The Handel Institute

G. F. Handel's Compositions

HWV 43-100


HWV 43: The Alchymist

  • Genre: Incidental Music
  • First performance: 14 January 1710: London, Queen's Theatre, Haymarket. (10 months before Handel's first visit to London.)
  • Borrowings: 8/9 items borrowed from overture to "Rodrigo" (HWV 5).
  • Notes:
    • Instrumental music for the revival of Ben Johnson's play.
    • 9 items (1 of doubtful authenticity); presumably a pirated arrangement.

HWV 44: Comus ['There in blissful shades and bow'rs']

  • Genre: Incidental Music
  • Libretto: Words adapted from Milton epilogue, probably in version by Dalton-Arne
  • Completed score: 1745
  • First performance : circa 9 June 1745: Exton, Rutland
  • Borrowings: Handel re-used virtually all the music in The Occasional Oratorio (HWV 62).
  • Notes:
    • Written for private performance of the masque "Comus".
    • GFH composed 3 songs and chorus for Comus.
    • Music thought to be lost but rediscovered by Anthony Hicks in the Newman Flower collection at the Manchester Public Library in 1969.
    • In 1977, Anthony Hicks and Colin Timms prepared and published a modern edition under the title, "Music for Comus."

HWV 45: Alceste

  • Genre: Incidental Music
  • Composed: 27 December 1749 - 8 January 1750
  • Borrowings: Handel recycled the music into "The Choice of Hercules" (HWV 69) and in revivals of "Alexander Balus" (HWV 65) and "Hercules" (HWV 60).
  • Notes:
    • Music for lost play by Tobias Smollett; play rehearsed at Covent Garden Theatre but not produced.
    • Handel provided music for the overture and substantial movements for Acts 1 and 4 (19 numbers, with variant settings).
  • HG edition: 46b
  • HHA edition: I/30

HWV 46a: Il trionfo del Tempo e del Disinganno (translation: "The Triumph of Time and Disillusion")

  • Genre: Oratorio
  • Libretto: Cardinal Benedetto Pamphili (1707)
  • Composed: Spring 1707
  • First performance: Rome, ? June 1707. Probably performed at Cardinal Pietro Ottoboni's palace.
  • Borrowings: The Aria by Piacere, "Lascia la spina," is adapted from an instrumental sarabande composed by Handel in Hamburg (1704) for "Almira" (HWV 1). Later this aria became "Lascia ch'io pianga" in the opera, "Rinaldo" (HWV 7a)
  • Notes:
    • In 2 parts. Revived as "Il trionfo del Tempo e della Verita" (HWV 46b; translation: "The Triumph of Time and Truth")
    • Handel's first oratorio.
  • HG edition: 24
  • HHA edition: I/4

HWV 46b: Il trionfo del Tempo e della Verità

  • Genre: Oratorio
  • Composed: 2-14 March 1737
  • First performance: 23 March 1737: London, Covent Garden Theatre (4 performances to 4 April)
  • Revival: 3 March 1739: London, King's Theatre, Haymarket (1 performance)
  • Notes:
    • Revised version of "Il trionfo del Tempo e del Disinganno" (HWV 46a).
    • In 3 parts with new material.
    • As the extended English version, became "The Triumph of Time and Truth" (HWV 71).
  • HG edition: 24
  • HHA edition: I/4

HWV 47: La Resurrezione or "Oratorio per la Risurrezione di Nostro S. Giesù Cristo"

  • Genre: Oratorio
  • Libretto: Carlo Sigismondo Capece (1652-1728), court poet to Queen Maria Casimira of Poland, who was living in exile in Rome.
  • Completed score: 1708
  • First performance: 8 April 1708 (Easter Sunday) : the Marchese Ruspoli's palace, Palazzo Bonelli, Rome. Repeated the next day.
    • Original cast :
      • S. Marie Maddalena :
        • Margherita Durastanti (soprano) - first performance only
        • Pippo (castrato) - next performance
      • Angelo : Signor Matteo (castrato)
      • S. Marie Cleofe : Signor Pasqualino (castrato)
      • S. Giovanni Evangelista : Vittorio Chicceri (tenor)
      • Lucifero : Signor Christofano (bass)
  • Notes:
    • Arcangelo Corelli lead the orchestra.
    • At the second performance role sung by castrato owing to papal complaint as women were forbidden to perform on public stage in Rome. The replacement castrato was named, "Pippo soprano della Regina", or Pippo, castrato in former Queen Casimiri's service.
  • HG edition: 39
  • HHA edition: I/3

HWV 48: Brockes Passion or "Der für die Sünde der Welt gemarterte und sterbende Jesus"

  • Genre: Passion
  • Libretto: Barthold Heinrich Brockes
  • Composed: ?circa 1715-16
  • First performance: ?Hamburg, date unknown (possibly 23 March 1719, Hamburg Cathedral)
  • HG edition: 15
  • HHA edition: I/7

HWV 49a: Acis and Galatea

  • Genre: Masque
  • Libretto: By John Gay, John Hughes and others, after John Dryden's translation of the Ovid's "Metamorphoses".
  • Composed: Composed in 1718 by Handel during his stay with the Duke of Chandos at Cannons.
  • First performance: 1718: ?Cannons, ?staged
  • HG edition: 3
  • HHA edition: I/9

HWV 49b: Acis and Galatea

  • Genre: Serenata
  • Libretto: By John Gay, John Hughes and others, after Ovid
  • Completed score: 1732
  • First performance: 10 June 1732: London, King's Theatre, Haymarket (4 performances to 20 June)
    • Cast from 10 June 1732 performance:
      • Acis : Francesco Bernardi, called "Senesino" (alto-castrato)
      • Galatea : Anna Maria Strada del Pò (soprano)
      • Polifemo : Antonio Montagnana (bass)
      • Cloris : Ann Turner Robinson (soprano)
      • Eurilla : Mrs. Davis (soprano)
      • Filli : Anna Bagnolesi (contralto)
      • Dorinda : Francesca Bertolli (contralto)
      • Silvio : Giovanni Battista Pinacci (tenor)
  • Revival:
    • 2 December 1732: London, King's Theatre, Haymarket (4 performances to 16 December)
    • 11 July 1733: Christ Church Hall, Oxford
    • 7 May 1734: London, King's Theatre, Haymarket
    • 24 & 31 March 1736: London, Covent Garden Theatre
    • 13 December 1739: London, Lincoln's Inn Fields Theatre (violas and carillon added in 1739 score.) (Also 20 December and 21 February 1740, 28 March)
    • 28 February 1741: London, Lincoln's Inn Fields Theatre (also 11 March)
    • 1742: Dublin, New Music Hall, Fishamble St.
    • Performances of 1732, 1734, ?1736 bilingual.
  • Notes:
    • Revised theatre version of the 1718 drama.
    • Presented in oratorio style at the theatre.
    • In 13 December 1739 performance, Acis and Galatea revived and restored to its original all-English form with a new additional chorus. Performance includes two of the new "Grand Concertos" (Opus 6) and the Ode for St. Cecilia's Day (HWV 76).
    • 28 March 1740 performance (with Ode for St. Cecilia's Day (HWV 76) for benefit of the Fund for the Support of Decay'd Musicians.
  • HG edition: 3
  • HHA edition: I/9

HWV 50a: Esther or "The Oratorium"

  • Genre: Oratorio
  • Libretto: (?) Alexander Pope (1688-1744) and (?) Dr. John Arbuthnot (1667-1735), after Jean Racine (1639-1699)
  • Composed:
    • Circa 1718.
    • Composed by Handel during his stay with the Duke of Chandos at Cannons.
  • First performance: ?1718, ?Cannons
  • HG edition: 40
  • HHA edition: I/8

HWV 50b: Esther

  • Genre: Oratorio
  • Libretto: (?) Alexander Pope (1688-1744) and (?) Dr. John Arbuthnot (1667-1735), after Jean Racine (1639 - 1699)
  • Completed score: 1732
  • First performance:
    • 2 May 1732: London, King's Theatre, Haymarket. (6 performances to 20 May)
      • Original cast from 2 May 1732 performance :
        • Esther : Anna Maria Strada del Pò (soprano)
        • Ahaseurus : Francesco Bernardi, called "Senesino" (alto-castrato)
        • Harbonah & Mordecai : Francesca Bertolli (contralto)
        • Haman : Antonio Montagnana (bass)
        • Israelite Woman : Ann Turner Robinson (soprano)
        • First Israelite : Mrs. Davis (soprano)
        • Chorus : sung by the Chapel Royal
  • Revival:
    • 14 & 17 April 1733: London, King's Theatre, Haymarket
    • 5 & 7 July 1733: Sheldonian Theatre, Oxford
    • 5 March 1735: London, Covent Garden Theatre, including 2 new organ concertos: Op 4 No 2 (HWV 290) and Op 4 No 3 (HWV 291). (6 performances to 21 March)
    • 7 & 14 April 1736: London, Covent Garden Theatre
    • 6 & 7 April 1737: London, Covent Garden Theatre
    • 26 March 1740: London, Lincoln's Inn Fields Theatre (1 performance)
    • 3 February 1742: Dublin, New Music Hall, Fishamble St. (also 10 February)
    • 7 April 1742: Dublin, New Music Hall, Fishamble St. (1 performance)
    • 15 March 1751: London, Covent Garden Theatre (1 performance)
    • 25 February 1757: London, Covent Garden Theatre, with new duet and chorus, Sion now her head shall rise, and 2 new airs (perhaps not GFH's). (also 2 March)
  • Notes:
    • Revised version of HWV 50a for theater, with new additional texts by Samuel Humphreys.
    • 1st London theater oratorio performance.
    • Performances in 1730s included bilingual (Eng./It.) versions.
    • According to Thomas Morrell, Sion now her head shall rise (from the 25 February 1757 revival), is the last chorus composed by GFH.
  • HG edition: 41
  • HHA edition: I/10

