99, 103 |
| 254 | O praise the Lord with one consent | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 9. | 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 | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 10. | Psalms 18, 20, 27–30, 34, 45 |
| 256a | Let God arise | Cannons, 1717–18 | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 11. 1st movement of 'symphony' added later. | Psalms 68 & 76 |
| 256b | Let God arise | 1726 | ?16 January 1726 | Chapel Royal, St. James's Palace, London | | Psalm 58 |
| 257 | O praise the Lord, ye angels of his | | | | Spurious. Misattributed to Handel in Arnold's edition and in HG 36. By Maurice Greene, before 1728. | |
| 258 | Zadok the Priest | ?9 September 1727 – 11 October 1727 | 11 October 1727 | Westminster Abbey | Coronation 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. |
| 259 | Let Thy Hand Be Strengthened | ?9 September 1727 – 11 October 1727 | 11 October 1727 | Westminster Abbey | Coronation 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. |
| 260 | The King Shall Rejoice | ?9 September 1727 – October 1727 | 11 October 1727 | Westminster Abbey | Coronation 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: 1,2,3,5 |
| 261 | My Heart is Inditing | ?9 September 1727 – 11 October 1727 | 11 October 1727 | Westminster Abbey | Coronation 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. |
| 262 | This is the day which the Lord hath made (Anthem for the 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 (Anthem for the wedding of Prince Frederick) | 1736 | 27 April 1736 | German Chapel, St. James's Palace, London | 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 | 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 ("The King Shall Rejoice") | 30 July – 3 August 1743 | 27 November 1743 | Chapel Royal, St. James's Palace, London | 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. Entirely different setting of the text than "The King Shall Rejoice" from the Coronation Anthems of 1727. | Psalms 20, 21 |
| 266 | How beautiful are the feet of them (Peace Anthem) | 1749 | 25 April 1749 | Chapel Royal, St. James's Palace, London | To celebrate the peace of Aix-la-Chapelle (Aachen). Performed with the "Queen Caroline" Te Deum (HWV 280). | Isaiah, 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 | Foundling Hospital Anthem | 1749 | 27 May 1749 | Foundling Hospital Chapel, London | First performance probably in fully choral version. The solo movements were probably added c. 1751. | Psalms 8, 41, 72, 112, Daniel, Revelation |

## Canticles

List of canticles by George Frideric Handel :
| HWV | Title | Key | Composed | Premiere | Venue | Notes | Text |
| 278 | Utrecht Te Deum | D major | 14 January 1713 | 7 July 1713 | St Paul's Cathedral, London | | "We praise thee, O God" (Ambrosian hymn) |
| 279 | Utrecht Jubilate | D major | ?January – February 1713. | 7 July 1713 | St Paul's Cathedral, London | | "O be joyful in the Lord" (Psalm 100) |
| 280 | Te Deum ("Queen Caroline") | D major | 1714 | ?26 September 1714 | Chapel Royal, St. James's Palace, London | | "We praise thee, O God" (Ambrosian hymn) |
| 281 | Te Deum ("Chandos" or "Cannons") | B-flat major | c. 1717–18 | c. 1717–18 | St. Lawrence, Whitchurch, London | 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 | Chapel Royal, St. James's Palace, London | | "We praise thee, O God" (Ambrosian hymn) |
| 283 | Te Deum ("Dettingen") | D major | 17 July – c. 29 July 1743 | 27 November 1743 | Chapel Royal, St. James's Palace, London | Performed 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) |

