| 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 | |
| A2 | Genserico | | | 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 | |
| A5 | Titus l'Empereur | | | After J. Racine: Bérénice | Only one act with some music used in Ezio. Composed late 1731. |
| 29 | Ezio | 15 January 1732 | King’s Theatre, London | Metastasio | |
| 30 | Sosarme | 15 February 1732 | King’s Theatre, London | After Salvi | |
| 31 | Orlando | 27 January 1733 | King’s Theatre, London | After Capece, after Ludovico Ariosto's Orlando furioso | |
| 32 | Arianna in Creta | 26 January 1734 | King’s Theatre, London | After Pietro Pariati | |
| A11 | 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. |
| 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 | |
| A13 | 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. |
| 40 | Serse | 15 April 1738 | King’s Theatre, London | After Stampiglia | |
| A14 | 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 | |
| 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 Clive in James Miller's comedy, "The Universal Passions" | |
| 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" | |
| 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 "What D'ye Call it," | |
| 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 | | |
| 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
|
| 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
|
| 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
|
| 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
|
| 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, but copied by Handel c. 1749. | |
| 245 | Cantata | Gloria in excelsis deo | Chorus | | | | | Misattributed to Handel; by A. Lotti, 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. | |
| HWV | Title | Composed | Premiere | Venue | Notes | Text |
| 246 | O be joyful in the Lord | Cannons, | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 1 or Jubilate in D major. Also considered a Canticle. Opening theme originally found in "Laudate Pueri", which itself borrowed the theme from A. Lotti's Missa Sapientia. | Psalm 100. |
| 247 | In the Lord put I my trust | Cannons, | | 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, | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 3. | Psalm 51. |
| 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, | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 4. Partly based on "O sing unto the Lord a new song". 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, | | 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, | 1718 | St. Lawrence, Whitchurch, London | Chandos Anthem No. 6. 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, | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 7. Partly derived from the "Te Deum in D". 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, | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 8. | "Prayer Book" psalms 95, 96, 97, 99, 103 |
| 254 | O praise the Lord with one consent | Cannons, | | 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". |
| 255 | The Lord is my light | Cannons, | | St. Lawrence, Whitchurch, London | Chandos Anthem No. 10. | Psalms 18, 20, 27–30, 34, 45 |
| 256a | Let God arise | Cannons, | | 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. | 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 or Anthem for Wedding of Princess Anne | 1734 | 14 March 1734 | French Chapel, St. James's Palace | Performed during the wedding of William, Prince of Orange, and Anne, Princess Royal. | Psalms 45, 118, Proverbs, Ecclesiasticus |
| 263 | Sing unto God or Anthem for Wedding of Prince Frederick | 1736 | 27 April 1736 | 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 | The ways of Zion do mourn or Funeral Anthem for Queen Caroline | 5 – 12 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 | 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 or His Anthem on the Peace or Peace Anthem | 1749 | 25 April 1749 | Chapel Royal, St. James's Palace, London | To celebrate the peace of Aix-la-Chapelle. Performed with the "Queen Caroline" Te Deum. | Isaiah, Psalms 29, 96, Revelation |
| 267 | First draft of the "Peace Anthem" | Probably early 1749 | | | A 209-measure composition of which the last 19 measures are incomplete. | |
| 268 | Blessed are they that considereth the poor or Foundling Hospital Anthem | 1749 | 27 May 1749 | 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 |
| 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" |
| 290 | Organ | B-flat major | 1735 | 5 March 1735 | London, Covent Garden Theatre | 1738 | Opus 4 No. 2 | First performed with the oratorio "Esther" |
| 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" |
| 292 | Organ | F major | 25 March 1735 | 1 April 1735 | London, Covent Garden Theatre | 1738 | Opus 4 No. 4 | Originally concluded with 'Alleluja' chorus, short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" |
| 293 | Organ | F major | | ?26 March 1735 | London, Covent Garden Theatre | 1738 | Opus 4 No. 5 | Performed with revival of "Deborah". |
| 294 | Organ | B-flat major | 1736 | 19 February 1736 | London, Covent Garden Theatre | 1738 | Opus 4 No. 6 | Originally composed for the harp, but later rearranged for the organ |
| 295 | Organ | F major | 2 April 1739 | 4 April 1739 | London, King's Theatre, Haymarket | 1740 | "2nd Set" No. 1 | Referred to as Organ Concerto "No. 13". The bird-song motives of the 2nd movement earned the concerto the nickname, "The Cuckoo and the Nightingale" |
| 296a | Organ | A major | 1739 | 20 March 1739 | London, King's Theatre, Haymarket | 1740 | "2nd Set" No. 2 | Referred to as organ concerto "No. 14" |
| 296b | Organ | A major | 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. |
| 298 | Organ | G major | | | | 1740 | "2nd Set" No. 4 | Referred to as organ concerto "No. 16". Arranged from Concerto Grosso Op.6 No.1. |
| 299 | Organ | D major | | | | 1740 | "2nd Set" No. 5 | Referred to as organ concerto "No. 17". Arranged from Concerto Grosso Op.6 No.5. |
| 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. |
| 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 |
| 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. |
| 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 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 |
| 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 | | 1761 | Opus 7 No. 4 | ?Performed with premiere of "The Occasional Oratorio" |
| 310 | Organ | G minor | 31 January 1750 | 16 March 1750 | London, Covent Garden Theatre | 1761 | Opus 7 No. 5 | Performed with "Theodora". Final gavotte in published version probably added later by Smith Jr. |
| 311 | Organ | B-flat major | c. 1748–49 | 1761 | | 1749 | Opus 7 No. 6 | Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication |
| 343 | Organ | G major | c. 1738–39 | | | | | Ritornello for Chaconne. Part of a fragmentary outline of an organ concerto |
| 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 |
| 315 | F major | 1716 | 20 June 1716 | London, King's Theatre, Haymarket | | Opus 3 No. 4a | Referred to as either "The Orchestra Concerto" or "The Second Overture in Amadigi" |
| 316 | D minor | 1717–1718 | | | 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 |
| 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 |
| 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 |
| 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 |
| 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 |
| 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 |
| 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 |
| 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 |
| 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 |
| 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 |
| 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. |
| 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, however the recorder is also a possibility. |
| 359a | Violin | D minor | c. 1724 | | | The D minor sonata, headed "Sonata 2", follows the G major 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 |
| 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 is the one in Walsh's original edition. |
| 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. 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 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 |
| 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. |
| 409 | Recorder | D minor | c. 1712 | | | Andante. Variant of movement from the Recorder Sonata in D minor |
| 412 | Violin | A minor | c. 1725–26 | | | Andante |
| 419-1 | | | 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 | | G major | c. 1710–20 | | | |
| 419-3 | | G major | c. 1710–20 | | | |
| 419-4 | | F major | c. 1710–20 | | | |
| 419-5 | | C major | c. 1710–20 | | | |
| 419-6 | | C major | c. 1710–20 | | | |
| 420 | | D major | c. 1743–44 | | | Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work |
| 421 | | D major | c. 1743–44 | | | Minuet. Two–stave versions in autograph; instrumentation unspecified, upper stave ? violins. May have originated as a keyboard work |