HWV 51: Deborah

  • Genre: Oratorio
  • Libretto: Humphreys, from 'Judges'
  • Completed score: 21 February 1733
  • First performance: 17 March 1733: London, King's Theatre, Haymarket (6 performances to 10 April)
    • Original cast from first performance:
      • Deborah : Anna Maria Strada del Pò (soprano)
      • Jael & An Israelite Woman : Celeste Gismondi (soprano)
      • Sisera : Francesca Bertolli (contralto)
      • Barak : Francesco Bernardi, called "Senesino" (alto-castrato)
      • Abinoam & Chief Priest of the Israelites : Antonio Montagnana (bass)
      • Chief Priest of Baal : ? an individual from the chorus
      • Herald : ?
  • Revival:
    • 12 July 1733: Oxford, Sheldonian Theatre
      • Cast from 1733 revival :
        • Deborah : Anna Maria Strada del Pò (soprano)
        • Jael : Mrs. Wright (soprano)
        • An Israelite Woman : ?
        • Sisera : Mr. Row (contertenor)
        • Barak : Walter Powell (countertenor)
        • Abinoam & Chief Priest of Baal : Gustavus Waltz (bass)
        • Chief Priest of the Israelites : ?
    • 2 April 1734: London, King's Theatre, Haymarket (3 performances to 9 April)
      • Cast from 1734 revival :
        • Deborah : Anna Maria Strada del Pò (soprano)
        • Jael : ? Maria Rosa Negri (contralto)
        • An Israelite Woman : ? Margherita Durastanti (soprano)
        • Sisera : Maria Caterina Negri (contralto)
        • Barak : Giovanni Carestini, called "Cusanino" (mezzo-soprano castrato)
        • Abinoam & Chief Priest of Baal : Gustavus Waltz or Henry Theodore Reinhold (bass)
        • Chief Priest of the Israelites : ?
    • 26 March 1735: London, Covent Garden Theatre (3 performances to 31 March)
      • Cast from 1735 revival :
        • Deborah : Anna Maria Strada del Pò (soprano)
        • Jael : Cecilia Young (soprano)
        • An Israelite Woman : ?
        • Sisera : ? Henry Theodore Reinhold (alto part)
        • Barak : ? John Beard (tenor)
        • Abinoam : ? Henry Theodore Reinhold (bass)
        • Chief Priest of Baal : Hussey (bass)
        • Chief Priest of the Israelites : ? Henry Theodore Reinhold (bass)
    • 3 November 1744: London, King's Theatre, Haymarket (also 24 November)
      • Cast from 1744 revival :
        • Deborah : Elisabeth Duparc, called "La Francesina" (soprano)
        • Jael : Susanna Maria Cibber (contralto)
        • An Israelite Woman : ?
        • Sisera : John Beard (tenor)
        • Barak : Miss Robinson (mezzo-soprano)
        • Abinoam : Henry Theodore Reinhold (bass)
        • Chief Priest of Baal : Corfe (tenor)
        • Chief Priest of the Israelites : ?
    • 8 March 1754: London, Covent Garden Theatre (also 13 March)
      • Cast from 1754 revival :
        • Deborah : Giulia Frasi (soprano)
        • Jael : possibly Christina Passerini (soprano)
        • An Israelite Woman : ?
        • Sisera : John Beard (tenor)
        • Barak : probably Caterina Galli (contralto)
        • Abinoam : Robert Wass (bass)
        • Chief Priest of Baal : ?
        • Chief Priest of the Israelites : ?
    • 19 March 1756: London, Covent Garden Theatre with added aria adapted from Tolomeo, re d'Egitto (HWV 25) (1 performance)
      • Cast from 1756 revival : Perhaps same as 1754 cast with the exception that Isabella Young (contralto) sang Barak and Samuel Champness possibly sang the bass parts.
  • Notes:
    • Revival also planned for 1737, Covent Garden Theatre.
    • Revivals of 1734-1744 included movements in Italian.
    • 26 March 1735 revival included new organ concerto, Op 4 No 5 (HWV 293).
  • HG edition: 29
  • HHA edition: I/11

HWV 52: Athalia

  • Genre: Oratorio
  • Libretto: Humphreys, after Racine, 1691
  • Completed score: 7 June 1733
  • First performance: 10 July 1733: Oxford, Sheldonian Theatre
    • Original cast from first performance :
      • Athalia : Mrs. Wright (soprano)
      • Josabeth : Anna Maria Strada del Pò (soprano)
      • Joas : Goodwill (boy alto)
      • Joad : Walter Powell (countertenor)
      • Mathan : Philip (Gaetano Philippo) Rochetti (tenor)
      • Abner : Gustavus Waltz (bass)
  • Revival:
    • 1 April 1735: London, Covent Garden Theatre (with Italian arias) (5 performances to 12 April)
      • Cast from 1735 revival :
        • Athalia : Cecilia Young (soprano; later Mrs. Arne)
        • Josabeth : Anna Maria Strada del Pò (soprano)
        • Joas : William Savage (boy alto)
        • Joad : Giovanni Carestini, called "Cusanino" (mezzo-soprano castrato)
        • Mathan : John Beard (tenor)
        • Abner : Gustavus Waltz (bass)
    • 5 March 1756: London, Covent Garden Theatre; substantially revived version with 2 new airs adapted from Parnasso in festa (HWV 73). (3 performances to 12 March)
      • Cast from 1756 revival :
        • Athalia : ?
        • Josabeth : Giulia Frasi (soprano)
        • Joas : a boy
        • Joad : perhaps Isabella Young (contralto)
        • Mathan : John Beard (tenor)
        • Abner : Robert Wass (bass)
    • Revival planned for 1743.
  • Notes: 1 April 1735 revival included new organ concerto, Op 4 No 4 (HWV 292)
  • HG edition: 5
  • HHA edition: I/12

HWV 53: Saul

  • Genre: Oratorio
  • Libretto: Charles Jennens (1707-1773): from "Il Samuel" and A. Cowley. This libretto was written by Jennens on his own initiative.
  • Composed:
    • First draft score composed: 23 July - 15 August 1738
    • Final score completed: 27 September 1738
  • First performance: 16 January 1739: London, King's Theatre, Haymarket (4 performances to 10 February; also 27 March, 19 April)
    • Original cast from first performance:
      • Saul : Gustavus Waltz (bass)
      • David : Mr Russell (tenor)
      • Jonathan : John Beard (tenor)
      • Michal : Elisabeth Duparc, called "La Francesina" (soprano)
      • Merab : Cecilia Young-Arne (soprano)
      • High Preist : Mr Kelly (countertenor)
      • Witch of Endor : ? Maria Antonia Marchesini, called "La Lucchesina" (contralto) or a tenor
      • Ghost of Samuel : Mr Hussey (bass)
      • Doeg : Mr Butler (bass)
      • Amalekite : Mr Stoppelaer
  • Revival:
    • 21 March 1740: London, Lincoln's Inn Fields Theatre with 1st performance of another Grand Concerto. (1 performance)
      • Cast from 1740 revival :
        • Saul : Henry Theodore Reinhold (bass)
        • David : ?
        • Jonathan : probably John Beard (tenor)
        • Michal : Elisabeth Duparc, called "La Francesina" (soprano)
        • Merab : ?
        • Abner : Corfe (tenor)
        • Witch of Endor : ?
        • High Priest : ?
    • 18 March 1741: London, Lincoln's Inn Fields Theatre (1 performance)
      • Cast from 1741 revival :
        • Saul : Henry Theodore Reinhold (bass)
        • David : divided between two singers (mostly Andreoni, soprano-castrato)
        • Jonathan : probably shared between William Savage (countertenor) and Elisabeth Duparc, called "La Francesina" (soprano)
        • Michal : Elisabeth Duparc, called "La Francesina" (soprano)
        • Merab : Monza (soprano)
        • Abner : William Savage (bass)
        • Witch of Endor : ?
        • High Priest : ?
    • 25 May 1742: Dublin, New Music Hall, Fishamble St. (by special request)
      • Cast from 1742 revival :
        • Saul : ?
        • David : probably Susanna Maria Cibber (contralto)
        • Jonathan : ?
        • Michal : Christina Maria Avolio (soprano)
        • Merab : ?
        • Abner : ?
        • Witch of Endor : ?
        • High Priest : ?
    • 16 March 1744: London, Covent Garden Theatre (also 21 March)
      • Cast from 1744 revival :
        • Saul : Henry Theodore Reinhold (bass)
        • David : divided between two singers
        • Jonathan : probably John Beard (tenor)
        • Michal : Elisabeth Duparc, called "La Francesina" (soprano)
        • Merab : ? Christina Maria Avolio (soprano)
        • Abner : ?
        • Witch of Endor : probably Esther Young (contralto)
        • High Priest : ?
    • 13 March 1745: London, King's Theatre, Haymarket (1 performance)
      • Cast from 1745 revival :
        • Saul : Henry Theodore Reinhold (bass)
        • David : possibly Susanna Maria Cibber (contralto)
        • Jonathan : probably John Beard (tenor)
        • Michal : Elisabeth Duparc, called "La Francesina" (soprano)
        • Merab : ? "the boy"
        • Abner : ?
        • Witch of Endor : ?
        • High Priest : ?
    • 2 March 1750: London, Covent Garden Theatre (also 7 March)
      • Cast from 1750 revival :
        • Saul : Henry Theodore Reinhold (bass)
        • David : ?
        • Jonathan : possibly Thomas Lowe (tenor)
        • Michal : Giulia Frasi (soprano)
        • Merab : Caterina Galli (contralto)
        • Abner : ?
        • Witch of Endor : ?
        • High Priest : cut
    • 17 March 1754: London, Covent Garden Theatre (also 20 March)
      • Cast from 1754 revival :
        • Saul : Robert Wass (bass)
        • David : ?
        • Jonathan : probably John Beard (tenor)
        • Michal : Giulia Frasi (soprano)
        • Merab : ?
        • Abner : ?
        • Witch of Endor : ?
        • High Priest : cut
  • HG edition: 13
  • HHA edition: I/13