## Concertos

List of concertos by George Frideric Handel :
| HWV | Instrument | Key | Composed | Premiere | Venue | Published | Opus | Notes |
| 287 | Oboe | G minor | ?Hamburg ?c.1704–05 | | | 1863 | | "Oboe concerto No. 3" |
| 288 | Violin | B-flat major | Italy, c. 1707 | | | | | "Sonata a 5". Possibly for Corelli in Rome |
| 289 | Organ | G minor | 1735–36 | 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 | Harp, later Organ | B-flat major | c. 1730 for Harp; 1732 for Organ | unknown; first performed with a choral work (HWV 75) in 1736 | London, Covent Garden Theatre | 1738 | Opus 4 No. 6 | Composed as a harp concerto, later arranged for organ; served as prototype for the organ concerto series |
| 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 | c. 1743–46 | | | | | Pasticcio. Arranged by Handel |
| 297 | Organ | D minor | | | | 1740 | "2nd Set" No. 3 | Referred to as organ concerto "No. 15". Arranged from Concerto Grosso Op.6 No.10 (HWV 328). |
| 298 | Organ | G major | | | | 1740 | "2nd Set" No. 4 | Referred to as organ concerto "No. 16". Arranged from Concerto Grosso Op.6 No.1 (HWV 319). |
| 299 | Organ | D major | | | | 1740 | "2nd Set" No. 5 | Referred to as organ concerto "No. 17". Arranged from Concerto Grosso Op.6 No.5 (HWV 323). |
| 300 | Organ | G minor | | | | 1740 | "2nd Set" No. 6 | Referred to as organ concerto "No. 18". Arranged from Concerto Grosso in G minor Op.6 No.6 (HWV 324). |
| 301 | Oboe | B-flat major | | | | 1740 | | "Oboe concerto No. 1" |
| 302a | Oboe | B-flat major | | | | 1740 | | "Oboe concerto No. 2" |
| 303 | Organ | D minor | c. 1738 | | | | | An 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) |
| 304 | Organ | D minor | c. 1746 | ?14 February 1746 | | 1797 | | Sometimes referred to as organ concerto "No. 15". First performed with the premiere of The Occasional Oratorio (HWV 62). |
| 305 | Organ | F major | c. 1747–48 | | | | | Sometimes 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. |
| 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 | ?c. 1744 | ?14 February 1746 | London | 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 | c. 1748–49 | 1749 | | 1761 | 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 | c. 1738–39 | | | | | Ritornello for Chaconne (HWV 435). Part of a fragmentary outline of an organ concerto |

## Concerti grossi

List of concerti grossi by George Frideric Handel :
| HWV | Key | Composed | Premiere | Venue | Published | Opus | Notes |
| 312 | B-flat major | ?Hanover, c. 1710 | | | 1734 | Opus 3 No. 1 | No Handel autograph. Earliest surviving manuscript score from c. 1724. Probably the earliest concerto in the Op. 3 set |
| 313 | B-flat major | c. 1715–1718 | | | 1734 | Opus 3 No. 2 | |
| 314 | G major | c. 1717–1718 | c. 1717–1718 | | 1734 | Opus 3 No. 3 | Arranged (? by Walsh) |
| 315 | F major | 1716 | 20 June 1716 | London, King's Theatre, Haymarket | 1734 | Opus 3 No. 4 | Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi" |
| Anh. B 319 | F major | | | | 1734 | Opus 3 No. 4a or 4b | Of questionable authorship, was removed in Walsh's 2nd edition |
| 316 | D minor | 1717–1718 | | | 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 | (?) 1733–1734 | | | 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 10–11 October 1739 | | | 1740 | Opus 6 No. 9 | The 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) |
| 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 | A reworking of the Organ Concerto in A major, HWV 296. |
| 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 | 1747–1748 | (?) 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 | 1747–1748 | (?) 23 March 1748 | London, Covent Garden Theatre | | | Concerto a due cori in F major, No. 2. Composed for performances with oratorios; probably performed during Alexander Balus (HWV 65) |
| 334 | F major | 1747–1748 | (?) 1 April 1748 | London, Covent Garden Theatre | | | Concerto a due cori in F major, No. 3. Composed for performances with oratorios; probably performed during Judas Maccabaeus (HWV 63) |
| 335a | D major | c. 1746 | | | | | Version of the overture to the Fireworks music. |
| 335b | F major | c. 1746 | | | | | Version of the overture to the Fireworks music. |

