Handel A Biographical Introduction Chronology Anecdotes Worklist The Editions The Catalogue By Composition Genre and Title HWV 1 to 42 HWV 43 to 100 HWV 101 to 200 HWV 201 to 300 HWV 301 to 400 HWV 401 to 558 HWV 559 to 612 HWV Appendix and HWV deest Assembled Works (e.g., Opus numbers) Spurious & Misattributed Works Messiah Gallery Potpourri FAQ Handel Institute Research New and Recent Publications about Handel Conferences / Study Days Grants and Awards Guide to Researchers Bibliographies Online Study Resources New Editions of Handel's Music Recordings New CDs and DVDs Forthcoming projects Discographies Archive of CD Reviews Shortlist of retailers Desert Island Handel Discs Brad’s Discs David’s Discs Philippe’s Discs Sadie Prize The Stanley Sadie Handel Recording Prize Past winners 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 Performance Forthcoming concerts, operas and festivals Festivals Grants and Awards Interviews Links Museums Handel Societies Festivals Handel-L Other Links

G. F. Handel's Compositions

HWV 301-400

HWV 301: Oboe Concerto No 2a in B flat major

• Published: 1740
• Notes:
  • Published in collection, "Select Harmony," with the Oboe concerto in B flat major (HWV 302a).
  • Authenticity uncertain.
• HG edition: 21
• HHA edition: IV/12

HWV 302a: Oboe Concerto No 1 in B flat major

• Published: 1740
• Borrowings:
  • The 1st and 2nd movements were taken from the instrumental introduction to Chandos Anthem No 8 (HWV 253).
  • The last two movements -- an Andante for solo oboe and strings based on the 1st movement of the Sonata a cinque (HWV 288), and a 3-part Allegro written in the form of a dialogue -- are identical with the overture to the Chandos Anthem No 5 (HWV 250c)
• Notes:
  • Published in collection, "Select Harmony," with the Oboe Concerto No 2a in B flat major (HWV 301).
  • Walsh may have put the concerto together himself using various compositions by Handel.
• HG edition: 21
• HHA edition: IV/12

HWV 302b: Largo in F Major

• Genre: Orchestral
• Composed: circa 1738
• Notes: Autograph headed "Suite de pieces" (this was presumably the opening movement).
• HG edition: 21
• HHA edition: IV/12

HWV 303: Concerto for two organs; Adagio in D minor

• Genre: Organ Concerto
• Key: D minor
• Composed: circa 1738
• Borrowings: Later published (for solo organ) as 1st movement of Organ Concerto in D minor, Op 7 No 4 (HWV 309)
• Notes: End adapted by Handel to lead into another movement.
• HG edition: 48
• HHA edition: IV/12

HWV 304: Organ Concerto in D minor

• Composed: circa 1746
• First performance: ?14 February 1746 with premiere of The Occasional Oratorio (HWV 62)
• Published: 1797
• Borrowings: Movements from a Flute Sonata in Part 1 of Telemann's Musique de Table.
• Notes: Sometimes referred to as organ concerto "No 15"
• HG edition: 48
• HHA edition: IV/12

HWV 305: Organ Concerto in F major

• Composed: Arranged by Handel circa 1747-8
• Borrowings:
  • Arranged by Handel from the Concerto a due cori in F major (HWV 334) (3 movements) and Marche in F
  • Rearranged by Handel at same period as solo keyboard piece (HWV 305b)
• HG edition: 48 (with defective text derived from Arnold's edition)
• HHA edition: IV/16 (organ part alone)

HWV 305b: Ouverture for solo keyboard in F minor (Keyboard arrangement of the Ouverture in F major)

• Genre: Keyboard arrangement
• Composed: circa 1747
• Notes: Solo keyboard arrangement of Organ Concerto in F major (HWV 305).

HWV 306: Organ Concerto in B flat major, Op 7 No 1

• Completed score: 17 February 1740
• First performance:
  • 27 February 1740: London, Lincoln's Inn Fields Theatre.
  • Played during first performance of L'Allegro, il Penseroso ed il Moderato (HWV 55)
• Published: 1761
• Notes: 1st movement includes independent pedal part.
• HG edition: 28
• HHA edition: IV/7

HWV 307: Organ Concerto in A major, Op 7 No 2

• Completed score: 5 February 1743
• First performance:
  • 18 February 1743: London, Covent Garden Theatre.
  • Performed with the oratorio Samson (HWV 57).
• Published: 1761
• Borrowings:
  • Fugal section of 1st movement based on a theme from an unpublished suite by Gottlieb Muffat.
  • Last movement based on rejected overture movement from "Samson" (HWV 57).
  • The main theme of the finale also comes from Muffat: it occurs in a piece called "La Coquette", found under the collection of suites published under the title, "Componimenti Musicali."
• HG edition: 28
• HHA edition: IV/7

HWV 308: Organ Concerto in B flat major, Op 7 No 3

• Composed: 1-4 January 1751
• First performance:
  • 1 March 1751: London, Covent Garden Theatre.
  • 1 March 1751: London, Covent Garden Theatre. Performed after Act II of Alexander's Feast (HWV 75).
• Published: 1761
• Borrowings: The main theme of the Spiritoso is taken from one of Habermann's masses.
• Notes:
  • 2 variant autographs of 1st movement.
  • Handel's last orchestral work.
• HG edition: 28
• HHA edition: IV/7