HWV 54: Israel in Egypt

  • Genre: Oratorio
  • Libretto: ?Charles Jennens (1707-1773): from "Exodus" and "Psalms"
  • Composed:
    • Moses' Song (Part II) : Composes draft between 1 -11 October 1738. Completes the filling out of Part II on 1 November 1738.
    • Exodus (Part I) : Composes draft between 15 - 20 October 1738. Completes the filling out of Part I on 28 October 1738.
  • First performance: 4 April 1739: London, King's Theatre, Haymarket (3 performances to 17 April)
    • Original cast from first performance:
      • Elisabeth Duparc, called "La Francesina" (soprano)
      • William Savage (countertenor)
      • "Robinsons Boy" (treble)
      • John Beard (tenor)
      • Gustavus Waltz (bass)
      • Henry Theodore Reinhold (bass)
  • Revival:
    • 1 April 1740: London, Lincoln's Inn Fields Theatre with 1st performance of another Grand Concerto. (1 performance)
    • 17 March 1756: London, Covent Garden Theatre; with new Part I, compiled from the Peace Anthem (HWV 266), the Occasional Oratorio (HWV 62), and Solomon (HWV 67). (also 24 March)
    • 7 March 1757: London, Covent Garden Theatre (1 performance)
    • 24 February 1758: London, Covent Garden Theatre (1 performance)
  • Notes:
    • Original parts:
      • Part I: Lamentations of the Israelites for the Death of Joseph.
      • Part II: Exodus
      • Part III: Moses' Song
    • In modern times, the original Part II is now Part I, and the original Part III is now Part II.
    • "The Ways of Zion do Mourn" or "Funeral Anthem for Queen Caroline" (HWV 264) adapted as Part 1, 1739-40; replaced by miscellaneous movements, 1756-8.
    • 7 April 1739 performance includes 4 Italian and English airs from earlier works.
  • HG edition: 16
  • HHA edition: I/14

HWV 55: L'Allegro, il Penseroso, ed il Moderato or "Pastoral Ode"

  • Genre: Ode
  • Libretto: James Harris (1709-1780; the father of the first Earl of Malmesbury) prepared an oratorio-style libretto from John Milton's poem (circa 1632), "L'Allegro" and "Il Penseroso" and laying out the texts for use in recitative, arias, and choruses. This core libretto was further developed by Charles Jennens (1707-1773).
    • Parts 1 and 2 after "L'Allegro" and "Il Penseroso", respectively.
    • Part 3 is original and was supplied by Jennens at Handel's request.
  • Composed: 19 January - 4 February 1740
    • Part I of L'Allegro completed on 25 January, 1740
    • Part II completed 2 February, 1740
    • Part III completed 4 February, 1740
  • First performance: 27 February 1740: London, Lincoln's Inn Fields Theatre. Opens with new organ concerto, the Organ Concerto in B flat major, Op 7 No 1 (HWV 306). (4 performances to 14 March; also 23 April.)
    • Original cast from first performance :
      • Allegro parts: a boy treble, John Beard (tenor), Henry Reinhold (bass)
      • Penseroso: Elisabeth du Parc or "La Francesina"
      • final duet: Beard and du Parc
  • Revival:
    • 31 January 1741: London, Lincoln's Inn Fields Theatre. Includes several new items, some of the airs being sung in Italian. (also 7 and 21 February)
    • 23 December 1741: Dublin, New Music Hall, Fishamble St. Il Moderato is reinstated. (also 13 January 1742)
    • 17 March 1742: Dublin, New Music Hall, Fishamble St. (1 performance)
    • 18 March 1743: London, Covent Garden Theatre, along with the Ode for St. Cecilia's Day (HWV 76). (1 peformance)
    • 23 May 1754: London, Covent Garden Theatre, along with the Ode for St. Cecilia's Day (HWV 76). (1 performance)
    • 21 February 1755: London, Covent Garden Theatre, along with the Ode for St. Cecilia's Day (HWV 76). (1 performance)
  • Notes:
    • 3 parts. Sometimes performed with "Alexander's Feast" (HWV 75) in place of part 3.
    • Characters: L'Allegro = the cheerful man; Il Penseroso = the pensive (or thoughtful) man; Il Moderato = the rational man
  • HG edition: 6
  • HHA edition: I/6