## Orchestral works

List of orchestral works by George Frideric Handel :
| HWV | Type | Key | Composed | Premiere | Published | Notes |
| 302b | Largo | F major | c. 1738 | | | Autograph headed "Suite de pieces" (presumably this was the opening movement) |
| 336 | Overture | B-flat major | c. 1707–1708 | | | Autograph lost. Probably completed in Germany or Italy. May be the original French overture to Il Trionfo del Tempo e del Disinganno. |
| 337 | Overture | D major | c. 1722–1725 | | | Probably intended as an introductory movement. Possibly intended to be coupled with the concerto grosso in D major Op. 3 No. 6 (HWV 317) as the adagio movement. |
| 338 | Adagio/Allegro | B minor/D major | 1722 | | | Originally, with the 1st movement of the Organ Concerto, Allegro in D minor (HWV 317), a 3-movement orchestral concerto. The 1st movement was used as the sinfonia in Ottone (HWV 15); and the theme of the last movement was reworked for the overture of Ottone |
| 339 | Sinfonia | B-flat major | c. 1706–1707 | | 1979 | No autograph. First published in 1979 in the Halle Edition (IV/15) and is known only from a copy by Christopher Graupner (1683–1760). Probably completed in Hamburg or Italy |
| 340 | Allegro | G major | ?c. 1710–1715 | | | No autograph |
| 341 | Suite | D major | | | 1733 | Almost certainly spurious |
| 342 | Overture | F major | c. 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 | c. 1747 | | | |
| 348 | Suite. 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 | Suite. 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 | Suite. 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. Music for the Royal Fireworks | D major | 1749 | 27 April 1749 | | Composed for the celebration of Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian succession. First performed in Green Park, London |
| 352 | Suite | B-flat major | 1706 | | | No autograph |
| 353 | Suite | G major | 1706 | | | No autograph |
| 354 | Suite | B-flat major | 1708 | | | No autograph |
| 355 | Hornpipe aria | C minor | ?c. 1710–1715 | | | No autograph |
| 356 | Hornpipe | D major | 1740 | | | No autograph. Composed for Vauxhall Gardens |
| 413 | Gigue | B-flat major | 1736 | | | |

## Solo sonatas

List of solo sonatas for various instruments (with keyboard accompaniment) by George Frideric Handel :
| HWV | Instrument | Key | Composed | Published | Opus | Notes |
| 357 | Oboe | B-flat major | c. 1707–10 | | | One of Handel's earliest extant compositions. Probably written during his years in Italy |
| 358 | Unspecified | G major | c. 1707–10 | | | A "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. |
| 359a | Violin | D minor | c. 1724 | | | The 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) |
| 359b | Flute | E minor | c. 1724 | 1732 | Opus 1 No. 1b | Of the two sonatas published by Chrysander as Opus 1 Sonata I, this one (Sonata I$^b$) is the one in Walsh's original edition (where it is called Sonata I). |
| 360 | Recorder | G minor | c. 1712 | 1732 | Opus 1 No. 2 | |
| 361 | Violin | A major | c. 1725–26 | 1732 | Opus 1 No. 3 | The only violin sonata to have been published exactly as written by Handel. |
| 362 | Recorder | A minor | c. 1712 | 1732 | Opus 1 No. 4 | |
| 363a | Oboe | F major | c. 1711–16 | | | |
| 363b | Flute | G major | c. 1711–16 | 1732 | Opus 1 No. 5 | |
| 364a | Violin | G minor | c. 1722–24 | 1732 | Opus 1 No. 6 | Both Walsh and Chrysander published the work as an oboe sonata. |
| 364b | Viola da gamba | G minor | c. 1724 | | | A transcription of HWV 364a—as suggested by Handel on the manuscript. |
| 365 | Recorder | C major | c. 1712 | | Opus 1 No. 7 | |
| 366 | Oboe | C minor | c. 1711–12 | 1732 | Opus 1 No. 8 | |
| 367a | Recorder | D minor | c. 1712 | | Opus 1 No. 9a | Movements 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. |
| 367b | Flute | B minor | c. 1725–26 | 1732 | Opus 1 No. 9b | In the 'Aylesford' collection the Alla breve appears with the title of FUGE |
| 368 | Violin | G minor | | 1732 | Opus 1 No. 10 | Probably spurious |
| 369 | Recorder | F major | c. 1712 | 1732 | Opus 1 No. 11 | |
| 370 | Violin | F major | | 1732 | Opus 1 No. 12 | Probably spurious |
| 371 | Violin | D major | c. 1749–50 | | Opus 1 No. 13 | This sonata represents Handel's last piece of chamber music. The piece was not published by Walsh; the designation Op 1 No.13 is Chrysander's |
| 372 | Violin | A major | | 1732 | Opus 1 No. 14 | Probably 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's |
| 373 | Violin | E major | | 1732 | Opus 1 No. 15 | Probably 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's |
| 374 | Flute | A minor | | 1730 | | "Halle sonata No. 1". Authenticity uncertain |
| 375 | Flute | E minor | | 1730 | | "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 434 |
| 376 | Flute | B minor | | 1730 | | "Halle sonata No. 3". Authenticity uncertain |
| 377 | Recorder | B-flat major | c. 1712 | | | All three movements appear as parts of other works |
| 378 | Flute | D major | c. 1707? | 1979 | | No autograph, but now considered authentic. It appears in an important manuscript of 18th century solo sonatas in the Brussels Royal Conservatory, and is there attributed to 'Sr Weisse' |
| 379 | Flute | E minor | c. 1727–28 | 1879 | Opus 1 No. 1a | The 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. |
| 406 | Violin | A major | c. 1751 | | | Adagio and Allegro. Three–part accompaniment (? orchestral short score) |
| 407 | Violin | G major | c. 1738 | | | Allegro |
| 408 | Violin | C minor | c. 1725–29 | | | Allegro. 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). |
| 409 | Recorder | D minor | c. 1712 | | | Andante. Variant of movement from the Recorder Sonata in D minor (HWV 367a) |
| 412 | Violin | A minor | c. 1725–26 | | | Andante |
| 419-1 | Unspecified | G major | c. 1710–20 | | | HWV 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. |
| 419-2 | Unspecified | G major | c. 1710–20 | | | |
| 419-3 | Unspecified | G major | c. 1710–20 | | | |
| 419-4 | Unspecified | F major | c. 1710–20 | | | |
| 419-5 | Unspecified | C major | c. 1710–20 | | | |
| 419-6 | Unspecified | C major | c. 1710–20 | | | |
| 420 | Unspecified | D major | c. 1743–44 | | | Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work |
| 421 | Unspecified | D major | c. 1743–44 | | | Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work |