HWV 309: Organ Concerto in D minor, Op 7 No 4

• Composed: ?circa 1744. Possibly assembled by John Christopher Smith from various works after Handel's death.
• First performance:
  • ?14 February 1746
  • ?Performed with premiere of "The Occasional Oratorio" (HWV 62)
• Published: 1761
• Borrowings:
  • Probably a compilation, from Concerto for Two Organs Adagio in D minor (HWV 303), movement "Allegro cosi cosi" (autograph circa 1743) and last movement of the Concerto Grosso Op 3 No 6 (HWV 317).
  • 2nd movement is based on a movement in Telemann's "Musique de table."
• HG edition: 28
• HHA edition: IV/7

HWV 310: Organ Concerto in G minor, Op 7 No 5

• Completed score: 31 January 1750
• First performance:
  • 16 March 1750: London, Covent Garden Theatre.
  • Performed with "Theodora" (HWV 68).
• Published: 1761
• Borrowings: Gavotte arranged from the Recorder Sonata in G minor, Op 1 No 2 (HWV 360) and hence related to the finale of the Organ concerto in G minor, Op 4 No 3 (HWV 291).
• Notes: Final gavotte in published version probably added later by Smith Jr.
• HG edition: 28
• HHA edition: IV/7

HWV 311: Organ Concerto in B flat major, Op 7 No 6

• Composed: Some movements composed circa 1748-9. Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication.
• Published: 1761
• Borrowings:
  • Closely related to Sinfonia in B flat major (HWV 347).
  • 1st movement indebted to Telemann.
• Notes: Performed 1749
• HG edition: 28
• HHA edition: IV/7

HWV 312: Concerto Grosso in B flat major, Op 3 No 1

• Composed: ?Hanover, circa 1710
• Published: 1734
• Notes:
  • No Handel autograph.
  • Earliest surviving manuscript score from circa 1724.
  • Probably the earliest concerto in the Op 3 set.
• HG edition: 21
• HHA edition: IV/11

HWV 313: Concerto Grosso in B flat major, Op 3 No 2

• Composed: circa 1715-18
• Published: 1734
• Borrowings: The 1st and 3rd movements are derived from Handel's MS for the Brockes Passion (HWV 48).
• HG edition: 21
• HHA edition: IV/11

HWV 314: Concerto Grosso in G major, Op 3 No 3

• Composed: Arranged (? by Walsh) from music composed crica 1717-18.
• Published: 1734
• Borrowings: The Largo, Allegro, and Adagio are derived from the opening movements of Chandos Anthem No. 7 (HWV 252) and the Te Deum (HWV 281) which Handel composed for the Duke of Chandos, and the final Allegro from a harpsichord fugue in G major (HWV 606)
• HG edition: 21
• HHA edition: IV/11

HWV 315: Concerto Grosso in F major, Op 3 No 4a

• Completed score: 1716
• First performance:
  • 20 June 1716: London, King's Theatre, Haymarket.
  • Performed as an "orchestral concerto" between acts of the opera Amadigi (HWV 11) -- "For the Benefit of the Instrumental Musick" at the King's Theatre benefit night.
• Notes:
  • Contemporaneously referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi". The former name was given, because it was performed during a benefit concert on behalf of the opera orchestra.
  • In early copies of 1st edition of Op 3, a spurious concerto (printed as "Op. 3 No. 4a") was accidentally substituted. This spurious concerto (composer is anonymous) is now referred to as "Op. 3 No. 4b".
• HG edition: 21
• HHA edition: IV/11

HWV 316: Concerto Grosso in D minor, Op 3 No 5

• Composed: 1717-18
• Published: 1734
• Borrowings:
  • The 1st, 2nd, and 4th movements are derived from Chandos Anthems No 2 (HWV 247) & No 6 (HWV 251b).
  • In 1923 the 1st movement was transcribed for symphony orchestras by Sir Edward Elgar.
• Notes: In Walsh's 2nd edition of the Op 3 concertos, the 3rd, 4th, & 5th movements were added.
• HG edition: 21
• HHA edition: IV/11

HWV 317:

• Concerto Grosso in D major, Op 3 No 6

  • Published: 1734
  • Borrowings:
    • 1st and 2nd movements probably assembled by Walsh from Handel's overture and "Battle Symphony" for the opera Ottone (HWV 15) and D minor keyboard concerto movement.
    • The 2nd movement was also derived from the overture to the opera Il pastor fido (HWV 8a)
    • See Adagio in B minor/Allegro in D major (HWV 338)
  • Notes:
    • In Walsh's first publication of the Opus 3, No 6 consisted of only the Vivace coupled with the Organ Concerto Allegro in D minor (HWV 317).
    • Possibly the Ouverture in D major (HWV 337) was intended to be an Adagio movement for Concerto grosso in D major, Op 3 No 6.
  • HG edition: 21
  • HHA edition: IV/11

• Organ Concerto, Allegro in D minor

  • Composed: Probably composed in 1733-4
  • Published: 1734
  • Borrowings: Based on earlier solo keyboard piece.
  • Notes:
    • Published coupled with only the Vivace movement in Walsh's Op 3 No 6 (HWV 317), 1734
    • First appeared (scored with solo violin) at the end of the Overture to Il pastor fido (HWV 8a) but was probably used by Handel in one of his oratorio performances during 1733/4.
  • HG edition: 21
  • HHA edition: IV/11

HWV 318: Concerto Grosso in C major for "Alexander's Feast"

• Completed score: 25 January 1736
• First performance: February 1736 between acts of the oratorio, Alexander's Feast (HWV 75)
• Published: 1740
• Borrowings:
  • For the 1st movement, Handel developed the theme marked by characteristic features of a theme from an overture by William Boyce.
  • The finale movement, a stylized dance, uses a characterisitc pulse ("Lombardic rhythm") and melodic shape which are borrowed from a theme in Telemann's "Musique de table" (1733).
• HG edition: 21
• HHA edition: IV/15

