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A choral worship cantata for STB with STB Soli composed by George Frideric Handel.

A collection of pieces mostly for Soprano, composed by George Frideric Handel.

A collection of pieces for Various Voices, composed by George Frideric Handel.

A choral worship cantata for SATB and SSATB with ST Soli (Orch.) and SATB and SAATTB with SATB Soli (Orch.) composed by George Frideric Handel.

This work was calld Occasional Oratorio because its creation and performance wer occasioned by peculiar passing circumstances. The only date in the autograph is found on the first page:'Overture the Occasional Oratorio Ann 1746.'The first performance took placeo nt he 14th of February; the composition must consequently have been completed at the beginning of that year. SATB or SSAATTBB with SSTB Soli

This oratorio miniature score features'Joseph.'

Jephtha, Handel's last oratorio, was commenced on the 21st of January 1751 and finished on August 30 of the same year, after several interruptions caused by the composer's eye-disease and occaisional blindness. The words were written by Dr. Thomas Morell. SATB with SSATB Soli

The Oratorio of Belshazzar was begun on the 23rd of August 1744 and completed probably before the middle of October of the same year. It was first produced on the 27th of March 1745. The libretto, written by Charles Jennes, was considerably abridged by Handel, especially in the first two parts. SATB or SAATTB with SAATTB Soli

'Tamerland'was written in the period from the third to the twenty third of July 1724, and first performed in the Theatre of the Royal Academy of Music in London on the 31st of October of the same year. The words are by Nicola Haym. The pieces brought together in the Appendix consist of first drafts.

The composition of'Alessandro'was completed on April 11, 1726, and it was produced on May 5th in the same year at the Royal Academy of Music in the Haymarket. The words are by Paolo Rolli. At subsequent performances considerable abbreviations were made, especially in the recitatives and in the minor characters; Cleone and Leonato being entirely cut out. This is, as far as possible, indicated in this score. From the nature of the sources at our disposal, some small gaps and unevenness could not be avoided. The beautiful air in the Appendix was added later for Faustina; version A is extant in Handel's autograph, version B with the title in a printed copy of the year 1726.