## Trio sonatas

List of trio sonatas by George Frideric Handel :
| HWV | Key | Composed | Published | Opus | Notes |
| 380 | B-flat major | | | | Authenticity uncertain |
| 381 | D minor | | | | Authenticity uncertain |
| 382 | E-flat major | | | | Authenticity uncertain |
| 383 | F major | | | | Authenticity uncertain |
| 384 | G major | | | | Authenticity uncertain |
| 385 | D major | | | | Authenticity uncertain |
| 386a | C minor | c. 1717–1719 | 1879 | | In Chrysander's "G. F. Handel's Werke" (1879) this piece was referred to as Op. 2 No. 1a; Variant form of Op. 2 No 1, not published by Walsh, but found in manuscripts |
| 386b | B minor | before 1727 | 1733 | Opus 2 No. 1 | In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 1b |
| 387 | G minor | ?1699 | 1733 | Opus 2 No. 2 | Handel's earliest datable composition. In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 2 |
| 388 | B-flat major | c. 1717–1718 | 1733 | Opus 2 No. 3 | In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 4. The finale appears in the overture to Athalia (HWV 52) |
| 389 | F major | c. 1718–1722 | 1733 | Opus 2 No. 4 | In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 5. The Larghetto appears in the overture to Esther (HWV 50a) |
| 390a | G minor | c. 1717–1722 | 1733 | Opus 2 No. 5 | In Chrysander's "G. F. Handel's Werke" this piece referred to as Op. 2 No 6 |
| 390b | G minor | | | | Published in HG volume 48. Unlikely to be Handel's work |
| 391 | G minor | c. 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 | c. 1706–1707 | | | In Chrysander's "G. F. Handel's Werke" (1879) this composition referred to as Op. 2 No 3. One of the "Dresden" sonatas. No autograph |
| 393 | G minor | probably c. 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 | A tempo ordinario movement is based on the overture to "Parnasso in Festa" (HWV 73). |
| 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 | c. 1738 | | | |
| 404 | G minor | | | | No autograph |
| 405 | F major | c. 1707–1710 | | | |

## Wind ensemble works

List of wind ensemble works by George Frideric Handel :
| HWV | Type | Key | Composed | Notes |
| 346 | March | F major | ?before 1729 | |
| 410 | Aria | F major | c. 1725 | |
| 411 | Aria | F major | c. 1725 | |
| 414 | March for Fife | C major | c. 1747 | |
| 415 | March for Fife | D major | c. 1747 | |
| 416 | March | D major | c. 1734 | |
| 417 | March | D major | c. 1746–1747 | May have originated as a keyboard work as a two-stave version of the march exists |
| 418 | March | G major | ?c. 1741 | |
| 422 | Minuet | G major | c. 1746–1747 | |
| 423 | Minuet | G major | c. 1746–1747 | |
| 424 | Overture | D major | c. 1741 | 'Fitzwilliam' Overture |