HWV 319: Concerto Grosso in G major, Op 6 No 1

• Completed score: 29 September 1739
• Published: 1740
• Borrowings: The musical substance of the opening movement is taken in part from the overture to the opera Imeneo (HWV 41)
• HG edition: 21
• HHA edition: IV/15

HWV 320: Concerto Grosso in F major, Op 6 No 2

• Composed: September - October 1739
• Completed score: 4 October 1739
• Published: 1740
• HG edition: 21
• HHA edition: IV/15

HWV 321: Concerto Grosso in E minor, Op 6 No 3

• Composed: September - October 1739
• Completed score: 6 October 1739
• Published: 1740
• Borrowings: In the finale Handel used the minor section of a minuet for the overture to the Ode for St. Cecilia's Day (HWV 76)
• HG edition: 21
• HHA edition: IV/15

HWV 322: Concerto Grosso in A minor, Op 6 No 4

• Composed: September - October 1739
• Completed score: 8 October 1739
• Published: 1740
• Borrowings: The concluding Allegro takes its thematic material from an aria in the opera, Imeneo (HWV 41)
• HG edition: 21
• HHA edition: IV/15

HWV 323: Concerto Grosso in D major, Op 6 No 5

• Composed: September - October 1739
• Completed score: 10 October 1739
• Published: 1740
• Borrowings:
  • The concluding Allegro takes its thematic material from an aria in the opera, Imeneo (HWV 41)
  • Sometimes known as the "St. Cecilia's Concerto," because the first two movements and the last use thematic material, in modified form, from the overture to the Ode for St. Cecilia's Day (HWV 76).
• HG edition: 21
• HHA edition: IV/15

HWV 324: Concerto Grosso in G minor, Op 6 No 6

• Composed: September - October 1739
• Completed score: 15 October 1739
• Published: 1740
• Borrowings: The final movement may be borrowed from a harpsichord sonata by Domenico Scarlatti.
• HG edition: 21
• HHA edition: IV/15

HWV 325: Concerto Grosso in B flat major, Op 6 No 7

• Composed: September - October 1739
• Completed score: 12 October 1739
• Published: 1740
• Borrowings: For the Hornpipe movement, Handel took for his model a Hornpipe from Gottlieb Muffat's "Componimenti musicali" -- published around 1736.
• HG edition: 21
• HHA edition: IV/15

HWV 326: Concerto Grosso in C minor, Op 6 No 8

• Composed: September - October 1739
• Completed score: 18 October 1739
• Published: 1740
• Borrowings:
  • The 1st movement takes its principle theme from the 1st movement of the Harpsichord Suite in G minor (HWV 452).
  • The 4th movement is somewhat similar to Cleopatra's lament in the opera, Giulio Cesare (HWV 17)
• HG edition: 21
• HHA edition: IV/15

HWV 327: Concerto Grosso in F major, Op 6 No 9

• Composed: September - October 1739
• Completed score: no date - probably between October 10 & 11, 1739
• Published: 1740
• Borrowings:
  • 2nd and 3rd movements derived from Organ Concerto No 1 in F major (HWV 295).
  • 4th and 5th movements derived from the overture to "Imeneo" (HWV 41)
  • The Gigue is thematically reminiscent of the Giga in Corelli's Concerto Grosso No 12.
• Notes: The Gigue was originally intended by Handel for the Concerto Grosso in F major, Op 6 No 2 (HWV 320), but transferred it to the 9th concerto in order that it should at least end with newly-composed music.
• HG edition: 21
• HHA edition: IV/15

HWV 328: Concerto Grosso in D minor, Op 6 No 10

• Composed: September - October 1739
• Completed score: 22 October 1739
• Published: 1740
• Notes: The gavotte-like last movement was originally intended by Handel for the Concerto Grosso in B minor, Op 6 No 12 (HWV 330).
• HG edition: 21
• HHA edition: IV/15

HWV 329: Concerto Grosso in A major, Op 6 No 11

• Composed: September - October 1739
• Completed score: 30 October 1739
• Published: 1740
• Borrowings: Partly derived from Organ Concerto "2nd Set" No 2 in A major (HWV 296a).
• HG edition: 21
• HHA edition: IV/15

HWV 330: Concerto Grosso in B minor, Op 6 No 12

• Completed score: 20 October 1739
• Published: 1740
• Borrowings: For the finale Allegro fugue, Handel took the opening of the fugue subject from a fugue (also in B minor) in a suite by his former teacher Friedrich Wilhelm Zachow.
• HG edition: 21
• HHA edition: IV/15

HWV 331: Concerto in F major

• Genre: Concerto grosso
• First performance: 20 March 1723: London, Drury Lane Theatre
• Notes: 2 movements, thematically related to Water Music Suite in F major (HWV 348)
• HG edition: 47
• HHA edition: IV/13 (Anhang)

HWV 3311: Water Music, Suite Variant No 1, in F major

• Genre: Concerto grosso
• Notes: 2 movements, thematically related to the Suite No 1 in F major from The Water Music (HWV 348).