HWV 56: Messiah or "A Sacred Oratorio"
~ See the Messiah page ~

  • Genre: Oratorio
  • Libretto: Charles Jennens (1707-1773): from Bible and Prayer Book. This libretto was written by Jennens on his own initiative.
  • Composed:
    • 22 August 1741: GFH begins composing Messiah.
    • 28 August 1741: Part I of Messiah completed in draft.
    • 6 September 1741: Part II of Messiah completed in draft.
    • 12 September 1741: Part III of Messiah completed in draft.
    • 14 September 1741: Filling out of Messiah completed.
  • First performance: 13 April 1742: Dublin, New Music Hall, Fishamble St. (Also 3 June for GFH's last concert in Dublin.)
    • Original cast from first performance :
      • Christina Maria Avolio (Avoglio) (soprano)
      • Susanna Maria Cibber (contralto)
      • Joseph Ward (countertenor) -- he sang : "Then shall be brought to pass", "O death, where is thy sting".
      • William Lambe (countertenor) -- he sang : "Behold a virgin shall conceive" and presumably also "O thou that tellest good tidings to Sion", "He that dwelleth in Heaven", and "Thous shalt break them".
      • James Baileys (tenor)
      • John Church (tenor)
      • John Mason (bass)
      • John Hill (bass) -- he sang a single air : "Why do the nations so furiously rage together?"
      • Matthew Dubourg : leader of the orchestra
      • Chorus members (16) : Baileys, Carter, Church, Colgan, Hall, Hill, Jones, Lambe, Mason, Phipps, Smith, Taverner, Taylor, Ward, Woffington, and Worrall.
      • There were also 16 boy choristors (trebles).
  • Revival:
    • 23 March 1743: London, Covent Garden Theatre - first London performance of "A New Sacred Oratorio" (3 performances to 29 March)
      • Cast from 1743 revival :
        • Christina Maria Avolio (Avoglio) (soprano)
        • Catherine ("Kitty") Clive (soprano)
        • Miss Edwards (soprano)
        • Susanna Maria Cibber (contralto)
        • John Beard (tenor)
        • Thomas Lowe (tenor)
        • Henry Theodore Reinhold (bass)
    • 9 April 1745: London, King's Theatre, Haymarket; probably with new settings of "Rejoice greatly" and "Their sound is gone out" (also 11 April)
      • Cast from 1745 revival :
        • Elisabeth Duparc, called "La Francesina" (soprano)
        • Miss Robinson (mezzo-soprano)
        • ? Susanna Maria Cibber (contralto)
        • John Beard (tenor)
        • Henry Theodore Reinhold (bass)
    • 23 March 1749: London, Covent Garden Theatre (1 performance)
      • Cast from 1749 revival :
        • Giulia Frasi (soprano)
        • "the boy" (treble) - a Chapel Royal chorister
        • Caterina Galli (contralto)
        • Thomas Lowe (tenor)
        • Henry Theodore Reinhold (bass)
    • 12 April 1750: London, Covent Garden Theatre (1 performance) -- with new settings of "But who may abide the day of his coming?" and "Thou art gone up" composed for the alto-castrato Gaetano Guadagni.
    • 1 & 15 May, 1750: Foundling Hospital Chapel, London
      • Cast from 1750 revival :
        • Giulia Frasi (soprano) - absent for one or more of the FHC performances.
        • Gaetano Guadagni (alto-castrato)
        • Caterina Galli (contralto)
        • Thomas Lowe (tenor)
        • Henry Theodore Reinhold (bass)
    • 18 April & 16 May, 1751: Foundling Hospital Chapel, London
      • Cast from 1751 revival :
        • boy (treble)
        • Gaetano Guadagni (alto-castrato)
        • John Beard (tenor)
        • Henry Theodore Reinhold (bass) - 18 April; subsequently dies.
        • Robert Wass (bass) - 16 May
    • 25 March 1752: London, Covent Garden Theatre (also 26 March)
    • 9 April 1752: Foundling Hospital Chapel, London
      • Cast from 1752 revival :
        • Giulia Frasi (soprano) - 25 March; absent 9 April
        • boy (treble) - 9 April
        • Caterina Galli (contralto)
        • John Beard (tenor)
        • Robert Wass (bass)
    • 13 April 1753: London, Covent Garden Theatre (1 performance)
    • 1 May 1753: Foundling Hospital Chapel, London; GFH plays organ concerto & voluntary.
      • Cast from 1753 revival :
        • Giulia Frasi (soprano)
        • Gaetano Guadagni (alto-castrato)
        • John Beard (tenor)
        • Robert Wass (bass)
    • 5 April 1754: London, Covent Garden Theatre (1 performance)
    • 15 May 1754: Foundling Hospital Chapel, London; Probably last time under GFH's direction.
      • Cast from 1754 revival :
        • Giulia Frasi (soprano)
        • Christina Passerini (soprano)
        • Caterina Galli (contralto)
        • John Beard (tenor)
        • Robert Wass (bass)
    • 19 March 1755: London, Covent Garden Theatre (also 21 March)
    • 1 May 1755: Foundling Hospital Chapel, London
      • Cast from 1755 revival :
        • Giulia Frasi (soprano)
        • Christina Passerini (soprano)
        • Caterina Galli (contralto)
        • John Beard (tenor)
        • Robert Wass (bass)
    • 9 April 1756: London, Covent Garden Theatre (1 performance)
    • 19 May 1756: Foundling Hospital Chapel, London
      • Cast from 1756 revival :
        • Giulia Frasi (soprano)
        • Christina Passerini (soprano)
        • Caterina Galli (contralto)
        • John Beard (tenor)
        • Robert Wass (bass)
    • 30 March 1757: London, Covent Garden Theatre (also 1 April)
    • 5 May 1757: Foundling Hospital Chapel, London
      • Cast from 1757 revival :
        • Giulia Frasi (soprano)
        • Christina Passerini (soprano)
        • Caterina Galli (contralto)
        • John Beard (tenor)
        • Robert Wass (bass)
    • 10 March 1758: London, Covent Garden Theatre (also 15 and 17 March)
    • 27 April 1758: Foundling Hospital Chapel, London
      • Cast from 1758 revival :
        • Giulia Frasi (soprano)
        • Cassandra Frederick (soprano)
        • Isabella Young (contralto)
        • John Beard (tenor)
        • Samuel Champness (bass)
    • 30 March 1759: London, Covent Garden Theatre (3 performances to 6 April)
      • Cast from 1759 revival :
        • Giulia Frasi (soprano)
        • Signor Ricciarelli (alto-castrato)
        • Isabella Young (contralto)
        • John Beard (tenor)
        • Samuel Champness (bass)
  • Notes :
    • 27 March 1742 announcement to the performance of Messiah for the benefit of 3 charities:

        "For Relief of the Prisoners in the several Gaols, and for the Support of Mercer's Hospital in Stephen's Street and of the Charitable Infirmary on the Inns Quay, on Monday the 12th of April, will be performed at the Musick Hall in Fishamble Street, Mr. Handel's new Grand Oratorio, call'd the MESSIAH, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some Concertoes on the Organ, by Mr Handell."

    • On 19 March 1743, following the announcement of "A New Sacred Oratorio" -- Messiah, a correspondent for The Universal Spectator condemns the singing of sacred texts in a "playhouse."
  • HG edition: 45
  • HHA edition: I/17

HWV 57: Samson

  • Genre: Oratorio
  • Libretto: Newburgh Hamilton, from Milton's dramatic poem, Samson Agonistes
  • Composed: 29 September - 29 October 1741
  • Completed score: 12 October 1742
  • First performance: 18 February 1743: London, Covent Garden Theatre (7 performances to 16 March; also 31 March.)
    • Original cast from first performance:
      • Samson : John Beard (tenor)
      • Dalila : Catherine ("Kitty") Clive (soprano)
      • Micah : Susanna Maria Cibber (soprano)
      • Manoa : William Savage (bass)
      • Harapha : Henry Theodore Reinhold (bass)
      • Israelitish & Philistine men : Thomas Lowe (tenor)
      • Israelitish & Philistine women : Christina Maria Avolio (soprano) & Miss Edwards (soprano)
  • Revival:
    • 24 February 1744 : London, Covent Garden Theatre (also 29 February)
      • Cast from 1744 revival :
        • Samson : John Beard (tenor)
        • Dalila : Elisabeth Duparc, called "La Francesina" (soprano)
        • Micah : shared by "La Francesina" (soprano) and Daniel Sullivan (countertenor)
        • Manoa : Henry Theodore Reinhold (bass)
        • Harapha : Henry Theodore Reinhold (bass)
        • Israelitish & Philistine men : ?
        • Israelitish & Philistine women : Christina Maria Avolio (soprano) & ?
    • 1 March 1745: London, King's Theatre, Haymarket with new air for Miss Robinson. (also 8 March)
      • Cast from 1745 revival :
        • Samson : ?
        • Dalila : ?
        • Micah : Miss Robinson (mezzo-soprano)
        • Manoa : ?
        • Harapha : ?
        • Israelitish & Philistine men : ?
        • Israelitish & Philistine women : Miss Robinson (mezzo-soprano) & possibly Elisabetta de Gambarini (soprano)
    • 3 March 1749: London, Covent Garden Theatre (4 performances to 15 March)
      • Cast from 1749 revival :
        • Samson : Thomas Lowe (tenor)
        • Dalila : Giulia Frasi (soprano)
        • Micah : Caterina Galli (contralto)
        • Manoa : probably Henry Theodore Reinhold (bass)
        • Harapha : probably Henry Theodore Reinhold (bass)
        • Israelitish man : Giulia Frasi (soprano)
        • Philistine man : ?
        • Israelitish & Philistine women : Giulia Frasi (soprano) & Caterina Galli (contralto)
    • 4 April 1750: London, Covent Garden Theatre (also 6 April)
      • Cast from 1750 revival :
        • Samson : Thomas Lowe (tenor)
        • Dalila : Giulia Frasi (soprano)
        • Micah : Gaetano Guadagni (alto-castrato)
        • Manoa : probably Henry Theodore Reinhold (bass)
        • Harapha : probably Henry Theodore Reinhold (bass)
        • Israelitish man : Giulia Frasi (soprano)
        • Philistine man : Caterina Galli (contralto)
        • Israelitish & Philistine women : Giulia Frasi (soprano) & Caterina Galli (contralto)
    • 6 March 1752: London, Covent Garden Theatre (3 performances to 13 March)
      • Cast from 1752 revival :
        • Samson : John Beard (tenor)
        • Dalila : Giulia Frasi (soprano)
        • Micah : Caterina Galli (contralto) or Brent (countertenor)
        • Manoa : ? Robert Wass (bass)
        • Harapha : ? Robert Wass (bass)
        • Israelitish man : Giulia Frasi (soprano)
        • Philistine man : Caterina Galli (contralto)
        • Israelitish & Philistine women : Giulia Frasi (soprano) & Caterina Galli (contralto)
    • 4 April 1753: London, Covent Garden Theatre (3 performances to 11 April)
      • Cast from 1753 revival : Very little is certain other than,
        • Dalila : Giulia Frasi (soprano)
        • Micah : Gaetano Guadagni (alto-castrato)
    • 29 March 1754: London, Covent Garden Theatre (1 performance)
      • Cast from 1754 revival :
        • Samson : ?
        • Dalila : Giulia Frasi (soprano)
        • Micah : ? Caterina Galli (contralto)
        • Manoa : ?
        • Harapha : ?
        • Israelitish & Philistine men : ?
        • Israelitish & Philistine women : Christina Passerini (soprano; one of the women)
    • 26 February 1755: London, Covent Garden Theatre (also 7 March)
      • Cast from 1755 revival :
        • Samson : John Beard (tenor)
        • Dalila : Giulia Frasi (soprano)
        • Micah : Isabella Young (contralto)
        • Manoa : Samuel Champness (bass)
        • Harapha : Samuel Champness (bass)
        • Israelitish man : ?
        • Philistine man : possibly Isabella Young (contralto)
        • Israelitish & Philistine women : Giulia Frasi (soprano) and possibly Isabella Young (contralto)
    • 14 March 1759: London, Covent Garden Theatre (3 performances to 21 March)
      • Cast from 1759 revival :
        • Samson : John Beard (tenor)
        • Dalila : Giulia Frasi (soprano)
        • Micah : Isabella Young (contralto)
        • Manoa : Samuel Champness (bass)
        • Harapha : Samuel Champness (bass)
        • Israelitish man : ?
        • Philistine man : possibly Isabella Young (contralto)
        • Israelitish & Philistine women : ? Angiola Calori (soprano) or Charlotte Brent (soprano) may have sung the women.
  • HG edition: 10
  • HHA edition: I/18