## Keyboard works

List of keyboard works by George Frideric Handel :
| HWV | Type | Key | Composed | Published | Notes |
| 305b | Arrangement | F minor | c. 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 | I. Adagio (2:45): II. Allegro (1:53): III. Adagio (1:55): IV. Allegro (Fugue) (2:04): |
| 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 | 4th.“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 | 6th.Passacaglia |
| 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 | ?1710–1717 | 1733 | 434-4: 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. |
| 435 | Suite de pièce Vol. 2 No. 2 | G major | ?1705–1717 | 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 | c. 1721–1726 | 1733 | |
| 437 | Suite de pièce Vol. 2 No. 4 | D minor | c. 1703–1706 | 1733 | 4th.Sarabande: the piece was used in an orchestral arrangement for Stanley Kubrick's Barry Lyndon. |
| 438 | Suite de pièce Vol. 2 No. 5 | E minor | c. 1710–1717 | 1733 | |
| 439 | Suite de pièce Vol. 2 No. 6 | G minor | c. 1703–1706 | 1733 | |
| 440 | Suite de pièce Vol. 2 No. 7 | B-flat major | c. 1703–1706 | 1733 | revised 1717–18 |
| 441 | Suite de pièce Vol. 2 No. 8 | G major | c. 1703–1706 | 1733 | |
| 442 | Suite de piece Vol. 2 No. 9 | G major | c. 1703–1706 | 1733 | 62 variations. Prelude and Chaconne. Two different preludes noted in sources (HWV 442/1b in Walsh) |
| 443 | Suite | C major | 1700–1703 | | Includes Chaconne (of which there are 26 variations) |
| 444 | Partita | C minor | c. 1705–1706 | | |
| 445 | Suite | C minor | 1705–1706 | | |
| 446 | Suite | C minor | c. 1703–1706 | | Composed for two harpsichords, but the music for only one harpsichord survives |
| 447 | Suite | D minor | c. 1738–1739 | | Written for Princess Louisa. Companion piece to the Suite in G minor (HWV 452) |
| 448 | Suite | D minor | c. 1705–1706 | | |
| 449 | Suite | D minor | c. 1705 | | |
| 450 | Partita | G major | c. 1700–1705 | | |
| 451 | Suite | G minor | c. 1703–1706 | | Allemande and Courante only |
| 452 | Suite | G minor | c. 1738–1739 | | Written for Princess Louisa. Companion piece to the Suite in D minor (HWV 447) |
| 453 | Suite | G minor | c. 1705–1706 | | |
| 454 | Partita | A major | c. 1703–1706 | | |
| 455 | Suite | B-flat major | c. 1705 | | Keyboard version of the overture in B-flat major (HWV 336) and the suite in B-flat major (HWV 354) |
| 456-1 | Arrangement | | c. 1720–1727 | | Arrangement of the overture to the Italian opera "Il pastor fido" |
| 456-2 | Arrangement | | c. 1720–1727 | | Arrangement of the overture to the Italian opera "Amadigi" |
| 456-3 | Arrangement | | c. 1720–1727 | | Arrangement of the overture to the Italian opera "Flavio" |
| 456-4 | Arrangement | | c. 1720–1727 | | Arrangement of the overture to the Italian opera "Rodelinda" |
| 456-5 | Arrangement | | c. 1720–1727 | | Arrangement of the overture to the Italian opera "Riccardo Primo" |
| 457 | Air | C major | c. 1720–1721 | | |
| 458 | Air | C minor | ?c. 1710–1720 | | Authenticity uncertain |
| 459 | Air | C minor | ?c. 1710–1720 | | Authenticity uncertain |
| 460 | Air (March) | D major | c. 1720–1721 | | |
| 461 | Air (Hornpipe) | D minor | c. 1717–1718 | | |
| 462 | Air and minuet | D minor | c. 1724–1726 | | |
| 463 | Air | F major | c. 1707–1709 | | |
| 464 | Air | F major | c. 1724–1726 | | A version of the air from the "Water Music" (HWV 348–350) |
| 465 | Air and two Doubles | F major | c. 1710–1720 | | |
| 466 | Air | G minor | c. 1710–1720 | | For two-manual harpsichord (or possibly organ) |
| 467 | Air Lentement | G minor | c. 1710–1720 | | |
| 468 | Air | A major | c. 1727–1728 | | |
| 469 | Air | B-flat major | c. 1738–1739 | | 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 | c. 1710–1720 | | For two-manual harpsichord (or possibly organ) |
| 471 | Air | B-flat major | c. 1710–1720 | | |
| 472 | Allegro | C major | c. 1705 | | |
| 473 | Allegro | C major | 25 August 1738 | | Clock-Organ |
| 474 | Air | G major | c. 1736–1738 | | Based on the first chorus of "Acis and Galatea" (HWV 49a). Possibly for organ |
| 475 | Allegro | D minor | c. 1710–1720 | | |
| 476 | Allemande | F major | c. 1730–1735 | | |
| 477 | Allemande | A major | c. 1724–1726 | | |
| 478 | Allemande | A minor | c. 1705 | | |
| 479 | Allemande | B minor | c. 1721–1722 | | |
| 480 | Chorale | G minor | c. 1736–1740 | | 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 | c. 1703–1706 | | |
| 482-1 | Arrangement | | c. 1720–1725 | | Arrangement of the aria 'Molto voglio, molto spero' to the Italian opera 'Rinaldo' |
| 482-2 | Arrangement | | c. 1720–1725 | | Arrangement of the aria 'Sventurato, godi, o core abbandonato' to the Italian opera 'Floridante' |
| 482-3 | Arrangement | | c. 1720–1725 | | Arrangement of the aria 'Ombra cara di mia sposa' to the Italian opera 'Radamisto' |