HWV 3312: Water Music, Suite Variant No 2, in F major

• Genre: Concerto grosso

HWV 332: Concerto a due cori in B flat major, No. 1

• Genre: Concerto grosso
• Composed: 1747-8 for performances with oratorios.
  • (?) 9 March 1748: London, Covent Garden Theatre
  • Probably performed during Joshua (HWV 64).
• Borrowings:
  • Includes new orchestral versions of music from oratorios.
  • 1st movement: Overture to Alexander Balus (HWV 65)
  • 2nd movement: Messiah (HWV 56): 'And the Glory of the Lord'
  • 4th movement: Belshazzar (HWV 61)
  • 5th movement: Ottone (HWV 15)
  • 6th movement: Semele (HWV 58)
  • 7th movement: Lotario (HWV 26)
• HG edition: 47
• HHA edition: IV/12,16

HWV 333: Concerto a due cori in F major, No. 2

• Genre: Concerto grosso
• Composed: 1747-8 for performances with oratorios.
• First performance :
  • (?) 23 March 1748: London, Covent Garden Theatre
  • Probably performed during Alexander Balus (HWV 65).
• Borrowings:
  • Includes new orchestral versions of music from oratorios:
  • First 2 movements: first version of Esther (HWV 50a): e.g., "Jehovah is crowned" and chorus
  • 3rd movement: Messiah (HWV 56): e.g, "Lift up your heads"
  • 4th movement: A chorus from Esther (HWV 50a)
  • 5th movement: Ode for the Birthday of Queen Anne (HWV 74) & 1732 version of Esther (HWV 50b)
  • 6th movement: A chorus from The Occasional Oratorio (HWV 62)
• HG edition: 47
• HHA edition: IV/16

HWV 334: Concerto a due cori in F major, No. 3

• Genre: Concerto grosso
• Composed: 1747-8 for performances with oratorios.
• First performance:
  • (?) 1 April 1747: London, Covent Garden Theatre
  • Probably performed with the oratorio, Judas Maccabaeus (HWV 63)
• Borrowings:
  • The Ouverture has material in common with the so-called Fitzwilliam Overture (HWV 424).
  • Finale movement based on material from the opera Partenope (HWV 27)
• HG edition: 47
• HHA edition: IV/16

HWV 335a: Concerto in D major

• Genre: Concerto grosso
• Composed: circa 1748-9
• Borrowings: 1st movement related to the Music for the Royal Fireworks (HWV 351)
• HG edition: 47
• HHA edition: IV/16

HWV 335b: Concerto in F major

• Genre: Concerto grosso
• Borrowings: 1st movement related to the Music for the Royal Fireworks (HWV 351)
• HG edition: 47
• HHA edition: IV/16

HWV 336: Ouverture in B flat major

• Genre: Orchestral
• Composed: Probably Germany or Italy.
• Notes: Autograph lost.
• HG edition: 48
• HHA edition: IV/15

HWV 337: Ouverture in D major

• Genre: Orchestral
• Composed: circa 1722-5
• Notes:
  • Probably intended as introductory movement.
  • Possibly intended to be coupled with the Concerto Grosso in D major Op 3 No 6 (HWV 317) as the Adagio movement.
• HHA edition: IV/15

HWV 338: Adagio in B minor/Allegro in D major

• Genre: Orchestral Suite
• Completed score: 1722
• Notes:
  • Originally, with 1st movement of the Organ Concerto, Allegro in D minor (HWV 317), a 3-movement orchestral concerto.
  • 1st movement used as sinfonia in Ottone (HWV 15); theme of last movement reworked for ouverture of Ottone.
• HHA edition: IV/15

HWV 339: Sinfonia in B flat major (as "HWV 338")

• Genre: Orchestral
• Composed: Probably Hamburg or Italy, circa 1706-7
• Published: 1979
• Borrowings: An aria ('Binder Schutz') in Handel's first opera Almira (HWV 1), 1704, provides the main theme of the opening movement, which it also shares with the keyboard suite in B flat major in the 1733 collection.
• Notes:
  • No autograph.
  • First published in 1979 in the Halle Edition (IV/15) and is known only from a copy by Christopher Graupner (1683-1760).
  • The Sinfonia could well date from Handel's own time in Hamburg between 1704 and 1706.
• HHA edition: IV/15

HWV 340: Allegro in G major

• Genre: Orchestral
• Composed: ?circa 1710-15
• Notes: No autograph
• HG edition: 48
• HHA edition: IV/19

HWV 341: The Famous Water Peice (sic.) in D major -- Spurious

• Genre: Orchestral Suite
• Published:
  • Originally published in 1733 by D. Wright of London
  • 2nd edition published between 1740-45 by J. Johnson
• Borrowings :
  • Ouverture resembles movement from the 2nd Water Music Suite in D major (HWV 349).
  • 5th movement is a re-arrangement of a march in B flat major from the opera, Partenope (HWV 27).
• Notes: The work is almost certainly spurious.
• HHA edition: IV/13 (Anhang)

HWV 342: Ouverture in F major

• Genre: Orchestral
• Composed: circa 1736
• Borrowings: Version of the overtures used in 1733-4 for Athalia (HWV 52) and Parnasso in festa (HWV 73).
• HG edition: 48 (in G major)

HWV 343: Ritornello in G major for Chaconne

• Genre: Organ Concerto
• Composed: circa 1738-9
• Notes: Added to Chaconne (HWV 435); part of fragmentary outline of organ concerto, including Chaconne, and followed by cue or sketch for 3rd movement of Organ Concerto No 1 in F major (HWV 295).
• HHA edition: IV/19

HWV 344: Chorus amd Minuet in B flat major

• Genre: Orchestral
• Completed score: 1708
• Borrowings: No autograph. Apparently movements from Hamburg opera Florindo (HWV 3) (See HWV 354.)
• HHA edition: IV/19