HWV 58: Semele

  • Genre: Drama
  • Libretto: ?; Based on a libretto for an English opera by William Congreve, circa. 1706, from Ovid's Metamorphoses, with texts from Pope and other works by Congreve.
  • Composed: 3 June - 4 July 1743
  • First performance: 10 February 1744: London, Covent Garden Theatre (4 performances to 22 February).
    • Original cast from first performance:
      • Semele : Elisabeth Duparc, called "La Francesina" (soprano)
      • Jupiter/Apollo : John Beard (tenor)
      • Athamas : Daniel Sullivan (countertenor)
      • Juno/Ino : Esther Young (contralto)
      • Iris : Christina Maria Avolio (Avoglio; soprano)
      • Cadmus/High Priest/Somnus : Henry Theodore Reinhold (bass)
  • Revival: 1 December 1744: London, King's Theatre, Haymarket with Italian arias from Handel's opera interpolated. (also 8 December). Either one or both performances includes interpolated Italian arias.
    • Cast from 1 December 1744 revival :
      • Semele : Elisabeth Duparc, called "La Francesina" (soprano)
      • Jupiter/Apollo : John Beard (tenor)
      • Athamas : perhaps Angelo Maria Monticelli (castrato)
      • Juno : perhaps Caterina Galli (contralto)
      • Ino : Miss Robinson (mezzo-soprano)
      • Iris : ? Christina Maria Avolio (Avoglio; soprano)
      • Cadmus/High Priest/Somnus : Henry Theodore Reinhold (bass)
  • Notes:
    • Presented in oratorio style at the theatre.
    • On 21 February 1744 Mrs. Delaney, a close friend of GFH, reports to Mrs. Dewes that "Semele has a strong party against it... All the opera people are enrag'd at Handel."
  • HG edition: 7
  • HHA edition: I/19

HWV 59: Joseph and his Brethren

  • Genre: Oratorio
  • Libretto: James Miller, from Genesis and after Zeno, 1722
  • Composed: 26 August - 12 September 1743
  • First performance: 2 March 1744: London, Covent Garden Theatre (4 performances to 14 March.)
    • Original cast from first performance :
      • Joseph : Daniel Sullivan (countertenor)
      • Asenath : Elisabeth Duparc, called "La Francesina" (soprano)
      • Simeon/Judah : John Beard (tenor)
      • Pharaoh/Reuben : Henry Theodore Reinhold (bass)
      • Benjamin : "Boy" (treble) -- probably Samuel Champness
      • Phanor : probably Esther Young (contralto)
      • Potiphera : ?
  • Revival:
    • 15 March 1745: London, King's Theatre, Haymarket (also 22 March)
      • Cast from 1745 revival :
        • Joseph : possibly sung by Daniel Sullivan (countertenor) or a boy (treble).
        • Asenath : Elisabeth Duparc, called "La Francesina" (soprano)
        • Simeon/Judah : John Beard (tenor)
        • Pharaoh/Reuben : Henry Theodore Reinhold (bass)
        • Benjamin : boy (treble)
        • Phanor : possibly Miss Robinson (mezzo-soprano)
        • Potiphera (High Priest) : ?
    • 20 March 1747: London, Covent Garden Theatre (also 25 March)
      • Cast from 1747 revival :
        • Joseph : perhaps Caterina Galli (contralto)
        • Asenath : perhaps Elisabetta de Gambarini (soprano)
        • Simeon/Judah : John Beard (tenor)
        • Pharaoh/Reuben : Henry Theodore Reinhold (bass)
        • Benjamin : boy (treble)
        • Phanor : ?
        • Potiphera (High Priest) : possibly Caterina Galli (contralto)
    • 28 February 1755: London, Covent Garden Theatre (1 peformance)
      • Cast from 1755 revival :
        • Joseph : ?
        • Asenath : Giulia Frasi (soprano)
        • Simeon/Judah : John Beard (tenor)
        • Pharaoh/Reuben : Henry Theodore Reinhold (bass)
        • Benjamin : boy (treble)
        • Phanor : possibly Christina Passerini (soprano)
        • Potiphera (High Priest) : possibly Christina Passerini (soprano)
    • 9 March 1757: London, Covent Garden Theatre (1 performance)
      • Cast from 1757 revival :
        • Joseph : ?
        • Asenath : Giulia Frasi (soprano)
        • Simeon/Judah : John Beard (tenor)
        • Pharaoh/Reuben : possibly Samuel Champness (bass)
        • Benjamin : boy (treble)
        • Phanor : possibly Christina Passerini (soprano)
        • Potiphera (High Priest) : possibly Christina Passerini (soprano)
    • Revival planned for 1751, but the season was cut short due to the death of the Prince of Wales.
  • HG edition: 42
  • HHA edition: I/20

HWV 60: Hercules

  • Genre: Drama
  • Libretto: By Thomas Broughton, from Sophocles and Ovid
  • Composed: 19 July - 17 August 1744
  • First performance: 5 January 1745: London, King's Theatre, Haymarket. (Also 12 January.)
    • Original cast from first performance:
      • Hercules : Henry Theodore Reinhold (bass)
      • Dejanira : Miss Robinson (mezzosoprano)
      • Iole : Elisabeth Duparc, called "La Francesina" (soprano)
      • Hyllus : John Beard (tenor)
      • Lichas : Susanna Maria Cibber (alto) (NOTE: Mrs. Cibber's indisposition due to illness led the bass Gustavus Waltz to "read" a section of her role.)
  • Revival:
    • 24 February 1749: London, Covent Garden Theatre (1 performance)
      • Cast from 1749 revival (probable certainty) :
        • Hercules : Henry Theodore Reinhold (bass)
        • Dejanira : Caterina Galli (contralto)
        • Iole : Giulia Frasi (soprano)
        • Hyllus : Thomas Lowe (tenor)
        • Lichas : cut
    • 21 February 1752: London, Covent Garden Theatre (1 performance)
      • Cast from 1752 revival (probable certainty) :
        • Hercules : Robert Wass (bass)
        • Dejanira : Caterina Galli (contralto)
        • Iole : Giulia Frasi (soprano)
        • Hyllus : John Beard (tenor)
        • Lichas : cut
  • Notes: Presented in oratorio style at the theatre.
  • HG edition: 4
  • HHA edition: I/22

HWV 61: Belshazzar

  • Genre: Oratorio
  • Libretto: Charles Jennens (1707-1773): from the Book of Daniel, Jeremiah, Isaiah, the "History" of Herodotus, and the "Cyropaedia" ("The Education of Cyrus") of Xenophon.
  • Composed: 23 August - 23 October 1744
  • First performance: 27 March 1745: London, King's Theatre, Haymarket (also two other times that season)
    • Original cast from first performance:
      • Belshazzar/Gobrias : John Beard (tenor) (Note: Gobrias originally composed for Henry Theodore Reinhold)
      • Nitocris : Elisabeth Duparc, called "La Francesina" (soprano)
      • Cyrus : Henry Theodore Reinhold (bass) (Note: originally composed for Mrs Robinson)
      • Daniel : Mrs Robinson (mezzo-soprano) (Note: originally composed for Mrs Cibber, alto)
  • Revival:
    • 22 February 1751: London, Covent Garden Theatre (also 27 February)
      • Cast from 1751 revival :
        • Belshazzar : probably Thomas Lowe (tenor)
        • Gobrias : ?
        • Nitocris : Giulia Frasi (soprano)
        • Cyrus : perhaps Gaetano Guadagni (alto-castrato)
        • Daniel : Caterina Galli (contralto)
    • 22 February 1758: London, Covent Garden Theatre, with 2 new airs for Frasi, partly based on material from earlier works. (1 performance)
      • Cast from 1758 revival :
        • Belshazzar : John Beard (tenor)
        • Gobrias : Samuel Champness (bass)
        • Nitocris : Giulia Frasi (soprano)
        • Cyrus : Isabella Young (contralto)
        • Daniel : Cassandra Frederick (soprano)
    • Revival planned for circa 1748.
  • Borrowings:
    • As suggested by Jennens, two excerpts from "I will magnify thee" (HWV 250b).
    • A portion of the recitative relaying Isaiah's prophecy of the coming of Cyrus was taken from Alessandro Scarlatti's opera, "Il Pompeo."
    • The sinfonia ("Allegro Postillions") is a reworking of a movement from Telemann's "Musique de table."
  • Notes:
    • Act I received by Handel on 19 July 1744;
    • Act II received on 21 August 1744;
    • Act III received on 2 October 1744.
  • HG edition: 19
  • HHA edition: I/21