| 482-4 | Arrangement | | c. 1720–1725 | | Arrangement of the aria 'Pupille sdegnose! sareste pietose' to the Italian opera 'Muzio Scevola' |
| 482-5 | Arrangement | | c. 1720–1725 | | Arrangement of the aria 'Come, se ti vedrò' to the Italian opera 'Muzio Scevola' |
| 483 | Capriccio | G minor | c. 1720–1721 | | |
| 484 | Chaconne with 49 variations | C major | c. 1700–1705 | | Version of the Chaconne in Suite HWV 443 |
| 485 | Chaconne | F major | c. 1705 | | For a two-manual harpsichord |
| 486 | Chaconne | G minor | c. 1705 | | |
| 487 | Concerto | G major | c. 1710–1720 | | Two movements |
| 488 | Allegro (Courante) | F major | c. 1717–1718 | | In G major for the Suite de piece in G major, Vol. 2 No. 9 (HWV 442) |
| 489 | Courante | B minor | c. 1722 | | |
| 490 | Fantasie pour le clavecin, | C major | c. 1703–1706 | | |
| 491 | Gavotte | G major | c. 1705 | | |
| 492 | Gigue | F major | c. 1726–1727 | | |
| 493 | Gigue | G minor | c. 1704–1705 | | Two versions |
| 494 | Impertinence (Bourée) | G minor | c. 1705 | | |
| 495 | Lesson | D minor | c. 1705–1710 | | Early form (two variants) of the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428), movement six |
| 496 | Lesson | A minor | c. 1715–1720 | | |
| 497 to 558 | 62 Minuets | Various | | | Two-stave pieces, probably for keyboard. Some related to minuets in other works |
| 559 | Passepied | C major | c. 1721–1722 | | |
| 560 | Passepied | A major | c. 1705 | | |
| 561 | Prelude | D minor | c. 1705–1706 | | Version of the prelude to the Suite de pièce in D minor, Vol. 2 No. 4 (HWV 437) |
| 562 | Prelude (Harpeggio) | D minor | c. 1711–1712 | | |
| 563 | Prelude | D minor | c. 1700–1703 | | |
| 564 | Prelude | D minor | c. 1705 | | |
| 565 | Prelude | D minor | c. 1710–1720 | | An early version of the Prelude to the Suite de pièce in D minor, Vol. 1 No. 3 (HWV 428) |
| 566 | Prelude | E major | c. 1710–1720 | | Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433) |
| 567 | Preludium | F major | c. 1710–1720 | | |
| 568 | Preludium | F minor | c. 1710–1720 | | Associated in some manuscripts with movements in the Suite de pièce in F minor, Vol. 1 No. 8 (HWV 433) |
| 569 | Preludium | F minor | ?c. 1710–1720 | | Arpeggio del Cook. Authorship uncertain |
| 570 | Prelude (Harpeggio) | F-sharp minor | c. 1717–1718 | | Originally associated with the Suite de pièce in F-sharp minor, Vol. 1 No. 6 (HWV 431) |
| 571 | Prelude and Capriccio | G major | c. 1703–1706 | | Two movements |
| 572 | Prelude | G minor | c. 1710–1717 | | Originally associated with the Suite de pièce in G minor, Vol. 1 No. 7 (HWV 432) |
| 573 | Prelude (Harpeggio) | G minor | c. 1705 | | |
| 574 | Prelude and Allegro (Sonata) | G minor | c. 1705 | | Two movements |
| 575 | Prelude (Harpeggio) | A minor | c. 1717–1718 | | Coupled with the "Lesson in A minor"; HWV 496 |
| 576 | Prelude and Allegro | A minor | c. 1705–1706 | | Two movements |
| 577 | Sonata (Fantasia) pour le clavecin, | C major | c. 1703–1705 | | |
| 578 | Sonata | C major | c. 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 | ?c. 1707–1710 | | For a two-manual harpsichord (or possibly organ) |
| 580 | Sonata (Larghetto) | G minor | ?c. 1707–1710 | | One movement |
| 581 | Sonatina | D minor | c. 1705 | | One movement |
| 582 | Sonatina (Fugue) | G major | c. 1721–1722 | | One movement |
| 583 | Sonatina | G minor | ?c. 1721–1722 | | One movement |
| 584 | Sonatina | A minor | c. 1706–1708 | | One movement. Authenticity uncertain |
| 585 | Sonatina | B-flat major | c. 1721–1722 | | One movement |
| 586 | Toccata | G minor | c. 1710–1720 | | |
| 587 to 597 | Eleven pieces | C, F, and G | c. 1735–1740 | | "10 [sic] Tunes for Clay's Musical Clock" (Clock-Organ). Includes arrangements of opera arias |
| 598 to 604 | Seven pieces | C major, A minor | c. 1730–1740 | | Clock-Organ. HWV 600 (a version of HWV 588) named "A Voluntary for a Flight of Angels." |
| 605 | Fugue | G minor | c. 1711–1718 | 1735 | No 1 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735 |
| 606 | Fugue | G major | c. 1711–1718 | 1735 | No 2 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735 |
| 607 | Fugue | B-flat major | c. 1711–1718 | 1735 | No 3 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735 |
| 608 | Fugue | B minor | c. 1711–1718 | 1735 | No 4 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735 |
| 609 | Fugue | A minor | c. 1711–1718 | 1735 | No 5 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735 |
| 610 | Fugue | C minor | c. 1711–1718 | 1735 | No 6 of "Six Fugues or Voluntarys for the Organ or Harpsichord" published by Walsh in 1735 |
| 611 | Fugue | F major | c. 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 |
| A$^{15}$ 1 – 37 | Minuets | Various | | | Arranged from music of opera arias |