HWV 345: Marche in D major

• Genre: Orchestral
• Composed: Before 1738
• Notes: No autograph.
• HG edition: 48
• HHA edition: IV/19

HWV 346: Marche in F major

• Genre: Wind ensemble
• Composed: ?before 1729
• HHA edition: IV/19

HWV 347: Sinfonia in B flat major

• Genre: Orchestral
• Composed: circa 1747
• Notes: 3 movements, also used elsewhere.
• HHA edition: IV/19

HWV 348-50: Water Music

• Genre: Orchestral Suite
• Completed score: 1717
• First performance: River Thames, 17 July 1717, for King George I.
• Published: 1788
• Notes:
  • Autograph lost. arrangement into suites not explicit in early sources.
  • London newspaper article from the "Daily Courant," 19 July 1717:
    • "On Wednesday Evening, at about 8, the King took Water at Whitehall in an open Barge, wherein were also the Dutchess of Bolton, the Dutchess of Newcastle, the Countess of Godolphin, Madam Kilmarnock (sic. Kielmansegge), and the Early of Orkney. And went up the River towards Chelsea. Many other Barges with Persons of Quality attended, and so great a Number of Boats, that the whole River in a manner was cover'd; a City Company's Barge was employ'd for the Musick, wherein were 50 Instruments of all sorts, who play'd all the Way from Lambeth (While the Barges drove with the Tide without Rowing, as far as Chelsea), the finest Symphonies, compos'd express for this Occasion, by Mr Hendel, which his Majesty liked so well, that he caus'd it to be plaid over three times in going and returning. At Eleven his Majesty went a-shore at Chelsea, where a Supper was prepar'd, and there was another fine Consort of Musick, which lasted till 2; after which His Majesty came again into his Barge and return'd the Same Way, the Music continuing to play til he landed."
  • According to a report sent to Berlin by Friedrich Bonet, the Prussian Ambassador to London:
    • "About eight in the evening the King repaired to His barge, into which were admitted the Duchess of Bolton, Countess Godolphin, Mad. de Kilmanseck (sic. Kielmansegge), Mrs Were and the Earl of Orkney, the Gentleman of the Bedchamber in Waiting. Next to the King's barge was that of the musicians, about 50 in number, who played on all kinds of instruments, to wit trumpets, horns, hautboys (oboes), bassoons, German flutes, French flutes, violins, and basses; but there were no singers. The music had been composed especially by the famous Handel, a native of Halle, and His Majesty's Principal Court Composer. His Majesty approved of it so greatly that he caused it to be repeated three times in all, altogether each performance last an hour -- namely twice before and once after supper. The evening was all that could be desired for the festivity, the number of barges and above all of boats filled with people desirous of hearing was beyond counting. In order to make this entertainment the more exquisite, Mad. de Kilmanseck had arranged a choice supper in the late Lord Ranelagh's villa at Chelsea on the river, where the King went at one in the morning. He left at three o-clock and returned to St. James's about half past four. The concert cost Baron Kilmanseck £150 for the musicians alone. Neither the Prince nor the Princess (of Wales) took any part in this festivity."
• HG edition: 47
• HHA edition: IV/13

HWV 348: Water Music, Suite No 1 in F major

• Genre: Orchestral Suite
• Completed score: 1717
• HG edition: 47
• HHA edition: IV/13

HWV 349: Water Music, Suite No 2 in D major

• Genre: Orchestral Suite
• Completed score: 1717
• HG edition: 47
• HHA edition: IV/13

HWV 350: Water Music, Suite No 3 in G major

• Genre: Orchestral Suite
• Completed score: 1717
• HG edition: 47
• HHA edition: IV/13

HWV 351: Music for the Royal Fireworks or Royal Fireworks Music

• Genre: Orchestral Suite
• Completed score: 1749
• First performance:
  • 27 April 1749: London, Green Park on a rainy night.
  • A public rehearsal took place on 21 April in Vauxhall Gardens -- against Handel's wishes. 12,000 people were said to have attended. The resulting traffic jam blocked London Bridge for 3 hours.
• Notes:
  • For celebration of Peace of Aix-la-Chapelle (Aachen) which brought to an end the War of Austrian succession. Treaty signed during October 1748.
  • Originally scored for 9 trumpets, 9 horns, 24 oboes, 12 bassoons (including a contrabassoon), and 3 pair of kettle drums. There were also an unspecified number of side drums.
  • Recounts of the performance indicate there was a "band of 100 musicians," which raises the question whether strings were or weren't included in the performance. The King had earlier decided that strings should not be included. However, we know that in later performances, strings were included. Did Handel go against the King's wishes?
• HG edition: 47
• HHA edition: IV/13

HWV 352: Suite in B flat major

• Genre: Orchestral Suite
• Completed score: 1706
• Borrowings: Apparently movements from Hamburg opera Daphne (HWV 4) (See HWV 353.)
• Notes: No autograph.
• HHA edition: IV/19

HWV 353: Suite in G major

• Genre: Orchestral Suite
• Completed score: 1706
• Borrowings: Apparently movements from Hamburg opera Daphne (HWV 4) (See HWV 352.)
• Notes: No autograph.
• HHA edition: IV/19

HWV 354: Suite in B flat major

• Genre: Orchestral Suite
• Completed score: 1708
• Borrowings: Apparently movements from Hamburg opera Florindo (HWV 3) (See HWV 344.)
• Notes: No autograph.
• HHA edition: IV/19