HWV 62: The Occasional Oratorio

  • Genre: Oratorio
  • Libretto: Hamilton Newburgh: from Milton, Spenser
  • Composed : January - February 1746.
  • First performance: 14 February 1746: London, Covent Garden Theatre (3 performances to 26 February).
    • Cast from 1746 performances :
      • Elisabeth Duparc, called "La Francesina" (soprano)
      • Elisabetta de Gambarini (soprano)
      • John Beard (tenor)
      • Henry Theodore Reinhold (bass)
  • Revival: 6 March 1747: London, Covent Garden Theatre (3 performances to 13 March).
    • Cast from 1747 performances :
      • Caterina Galli (soprano)
      • Elisabetta de Gambarini (soprano)
      • John Beard (tenor)
      • Henry Theodore Reinhold (bass)
  • Borrowings:
    • Overture: Grave and ensuing fugue (Allegro) probably written for the 1744 revival of "Deborah" (HWV 51). The Allegro also contains a theme from the overture to Telemann's "Troisieme Production" of the "Musique de table."
    • "Fly from the threat'ning vengeance, fly!": Borrowed from the 1745 performance of "Samson" (HWV 57) ("Fly from the cleaving mischief").
    • "God found them guilty": Based on material from the F major concerto "a due cori"
    • "O liberty, thou choicest treasure": Intended for "Judas Maccabaeus" (HWV 63) but was added instead to "The Occasional Oratorio" (HWV 62) It was restored to the 1747 performance of "Judas Maccabaeus."
    • "May God, from whom all mercies spring": taken from aria, "Around let acclamations ring" in "Athalia" (HWV 52).
    • "Then will I Jehovah's praise": borrowed from "Comus" (HWV 44).
    • Chorus "All his mercies shall endure": Originally from the "Happy plains" of the masque, "Comus" (HWV 44)
    • "To God, our strength": From the opening to the "Birthday Ode for Queen Anne" (Eternal Source of Light; HWV 74).
    • "Prepare the hymn": From the Lutheran chorale, "Ein feste Burg."
    • "He has his mansion fix'd on high": From "Comus" (HWV 44)
    • Act III symphony: First section taken from 1st movement of the Concerto Grosso in G major, Op 6 No 1 (HWV 319). 2nd movement from the Musette of the Concerto Grosso, Op 6 No 6 (HWV 324) which resembles Corelli's "Christmas Concerto.")
    • Chorus "I will sing unto the Lord": From "Israel in Egypt" (HWV 54)
    • "Thou shalt bring them in": From "Israel in Egypt" (HWV 54)
    • "The enemy said": From "Israel in Egypt" (HWV 54)
    • "May balmy peace...": From "Comus" (HWV 44)
    • "Blessed are all that fear the Lord": From "Zadok the Priest" (HWV 258)
  • Notes : William Harris referred to The Occasional Oratorio as "expressive of the rebels' flight and our pursuit of them" -- the "rebels" refers to the Jacobite followers of Prince Charles Edward Stuart, The Young Pretender.
  • HG edition: 43
  • HHA edition: I/23

HWV 63: Judas Maccabaeus

  • Genre: Oratorio
  • Libretto:
    • By the Reverand Thomas Morell, from the 1st book of "Maccabees" from the Apocrypha and a few details from Josephus' "Antiquitates Judaicae".
    • This work represents Morell's first collaboration with Handel.
    • The libretto was "design'd as a compliment to the Duke of Cumberland upon his returning victorious from Scotland" having defeated Bonnie Prince Charlie, the Young Pretender, at Culloden, Scotland. (The Duke of Cumberland, Prince William, was the son of George II. His brother was Frederick, the Prince of Wales.)
    • Ruth Smith, author of "Handel's Oratorios and Eighteenth-Century Thought", sees the following political parallel between Judas' victory over the Syrians and that of the Duke of Cumberland's over the Jacobites:
      1. Judas unfies a nation disrupted from within by Hellenizers co-opting foreign hellenizing Syrian forces.
      2. Duke of Cumberland unfies a nation disrupted from within by Jacobites co-opting foreign French Catholic forces.
  • Composed:
    • Act I: 8/9 July - 22 July 1746.
    • Remainder Completed 11 August 1746
  • First performance: 1 April 1747: London, Covent Garden Theatre. First performance probably included the Concerto a due cori in F major, No. 3 (HWV 334). (6 performances to 15 April).
    • Original cast from first performance:
      • Judas : John Beard (tenor)
      • Israelitish Woman : Elisabetta de Gambarini (soprano)
      • Israelitish Man : Caterina Galli (mezzo-soprano)
      • Simon & Eupolemus: Henry Theodore Reinhold (bass)
  • Revival:
    • 26 February 1748: London, Covent Garden Theatre (6 performances to 7 April)
    • 9 March 1750: London, Covent Garden Theatre (4 performances to 30 March)
    • 20 March 1751: London, Covent Garden Theatre (1 performance)
    • 18 March 1752: London, Covent Garden Theatre (also 20 March)
    • 23 March 1753: London, Covent Garden Theatre (3 performances to 30 March)
    • 27 March 1754: London, Covent Garden Theatre (also 3 April)
    • 12 March 1755: London, Covent Garden Theatre (also 14 March)
    • 26 March 1756: London, Covent Garden Theatre (also 31 March)
    • 25 March 1757: London, Covent Garden Theatre (1 performance)
    • 3 March 1758: London, Covent Garden Theatre, with 2 new airs for Cassandra Frederick, partly based on material from earlier works. (also 8 March)
    • 23 March 1759: London, Covent Garden Theatre (also 28 March)
  • Notes: During Handel's lifetime, there were a total of 54 performances (including the provinces) of which he conducted 33 in London himself.
  • HG edition: 22
  • HHA edition: I/24

HWV 64: Joshua

  • Genre: Oratorio
  • Libretto: From the book of 'Joshua'
  • Composed: 19 July - 19 August 1747
  • First performance: 9 March 1748: London, Covent Garden Theatre (4 performances to 18 March).
    • Original cast from first performance
      • Achsah : Signora Casarini (soprano)
      • Othniel : Caterina Galli (contralto)
      • Joshua : Thomas Lowe (tenor)
      • Caleb : Henry Theodore Reinhold (bass)
      • Angel : ?
  • Revival:
    • 14 February 1752: London, Covent Garden Theatre (also 19 February)
    • 22 March 1754: London, Covent Garden Theatre (1 performance)
  • HG edition: 17
  • Notes: The 9 March 1748 performance probably included the first performance of the Concerto a due cori in B flat major, No. 1 (HWV 332).
  • HHA edition: I/26

HWV 65: Alexander Balus

  • Genre: Oratorio
  • Libretto: By Thomas Morell, from 'I Maccabees'
  • Composed: 1 June - 4 July 1747
  • First performance: 23 March 1748: London, Covent Garden Theatre (3 performances to 30 March).
    • Original cast from first performance:
      • Alexander Balus : Caterina Galli (contralto)
      • Cleopatra : Signora Casarini (soprano)
      • Aspasia : Signora Sibilla (soprano)
      • Jonathan : Thomas Lowe (tenor)
      • Ptolomee : Henry Theodore Reinhold (bass)
  • Revival:
    • A 1751 revival was planned but cancelled due to the death of the Prince of Wales.
    • 1 March 1754 : London, Covent Garden Theatre (also 6 March)
      • Cast from 1754 revival :
        • Alexander Balus : probably Christina Passerini (soprano)
        • Cleopatra : Giulia Frasi (soprano)
        • Aspasia : Caterina Galli (contralto)
        • Jonathan : John Beard (tenor)
        • Ptolomee : Robert Wass (bass)
  • Notes: The 23 March 1748 performance probably included the first performance of the Concerto a due cori in F major, No. 2 (HWV 333).
  • HG edition: 33
  • HHA edition: I/25

HWV 66: Susanna

  • Genre: Oratorio
  • Libretto: ?; From Apocrypha, 'History of Susanna'
  • Composed: 11 July - 24 August 1748
  • First performance: 10 February 1749: London, Covent Garden Theatre (4 performances to 22 February).
    • Original cast from first performance:
      • Susanna : Giulia Frasi (soprano)
      • Joachim : Caterina Galli (mezzo-soprano)
      • Daniel : The Boy (?)
      • First Elder : Thomas Lowe (tenor)
      • Second Elder/Chelsias : Henry Theodore Reinhold (bass)
      • Servant : Signora Sibilla (soprano)
  • Revival: 9 March 1759: London, Covent Garden Theatre (1 performance)
  • HG edition: 1
  • HHA edition: I/28

HWV 67: Solomon

  • Genre: Oratorio
  • Libretto: From 'I Kings', 'II Chronicles' and Josephus' 'Antiquities of the Jews'.
  • Composed: 5 May - 13 June 1748
  • First performance: 17 March 1749: London, Covent Garden Theatre (3 performances to 22 March).
    • Original cast from first performance :
      • Solomon : Caterina Galli (mezzo-soprano)
      • Pharaoh's Daughter : Giulia Frasi (soprano)
      • First Harlot : Giulia Frasi (soprano)
      • Queen of Sheba : Giulia Frasi (soprano)
      • Second Harlot : Sibilla Gronamann (soprano)
      • Zadok : Thomas Lowe (tenor)
      • Levite : Henry Theodore Reinhold (bass)
  • Revival: 2 March 1759: London, Covent Garden Theatre, in a new version greatly revised by the younger Smith and containing 5 new airs and a chorus adapted from earlier works. (also 7 March)
    • Cast from the 1759 revival :
      • Solomon : Isabella Scott
      • Pharaoh's Daughter : ?
      • First Harlot : Giulia Frasi (soprano)
      • Queen of Sheba : Giulia Frasi (soprano)
      • Second Harlot : ? Charlotte Brent
      • Zadok : ? John Beard (tenor)
      • Levite : Robert Wass (bass)
  • Published: 1749
  • HG edition: 26
  • HHA edition: I/27