## Arrangements by/of other composers

List of Handel's music arranged by other composers :
| HWV | Genre | Name | Composed | Premiere | Venue | Libretto | Notes |
| A$^1$ | Opera (pasticcio) | L'Elpidia, overo Li rivali generosi | 1725 | 11 May 1725 | London, King's Theatre, Haymarket (10 performances to 19 June) | ?Nicola Haym, after A. Zeno, 1697 | Revival on 30 November 1725: London, King's Theatre, Haymarket (4 performances to 11 December) |
| A$^3$ | Opera (pasticcio) | Ormisda | 1730 | 4 April 1730 | London, King's Theatre, Haymarket (13 performances to 14 May; also 9 June) | ?Rossi, after Zeno, 1722 | 12 songs changed at 21 April 1730 performance, for Strada's benefit. Revival on 28 November 1730: London, King's Theatre, Haymarket (5 performances to 8 December). |
| A$^4$ | Opera (pasticcio) | Venceslao | 1731 | 11 January 1731 | London, King's Theatre, Haymarket (4 performances to 23 January) | ?Rossi, after Zeno, 1724 | |
| A$^6$ | Opera (pasticcio) | Lucio Papirio dittatore | 1732 | 23 May 1732 | London, King's Theatre, Haymarket (4 performances to 6 June) | After Zeno/C.I. Frugoni, 1729 | |
| A$^7$ | Opera (pasticcio) | Catone | 1732 | 4 November 1732 | London, King's Theatre, Haymarket | After Metastasio, 1728/9 | |
| A$^8$ | Opera (pasticcio) | Semiramide or Semiramis riconosciuta | 1733 | 30 October 1733 | London, King's Theatre, Haymarket | After Metastasio, 1729 | |
| A$^9$ | Opera (pasticcio) | Caio Fabricio | 1733 | 4 December 1733 | London, King's Theatre, Haymarket | After Zeno, 1732 | |
| A$^{10}$ | Opera (pasticcio) | Arbace | 1734 | 5 January 1734 | London, King's Theatre, Haymarket | After Metastasio, 1730 | |
| A$^{12}$ | Opera (pasticcio) | Didone | 1737 | 13 April 1737 | London, Covent Garden Theatre | After Metastasio, 1726 | Pasticcio by Händel using Leonardo Vinci's Didone abbandonata |