HWV 355: Hornpipe aria in C minor

• Genre: Orchestral
• Composed: ?circa 1710-15
• Notes: No autograph
• HHA edition: IV/19

HWV 356: Hornpipe in D major

• Genre: Orchestral
• Composed: 1740
• Notes:
  • No autograph.
  • Composed for Vauxhall Gardens.
• HG edition: 48
• HHA edition: IV/19

HWV 357: Oboe Sonata ("Fitzwilliam") in B flat major

• Composed: circa 1707-10
• Notes:
  • One of Handel's earliest extant compositions.
  • Probably written during his years in Italy.
• HHA edition: IV/18

HWV 358: Recorder or Violin Sonata in G major

• Composed: circa 1707-10
• Notes: The autograph MS, located in Fitzwilliam Museum, does not mention the instrument for which it was intended, although Handel specialists consider it a violin sonata.
• HHA edition: IV/18

HWV 359a: Violin Sonata in D minor

• Composed: circa 1724
• Borrowings:
  • The original version of the Flute Sonata in E minor, Op 1 No 1b (HWV 359b).
  • Handel reused the first and last movements in the E minor flute sonata.
• Notes:
  • 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)
• HG edition: IV/18

HWV 359b: Flute Sonata in E minor, Op 1 No 1b

• Composed: circa 1724
• Published: 1732
• Borrowings: The original version of this is the Violin Sonata in D minor (HWV 359a).
• Notes: 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.
• HG edition: Op 1 No 1b
• HHA edition: IV/3

HWV 360: Recorder Sonata in G minor, Op 1 No 2

• Composed: circa 1725-6
• Published: 1732
• Borrowings:
  • The 2nd movement is found again in the Flute Sonata, Op 1 No 1a (HWV 379).
  • The 4th is used again in the Organ Concerto in G minor, Op 4 No 3 (HWV 291) and the Organ Concerto in G minor, Op 7 No 5, (HWV 310).
• HG edition: Op 1 No 2
• HHA edition: IV/3

HWV 361: Violin Sonata in A major, Op 1 No 3

• Composed: circa 1725-6
• Published: 1732
• HG edition: Op 1 No 3
• HHA edition: IV/4

HWV 362: Recorder Sonata in A minor, Op 1 No 4

• Composed: circa 1725-6
• Published: 1732
• HG edition: Op 1 No 4
• HHA edition: IV/3

HWV 363a: Oboe Sonata in F major

• Composed: circa 1711-16
• Borrowings:
  • The original version for the Flute Sonata in G major, Op 1 No 5 (HWV 363b).
  • The opening movement is a transcription of an aria from Rinaldo (HWV 7a)
  • The Menuett is an early version of the orchestral minuet that ends the Concerto Grosso in F major, Op 3 No 4a (HWV 315).
• HHA edition: IV/18

HWV 363b: Flute Sonata in G major, Op 1 No 5

• Composed: circa 1711-16
• Published: 1732
• Borrowings:
  • The opening of this sonata, first used in the Italian Cantata Aure Soavi, e lieti (HWV 84), then in Teseo (HWV 9), 1713, reappears in Flavio (HWV 16), composed shortly after the publication of Opus 1.
  • The second Adagio is almost identical with the Larghetto of the Recorder Sonata in C major, Op. 1 No. 7 (HWV 365).
  • The minuet is also found as a keyboard piece and in the Concerto Grosso in F major, Op. 3 No. 4a (HWV 315).
• Notes: See Oboe Sonata in F major (HWV 363a)
• HG edition: Op 1 No 5
• HHA edition: IV/3

HWV 364a: Violin Sonata in G minor, Op 1 No 6

• Composed: circa 1724
• Published: 1732
• Notes:
  • This sonata appears in the first Fitzwilliam Museum autograph. Handel's MS of HWV 364 calls for "violono solo," but he goes further, writing out the first bar in a different clef "per la viola da gamba" at the bottom of the page, and correcting a couple of low passages in the final Allegro movement. This made it playable on both flute and oboe. Since the movement in question was later re-used as the overture to Siroe (HWV 24), in which oboes double the violins, the corrections have been explained as allowances for the doublings.
  • In Walsh edition, it was arranged for oboe and basso continuo as an Oboe Sonata in G minor. This piece was published by Walsh as a "Hoyboy Solo," but did not include the last movement corrections. Instead, it contains two bars below oboe range. This led musicologists to conclude that the oboe instrumentation was Walsh's idea, and not Handel's.
• HG edition: Op 1 No 6
• HHA edition: IV/18

HWV 364b: Viola da gamba Sonata in G minor

• Composed: circa 1724
• Notes: An authorized transcription of HWV364a.

HWV 365: Recorder Sonata in C major, Op 1 No 7

• Composed: circa 1725-6
• Borrowings: The fugato 2nd movement was later used in the overture to the opera, Scipione (HWV 20), and the 3rd is also found in the Sonata for oboe (HWV 363a) or flute (HWV 363b), Op 1 No 5.
• HG edition: Op 1 No 7
• HHA edition: IV/3

HWV 366: Oboe Sonata in C minor, Op 1 No 8

• Composed: circa 1711-12
• Published: 1732
• HG edition: Op 1 No 8
• HHA edition: IV/18

HWV 367a: Recorder Sonata in D minor, Op 1 No 9a ("Fitzwilliam Sonata III")

• Composed: circa 1725-6
• Notes:
  • 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 MS is clearly for the recorder.
  • Movements 1-5 constitute the Fitzwilliam Sonata III
• HHA edition: IV/18