HWV 68: Theodora

  • Genre: Oratorio
  • Libretto: By Thomas Morell, after Robert Boyle, 1687: "The Matyrdom of Theodora and Didymus"
  • Composed: 28 June - 31 July 1749
  • First performance: 16 March 1750: London, Covent Garden Theatre (3 performances to 23 March).
    • Original cast from first performance:
      • Theodora : Giulia Frasi (soprano)
      • Irene : Caterina Galli (mezzo-soprano)
      • Didymus : Gaetano Guadagni (alto-castrato)
      • Septimius : Thomas Lowe (tenor)
      • Valens : Henry Theodore Reinhold (bass)
  • Revival:
    • 5 March 1755: London, Covent Garden Theatre, with new solo and chorus and new air dictated (and possibly partly composed by) the younger Christopher Smith. (1 performance)
    • A revival was planned for 1759.
  • Notes: 16 March 1750 performance included the first performance of the Organ Concerto in G minor, Op 7 No 5 (HWV 310).
  • HG edition: 8
  • HHA edition: I/29

HWV 69: The Choice of Hercules

  • Genre: Drama
  • Libretto: By Robert Lowth, 1734-7, adapted, probably by Morell.
  • Composed: 28 June - 5 July 1750
  • First performance: 1 March 1751: London, Covent Garden Theatre -- along with Alexander's Feast (HWV 75) and the Organ Concerto in B flat major, Op 7 No 3 (HWV 308) (4 performances to 13 March)
    • Original cast from first performance:
      • Pleasure : Miss Faulkner (soprano)
      • Virtue : Cecilia Young-Arne (soprano)
      • Hercules : Esther Young (mezzo-soprano)
      • Attendant on Pleasure : Thomas Lowe (tenor)
  • Revival:
    • 9 March 1753: London, Covent Garden Theatre -- along with Alexander's Feast (HWV 45).
    • 14 February 1755: London, Covent Garden Theatre -- along with Alexander's Feast (HWV 45) (also 19 February)
  • Notes:
    • Much of the music "borrowed" from "Alceste" .
    • Presented in oratorio style at the theatre.
  • HG edition: 18
  • HHA edition: I/31

HWV 70: Jephtha

  • Genre: Oratorio
  • Libretto: Thomas Morell, after "Judges" (Chapter 11) and G. Buchanan's "Jephthas sive votum", (translation: "Jeptha or the Vow") (1554)
  • Composed:
    • 21 January - 2 February, 1751: Drafts Act I
    • ? - 27 February: Drafts Act II
    • 18 June - 15 or 17 July: Drafts Act III
    • 30 August 1751: Jephtha completed
  • First performance: 26 February 1752: London, Covent Garden Theatre (3 performances to 4 March).
    • Original cast from first performance:
      • Jephtha : John Beard (tenor)
      • Storgè : Caterina Galli (mezzo-soprano)
      • Iphis : Giulia Frasi (soprano)
      • Hamor : Mr Brent (countertenor)
      • Zebul : Robert Wass (bass)
      • Angel : boy soprano
  • Revival:
    • 16 March 1753: London, Covent Garden Theatre -- with the addition of an air adpated from Agrippina (HWV 6) and a new quintet. (also 21 March)
    • 2 April 1756: London, Covent Garden Theatre (1 performance)
    • 1 March 1758: London, Covent Garden Theatre (1 performance)
  • Borrowings:
    • Of the 44 pieces in Jephtha, 9 come from other composers and 10 come from Handel's earlier works. Of the 9 choruses, 7 were borrowed from 6 masses by the Bohemian composer Franz Johann Habermann (published 1747).
    • The ouverture is borrowed from "Alceste" (HWV 45).
  • Notes: GFH loses sight in his left eye while composing the chorus, "How dark, O Lord, are thy decrees" for Act II.
  • HG edition: 44
  • HHA edition: I/32

HWV 71: The Triumph of Time and Truth

  • Genre: Oratorio
  • Libretto:
    • See "Il trionfo del Tempo e della Verità" (HWV 46b).
    • Probably arranged by Thomas Morell.
  • Completed score: 1757
  • First performance: 11 March 1757: London, Covent Garden Theatre (4 performances to 23 March).
    • Original cast from first performance:
      • Time : Samuel Champness (bass)
      • Counsel (or Truth) : Isabella Young (mezzo-soprano)
      • Beauty : Giulia Frasi (soprano)
      • Pleasure : John Beard (tenor)
      • Deceit : Signora Beralta (soprano)
  • Revival: 10 February 1758: London, Covent Garden Theatre, with 5 new airs for Cassandra Frederick, partly based on material from earlier works. (also 15 February)
  • Notes:
    • Extended English version of "Il trionfo del Tempo e della Verità" (HWV 46b).
    • Score probably assembled by John Christopher Smith Jr.
    • Handel's contribution uncertain.
  • HG edition: 20
  • HHA edition: I/33

HWV 72: Aci, Galatea e Polifemo or Sorge il di

  • Genre: Dramatic cantata (S, A, B)
  • Libretto: Text by Nicola Giuvo.
  • Completed score: 16 June 1708
  • Notes: Probably performed for the wedding celebrations of the Duke of Alvito to Donna Beatrice Sanseverino in Naples, 19 July 1708.
  • HG edition: 53
  • HHA edition: I/5

HWV 73: Parnasso in festa

  • Genre: Serenata
  • Completed score: 1734
  • First performance: 13 March 1734: London, King's Theatre, Haymarket (4 performances to 23 March)
  • Revival:
    • 9 & 11 March 1737: London, Covent Garden Theatre
    • 8 November 1740: London, Lincoln's Inn Fields Theatre (1 performance)
    • 14 March 1741: London, King's Theatre, Haymarket (possibly not under Handel) for the benefit of the Fund for the Support of Decay'd Musicians.
  • Borrowings: Includes music adapted from "Athalia" (HWV 52)
  • Notes:
    • Composed to celebrate the wedding of Princess Anne and Prince William of Orange.
    • Although contains much borrowed music, includes 10 new items.
  • HG edition: 54
  • HHA edition: II/30

HWV 74: Ode for the Birthday of Queen Anne or Eternal Source of Light Divine

  • Genre: Ode
  • Libretto: ?By Ambrose Philips
  • Completed score: 1713
  • Borrowings: Handel reused "Let rollings streams" in the Concerto a due cori No 2 in F major (HWV 333).
  • Notes: Probably composed for court performance, 6 February 1713, but not performed.
  • HG edition: 46a
  • HHA edition: I/6

HWV 75: Alexander's Feast or The Power of Musick

  • Genre: Ode
  • Libretto: By John Dryden, 1697, arranged by Hamilton, with additional texts by Hamilton.
  • Completed score: 17 January 1736
  • First performance: 19 February 1736: London, Covent Garden Theatre
    • Original cast from first performance.
      • Anna Maria Strada del Pò (soprano)
      • Cecilia Young (contralto)
      • John Beard (tenor)
      • Erard [or Erhard] (bass)
  • Revival:
    • 16 March 1737: London, Covent Garden Theatre (also 18, 30 March, 5, 25 June)
    • 17 February 1739: London, King's Theatre, Haymarket (also 24 February, 20 March)
    • 22 & 27 November 1739: London, Lincoln's Inn Fields Theatre. Performed with début of "Ode for St. Cecilia's Day" (HWV 76)
    • 17 February 1742: Dublin, New Music Hall, Fishamble St. (also 2 March)
    • 1 March 1751: London, Covent Garden Theatre; along with The Choice of Hercules (HWV 69) and the Organ Concerto in B flat major, Op 7 No 3 (HWV 308) (4 performances to 13 March)
    • 9 March 1753: London, Covent Garden Theatre; along with The Choice of Hercules (HWV 69).
    • 14 February 1755: London, Covent Garden Theatre; along with The Choice of Hercules (HWV 69) (also 19 February)
  • Published: 1738
  • Notes:
    • Composed in 2 parts
    • First performance opened with cantata, "Cecilia volgi un sguardo" (HWV 89) , Concerto Grosso in C major (HWV 318) , Harp Concerto in B flat major, Op 4 No 6 (HWV 294) , and Organ Concerto in G minor, Op 4 No 1 (HWV 289)
  • HG edition: 12
  • HHA edition: I/1