## HWV missing

List of Handel's compositions that are not included in the HWV Catalogue :
| Genre | Name | Composed | Premiere | Venue | Notes |
| Aria | The Beauteous Cloe or 'Cloe, you're witty' | | | | A recycling of the aria 'S'io dir potessi' from Ottone (HWV 15), possibly by Handel himself. |
| Aria | Dicente mis ojos | | | | Reworked version of the final aria of the Spanish cantata Nò se emenderá jamás (HWV 140) |
| Song | The Dream or 'Beneath a shady willow' | | | | Based on the middle section of the opening chorus of Acis and Galatea (HWV 49a) |
| Latin sacred cantata | Gloria | ?1703–1709 | 3 June 2001 | The International Händel Göttingen Festival | For 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 Aria | Lusinga questo cor | c. 1712–1717 | | | For soprano. Probably completed in London |
| Orchestral | March in 'Judas Maccabaeus' in F major | c. 1747–1748 | | | As addition to oratorio "Judas Maccabaeus" (HWV 63) or to Concerto a due cori in F major (HWV 334) |
| Wind ensemble | Marche in G major | c. 1746–1747 | | | Independent wind version of the oratorio, "Judas Maccabeus" march (HWV 63, no. 32a) |
| Wind ensemble | Marche lentement in C major | c. 1741 | | | Wind version of the oratorio, Samson's (HWV 57) "Dead March" |
| Italian Aria | No Kossi presto nò | | | | For soprano. Text apparently macaronic Italian-German |
| Aria | Der Mund spricht zwar | | | | Reworked version of the aria from the opera Almira (HWV 1) |
| Opera (pasticcio) | Lucio Vero | 1745 | November 1745 | King's Theatre, London | A pasticcio opera containing music by Handel and performed by the "Middlesex" opera company (named after Lord Middlesex) |
| Oratorio (pasticcio) | | 1738 | 28 March 1738 | King's Theatre, Haymarket, London | Handel'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 concertos |
| Oratorio (pasticcio) | Nabal | | 16 March 1764 | Covent Garden Theatre, London | |
| Oratorio (pasticcio) | Rebecca | | | | |
| Oratorio (pasticcio) | Gideon | | 10 February 1769 | Covent Garden Theatre, London | |
| Aria | Quand on suit l'amoureuse loi | | | | A short da capo aria in the style of a gavotte |
| Opera | Rossane | 1743 | November 1743 | King's Theatre, London | Revived 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 company |
| French song | Sans y penser | | | | Another version of the French song (HWV 155) in a lower key and a simpler bass line |
| Italian Aria | Sa perchè pena il cor | c. 1712–1717 | | | For alto |
| Orchestral Suite | Water Music chamber suite | | | | Nine movements. The arrangement is contemporary, but the authenticity is uncertain. Published by Burrows in 1991 |
| Secular/Sacred Hybrid Oratorio | Tobit | | | | Compiled 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. |

## Previously attributed

The following works are no longer thought to have been composed by Handel:
* The Passion nach dem Evang. Johannes (the Passion according to the evangelist John). The work was published in volume nine of the Händel-Gesellschaft (1860), but is now thought to have been composed by the German composer Georg Böhm.