HWV 367b: Flute Sonata in B minor, Op 1 No 9b

• Composed: circa 1725-6
• Published: 1732
• Borrowings:
  • There are three versions of the Andante, which is related in theme to the Terzetto (Act 3) in Parentope (HWV 27).
  • The 3/2 Vivace was transformed into the aria 'Sento la Gioja' in Amadigi (HWV 11) and the D major Hornpipe in The Water Music.
• Notes: In the 'Alyesford' collection the Alla breve appears with the title, FUGE.
• HG edition: Op 1 No 9
• HHA edition: IV/3

HWV 368: Violin Sonata in G minor, Op 1 No 10

• Published: 1732
• Notes: Probably spurious.
• HG edition: Op 1 No 10
• HHA edition: IV/4

HWV 369: Recorder Sonata in F major, Op 1 No 11

• Composed: circa 1725-6
• Published: 1732
• Borrowings: Handel reworked this sonata as the Organ Concerto in F major, Op 4 No 5 (HWV 293).
• HG edition: Op 1 No 11
• HHA edition: IV/3

HWV 370: Violin Sonata in F major, Op 1 No 12

• Published: 1732
• Notes: Probably spurious.
• HG edition: Op 1 No 12
• HHA edition: IV/4

HWV 371: Violin Sonata in D major

• Composed:
  • Circa 1749-50
  • According to paper analysis, it is contemporary with the oratorio Theodora (HWV 68).
• Borrowings:
  • Handel reused the final movement as a Sinfonia in the last act of his oratorio Jephtha (HWV 70), cutting three sections where the bass line was too elaborate for orchestral performance.
  • The opening Affetuoso has already appeared in two earlier solo sonatas: the recently discovered Flute Sonata in D and the 5-movement Flute Sonata in E minor.
  • The Larghetto is constructed out of motives from the two arias, 'Lascia omai' from the cantata Il Delirio Amoroso (HWV 99) and 'Nube che il sole' from Riccardo Primo (HWV 23). There is also a reference to the final chorus of Acis and Galatea (HWV 49b).
• Notes: This sonata represents Handel's last piece of chamber music.
• HG edition: Op 1 No 13
• HHA edition: IV/4

HWV 372: Violin Sonata in A major

• Published: 1732
• Notes: Probably spurious.
• HG edition: Op 1 No 14
• HHA edition: IV/4

HWV 373: Violin Sonata in E major

• Published: 1732
• Notes: Probably spurious.
• HG edition: Op 1 No 15
• HHA edition: IV/4

HWV 374: Flute Sonata ("Halle" No 1) in A minor

• Published: 1730
• Notes: Authenticity uncertain: sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works).
• HG edition: 48
• HHA edition: IV/3

HWV 375: Flute Sonata ("Halle" No 2) in E minor

• Published: 1730
• Borrowings: This sonata includes movements transposed from the Oboe Sonata in C minor (HWV 366) and the Keyboard Suite in B flat minor (HWV 434).
• Notes: Authenticity uncertain: sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works).
• HG edition: 48
• HHA edition: IV/3

HWV 376: Flute Sonata ("Halle" No 3) in B minor

• Published: 1730
• Notes: Authenticity uncertain: sometimes called "Hallenser Sonaten" (following Chrysander's assumption that they were early works).
• HG edition: 48
• HHA edition: IV/3

HWV 377: Recorder Sonata in B flat major

• Composed: circa 1724-5
• Borrowings:
  • The 1st movement, a courante, is found again in the opera, Scipione (HWV 20)
  • The 2nd in the Organ Concerto in F major, Op 4 No 4 (HWV 292)
  • The 3rd in the Violin Sonata, Op 1 No 3 (HWV 361).
• HHA edition: IV/18

HWV 378: Flute Sonata in D major

• Composed: ?circa 1707
• Borrowings: Handel reused the opening theme in two other sonatas: first in the central Largo of the Flute Sonata in E-minor, and secondly in one of his latest instrumental works, the Violin Sonata in D Major (HWV 371).
• Notes: No autograph, but probably authentic. This is a recent discovery. It appears in an important MS of 18th Century solo sonatas in the Brussels Royal Conservatory, published in facsimilie in 1979, and is there attributed to 'Sr Weisse' (apparently Johann Sigismund Weiss, c. 1690-1737). The attributions are unreliable however, and David Lasocki and Terence Best have reassigned the sonata to Handel.
• HHA edition: IV/3

HWV 379: Flute Sonata in E minor, Op 1 No 1a

• Composed: circa 1727-8
• Published: 1879
• Borrowings: The Andante seems to be connected with the Sarabande of the Suite No. 8 (1st set), also in E minor. In its present context it relates to the concluding Presto (= Presto of the Recorder Sonata in G minor, Op 1 No 2, HWV 360), which in turn, has connections with the Organ Concerto in G minor, Op 4 No 3 (HWV 291), and the Organ Concerto in G minor, Op 7 No 5 (HWV 310), and the aria "Non ho cor" in "Agrippina" (HWV 6).
• Notes: Although its authenticity remains unquestioned, this sonata is not, strictly, part of Op. 1, having been added by Chrysander from the British Museum autograph.
• HHA edition: IV/3