HWV 76: Ode for St. Cecilia's Day or Song for St. Cecilia's Day

  • Genre: Ode
  • Libretto: Based on a new setting of an earlier poem ("A Song for St. Cecilia's Day") by John Dryden (1631-1700); 1687 for St. Cecilia's Day (22 November).
  • Composed: 15-24 September 1739
  • First performance: 22 November 1739: London, Lincoln's Inn Fields Theatre. Performed along with Alexander's Feast (HWV 75). Also performed on 27 November.
  • Revival:
    • 28 March 1740: London, Lincoln's Inn Fields Theatre
    • 8 April 1741: London, Lincoln's Inn Fields Theatre
    • 20 January 1742: Dublin, New Music Hall, Fishamble St.
    • 18 March 1743: London, Covent Garden Theatre, along with L'Allegro, il Penseroso, ed il Moderato (HWV 55). (1 performance)
    • 23 May 1754: London, Covent Garden Theatre, along with L'Allegro, il Penseroso, ed il Moderato (HWV 55). (1 performance)
    • 21 February 1755: London, Covent Garden Theatre, along with L'Allegro, il Penseroso, ed il Moderato (HWV 55). (1 performance)
    • In 1742, for the Dublin performance, Handel composed a new version of "The soft complaining flute" for his contralto soloist, Mrs. Cibber.
  • Borrowings: Some thematic material in the overture and other parts of the ode was based on Gottlieb Muffat's "Componimenti Musicali" (published 1739).
  • Notes:
    • Variously coupled with "Alexander's Feast" (HWV 75), "L'Allegro, il Penseroso ed il Moderato" (HWV 55), and "Acis and Galatea" (HWV 49b) in Handel's performances.
    • Originally named the "Song for St. Cecilia's Day"; renamed "Ode for St. Cecilia's Day" in Randall's 1771 edition.
  • HG edition: 23
  • HHA edition: I/15

HWV 77: Ah che pur troppo è vero

  • Genre: Italian cantata (S)
  • Composed: Florence, ca. 1707
  • HG edition: 51
  • HHA edition: V/1,2

HWV 78: Ah! crudel, nel pianto mio

  • Genre: Italian cantata (S)
  • Composed: Rome, August 1708
  • First performance: 2 September, 1708, Palazzo Bonelli, Rome
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 79: Diana cacciatrice or Alla caccia

  • Genre: Italian cantata (S)
  • Composed: Rome, May 1707
  • First performance: May-June 1707, Vignanello
  • Notes: Copied for Ruspoli, 1707
  • HHA edition: V/3, 4

HWV 80: Allor ch'io dissi: Addio

  • Genre: Italian cantata (S)
  • Composed: Rome, 1707-9
  • HG edition: 51
  • HHA edition: V/1,2

HWV 81: Alpestre monte

  • Genre: Italian cantata (S)
  • Composed: Florence, circa 1707
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 82: Amarilli vezzosa or Daliso ed Amarilli or Il duello amoroso

  • Genre: Italian/dramatic cantata (S,A)
  • Libretto: anonymous.
  • Composed: Rome, August 1708
  • First performance: Probably October 28, 1708, during a conversazione in the Palazzo Bonelli, Rome. Amarilli's part was sung by Margherita Durastanti. Daliso was sung by alto castrato Pasqualino.
  • Notes: Copied for Ruspoli, 1708
  • HHA edition: V/3, 4

HWV 83: Aminta e Fillide or Arresta il passo

  • Genre: Italian/dramatic cantata (S, S)
  • Composed: Early 1708
  • First performance: Rome, 14 July, 1708
  • Borrowings:
    • Sections were incorporated into "Agrippina" (HWV 6)
    • The first movement of the overture was used in the overture of "Rinaldo" (HWV 7a)
    • "Se vago rio" became the mermaids' song "Il vostro maggio" in Act 2 of "Rinaldo" (HWV 7a)
  • Notes:
    • Copied for Ruspoli, 1708
    • The section, "Chi ben ama" printed separately in HG 52b
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 84: Aure soavi, e lieti

  • Genre: Italian cantata (S)
  • Composed: Rome, May 1707
  • Notes: Copied for Ruspoli, 1707, 1708, 1709
  • HG edition: 51
  • HHA edition: V/1,2

HWV 85: Venus and Adonis or Behold where weeping Venus stands

  • Genre: English cantata (S)
  • Libretto: Text by John Hughes.
  • Composed: London, circa 1711
  • Notes:
    • Two arias only, from Hughe's cantata Venus and Adonis.
    • No autograph: authenticity uncertain.
  • HG edition: Not included in HG.

HWV 86: Bella ma ritrosetta

  • Genre: Italian cantata (S)
  • Composed: London, circa 1717-18
  • HG edition: 51
  • HHA edition: V/1,2

HWV 87: Carco sempre di gloria

  • Genre: Italian cantata (A)
  • Composed: London, 1737
  • First performance: 16 March, 1737, between parts of "Alexander's Feast" (HWV 75), London
  • Notes: Variant insertion in "Cecilia, volgi un sguardo" (HWV 89), for performances of "Alexander's Feast" (HWV 75), 1737, including music for the castrato Annibali.
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 88: Care selve, aure grate

  • Genre: Italian cantata (S)
  • Composed: Rome, 1707/8
  • HG edition: 51
  • HHA edition: V/1,2

HWV 89: Cecilia, volgi un sguardo

  • Genre: Italian cantata (S, T)
  • Libretto: The text is derived from "Splenda l'alba in oriente" (HWV 166).
  • Composed: London, January 1736
  • First performance: 19 or 25 (?) February 1736, between parts of "Alexander's Feast" (HWV 75); London, Covent Garden Theatre.
  • Published: 1738
  • Notes:
    • Played between the 2 Parts of Alexander's Feast (HWV 75).
    • Written for the Florentine musician & tenor, Carlo Arrignoi.
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 90: Chi rapì la pace al core

  • Genre: Italian cantata (S)
  • Composed: Florence, circa 1706-7
  • Notes: Copied for Ruspoli, 1709
  • HG edition: 51
  • HHA edition: V/1,2

HWV 91a: Clori, degli occhi miei

  • Genre: Italian cantata (A)
  • Composed: Florence, late 1707
  • HG edition: 51
  • HHA edition: V/1,2

HWV 91b: Clori, degli occhi miei

  • Genre: Italian cantata (S)
  • Composed: London, after 1710
  • HG edition: 51
  • HHA edition: V/1,2

HWV 92: Clori, mia bella Clori

  • Genre: Italian cantata (S)
  • Composed: Rome, 1707-8
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 93: Clori, ove sei?

  • Genre: Italian cantata (S)
  • Composed: Italy, 1707-8
  • HG edition: 51
  • HHA edition: V/1,2

HWV 94: Clori, si, ch'io t'adoro

  • Genre: Italian cantata (S)
  • Notes: No autograph, earliest source circa 1738-40
  • HG edition: 51
  • HHA edition: V/1,2

HWV 95: Clori, vezzosa Clori

  • Genre: Italian cantata (S)
  • Composed: Rome, July/August 1708
  • Notes: Copied for Ruspoli, 1708
  • HG edition: 51
  • HHA edition: V/1,2

HWV 96: Clori, Tirsi e Fileno or Cor fedele in vano speri

  • Genre: Dramatic cantata (S, S, A)
  • Composed: Rome, July/September 1707
  • Borrowings:
    • Handel reused "Un sospiretto" in "Rodgrio" (HWV 5)
    • "Amo Tirsi" was adapted to "Se vuoi pace" in "Agrippina" (HWV 6), 1709, and later again into "As when the dove" in "Acis & Galatea" (HWV 49a), 1718.
    • Two of the duets were reused in "Rinaldo" (HWV 7a), 1711.
    • In 1732, Handel included "Un sospiretto" and "Come la rondinella" in the Italian-English version of "Acis and Galatea" (HWV 49b).
    • The overture was reused in the pasticcio opera, "Oreste" (HWV A11), 1734, and it was well known in a keyboard version as the opening movement of the G-minor suite in the 1st volume of harpsichord suites (publ. 1720).
  • Notes:
    • Copied for Ruspoli, 14 October 1707.
    • Rediscovered in 1960 by Rudolf Ewerhart. Prior to this it survived as fragments.
  • HG edition: 52a, 52b (incomplete in HG)
  • HHA edition: V/3, 4

HWV 97: Crudel tiranno Amor

  • Genre: Italian cantata (S)
  • Libretto: Anonymous
  • Composed: London, June 1721
  • First performance: Probably performed 5 July 1721, London, King's Theatre, Haymarket, at the benefit concert for Margherita Durastanti.
  • Borrowings: Arias reused in a revival of "Floridante" (HWV 14) in December 1722.
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 98: Cuopre tal volta il cielo

  • Genre: Italian cantata (B)
  • Composed: Italy, 1708
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 99: Il delirio amoroso or Da quel giorno fatale

  • Genre: Italian cantata (S)
  • Libretto: Text by Cardinal Benedetto Pamphili.
  • Completed score: Rome, on or before 14 January, 1707.
  • First performance: At Cardinal Pamphili's palato in May 1707.
  • HG edition: 52a, 52b
  • HHA edition: V/3, 4

HWV 100: Da sete ardente afflitto

  • Genre: Italian cantata (S)
  • Composed: Italy, 1708-9
  • Notes: Copied for Ruspoli, 1709
  • HG edition: 51
  • HHA edition: V/1,2

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