HWV 380: Trio Sonata in B flat major

• Notes: Authenticity doubtful.
• HG edition: 27
• HHA edition: IV/9

HWV 381: Trio Sonata in D minor

• Notes: Authenticity doubtful.
• HG edition: 27
• HHA edition: IV/9

HWV 382: Trio Sonata in E flat major

• Notes: Authenticity doubtful.
• HG edition: 27
• HHA edition: IV/9

HWV 383: Trio Sonata in F major

• Notes: Authenticity doubtful.
• HG edition: 27
• HHA edition: IV/9

HWV 384: Trio Sonata in G major

• Notes: Authenticity doubtful.
• HG edition: 27
• HHA edition: IV/9

HWV 385: Trio Sonata in D major

• Notes: Authenticity doubtful.
• HG edition: 27
• HHA edition: IV/9

HWV 386a: Trio Sonata in C minor

• Composed: circa 1717-19
• Published: 1879
• Borrowings:
  • The opening of the Largo was "borrowed" from an aria in Keiser's Octavia, which seems to have fascinated Handel, who resorted to it for 2 works written during his Italian journey and in 1721 for his contribution to the opera, Muzio Scevola (HWV 13).
  • There is a connection between the last movement of the trio and the duet, 'Why so full of grief, my soul' in As pants the hart, Chandos Anthem No 6 (HWV 251b).
• Notes: In Chrysander's "G. F. Handel's Werke," (1879) this piece referred to as Op 2 No 1a; Variant form of Op 2 No 1, not published by Walsh but found in MSS.
• HG edition: 27; Op 2 No 1a
• HHA edition: IV/10/1

HWV 386b: Trio Sonata in B minor, Op 2 No 1

• Composed: Before 1727
• Published: 1733
• Notes:
  • In Chrysander's "G. F. Handel's Werke," this piece referred to as Op 2 No 1b.
  • Final Allegro appears in a duo of the Chandos Anthems (HWV 246-56)
• HG edition: 27; Op 2 No 1b
• HHA edition: IV/10/1

HWV 387: Trio Sonata in G minor, Op 2 No 2

• Composed: ?1699
• Published: 1733
• Notes:
  • In Chrysander's "G. F. Handel's Werke," this piece referred to as Op 2 No 2.
  • Handel's earliest datable composition.
• HG edition: 27; Op 2 No 2
• HHA edition: IV/10/1

HWV 388: Trio Sonata in B flat major, Op 2 No 3

• Composed: circa 1717-18
• Published: 1733
• Notes:
  • 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)
• HG edition: 27; Op 2 No 4
• HHA edition: IV/10/1

HWV 389: Trio Sonata in F major, Op 2 No 4

• Composed: circa 1718-22
• Published: 1733
• Notes:
  • 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).
• HG edition: 27; Op 2 No 5
• HHA edition: IV/10/1

HWV 390: Trio Sonata in G minor, Op 2 No 5

• Composed: circa 1717-22
• Published: 1733
• Notes: In Chrysander's "G. F. Handel's Werke," this piece referred to as Op 2 No 6.
• HG edition: 27; Op 2 No 6
• HHA edition: IV/10/1

HWV 391: Trio Sonata in G minor, Op 2 No 6

• Composed: circa 1707
• Published: 1733
• Notes: In Chrysander's "G. F. Handel's Werke," this piece referred to as Op 2 No 7.
• HG edition: 27; Op 2 No 7
• HHA edition: IV/10/1

HWV 392: Trio Sonata in F major

• Composed: circa 1706-7
• Borrowings:
  • Handel recomposed the 2nd and 3rd movements for use in the Trio Sonata in F major, Op 5 No 6 (HWV 401).
  • The 4th movement later formed the basis of the 2nd movement of the overture to the oratorio "Athalia" (HWV 52), 1733.
• Notes:
  • 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.
• HG edition: 27
• HHA edition: IV/10/1

HWV 393: Trio Sonata in G minor

• Composed: Probably circa 1719
• Borrowings: A sequential passage in the opening movement of the G minor appears to be echoed in Handel's Organ Concerto in G minor, Op 7 No 5 (HWV 310), written in 1750, but other thematic relationships are hard to find.
• Notes:
  • In Chrysander's "G. F. Handel's Werke," this piece referred to as Op 2 No 8.
  • Authenticity uncertain.
• HG edition: 27
• HHA edition: IV/10/1

HWV 394: Trio Sonata in E major

• Notes:
  • In Chrysander's "G. F. Handel's Werke," this piece referred to as Op 2 No 9.
  • Authenticity doubtful.
• HG edition: 27
• HHA edition: IV/10/1

HWV 395: Trio Sonata in E minor

• Notes: Probably composed by Johann Adolph Hasse (1699-1783).
• HHA edition: IV/19

HWV 396: Trio Sonata in A major, Op 5 No 1

• Published: 1739
• HG edition: 27
• HHA edition: IV/10/2

HWV 397: Trio Sonata in D major, Op 5 No 2

• Published: 1739
• HG edition: 27
• HHA edition: IV/10/2

HWV 398: Trio Sonata in E minor, Op 5 No 3

• Published: 1739
• HG edition: 27
• HHA edition: IV/10/2

HWV 399: Trio Sonata in G major, Op 5 No 4

• Published: 1739
• Borrowings:
  • "Allegro" is derived from the ouverture to Athalia (HWV 52).
  • "A tempo ordinario" is derived from both Athalia (HWV 52) and the serenade Parnasso in festa (HWV 73).
  • "Passacaille" was originally one of the dances written for Radamisto (HWV 12a).
  • "Gigue" is borrowed from the divertimento, Terpsichore (HWV 8b).
  • "Menuet" is borrowed from the ballet music in Alcina (HWV 34)
• HG edition: 27
• HHA edition: IV/10/2

HWV 400: Trio Sonata in G minor, Op 5 No 5

• Published: 1739
• HG edition: 27
• HHA edition: IV/10/2

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