George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

This is a list of notable solo cello pieces. It includes arrangements and transcriptions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

Between 1858 and 1902, the Händel-Gesellschaft ("German Handel Society") produced a collected 105-volume edition of the works of George Frideric Handel. Even though the collection was initiated by the society, many of the volumes were published by Friedrich Chrysander working alone (Chrysander was the major contributor for almost all of the volumes). The wording on the title page of the volumes is "Georg Friedrich Händel's Werke. Ausgabe der Deutschen Händelgesellschaft" which translates as "Georg Friedrich Handel's works. Edition of the German Handel Society". Chrysander's work has been criticised, however the scale of his achievement is also praised. The collection's abbreviation of "HG" can be used to identify individual works by Handel; for example Handel's Messiah can be referred to as "HG xlv" (with the Roman numerals "xlv" indicating that the work is in volume 45). For practical use, the HG system has been superseded by the HWV numbering system. The 105 volumes do not contain the complete works of Handel—with at least 250 of his works unpublished in the collection.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

The Water Music (German: Wassermusik) is a collection of orchestral movements, often published as three suites, composed by George Frideric Handel. It premiered on 17 July 1717, in response to King George I's request for a concert on the River Thames.

It is impossible to say how many flute sonatas were composed by George Frideric Handel, but the correct number is somewhere between none and eight. There are many reasons for the confusion: some of the sonatas were originally written for other instruments, some have uncertain authenticity, some contain borrowings from other Handel works, and some were published (in an altered form) without Handel's knowledge. At least six of the sonatas are known to contain music written by Handel, although he may not have intended some of them to have been played by the flute. The main source of the sonatas is the c. 1730 publication Sonates pour un traversiere un violin ou hautbois con basso continuo composées par G. F. Handel, allegedly by the Amsterdam publisher Jeanne Roger (who had died in December 1722), however the publication was made by the printer John Walsh. In 1732 Walsh published a revised version under his own name. Three sonatas attributed to Handel were published by Walsh in 1730 as part of a collection titled Six Solos, Four for a German Flute and a Bass and two for a Violin with a Thorough Bass. It was supposed that they were early works composed by Handel before 1703 in Halle but their authenticity is now considered doubtful. The supposition of the date has been proven unfounded, at least for the second sonata, three movements of which are arrangements of music known to have been composed by Handel after 1712. Of the eleven flute sonatas formerly attributed to Handel, only one (the flute sonata in E minor (HWV 379)) appears to have been intended for the flute as it exists in that form in Handel's autograph, and even that one is a hasty arrangement of movements from other works. The flute sonata in D major (HWV 378), which was attributed in a manuscript to Johann Sigismund Weiss (brother of the lutenist Sylvius Leopold Weiss), has been proffered as a work by Handel, however no autograph version by Handel is known to exist.

It is impossible to say how many flute sonatas were composed by George Frideric Handel, but the correct number is somewhere between none and eight. There are many reasons for the confusion: some of the sonatas were originally written for other instruments, some have uncertain authenticity, some contain borrowings from other Handel works, and some were published (in an altered form) without Handel's knowledge. At least six of the sonatas are known to contain music written by Handel, although he may not have intended some of them to have been played by the flute. The main source of the sonatas is the c. 1730 publication Sonates pour un traversiere un violin ou hautbois con basso continuo composées par G. F. Handel, allegedly by the Amsterdam publisher Jeanne Roger (who had died in December 1722), however the publication was made by the printer John Walsh. In 1732 Walsh published a revised version under his own name. Three sonatas attributed to Handel were published by Walsh in 1730 as part of a collection titled Six Solos, Four for a German Flute and a Bass and two for a Violin with a Thorough Bass. It was supposed that they were early works composed by Handel before 1703 in Halle but their authenticity is now considered doubtful. The supposition of the date has been proven unfounded, at least for the second sonata, three movements of which are arrangements of music known to have been composed by Handel after 1712. Of the eleven flute sonatas formerly attributed to Handel, only one (the flute sonata in E minor (HWV 379)) appears to have been intended for the flute as it exists in that form in Handel's autograph, and even that one is a hasty arrangement of movements from other works. The flute sonata in D major (HWV 378), which was attributed in a manuscript to Johann Sigismund Weiss (brother of the lutenist Sylvius Leopold Weiss), has been proffered as a work by Handel, however no autograph version by Handel is known to exist.

It is impossible to say how many flute sonatas were composed by George Frideric Handel, but the correct number is somewhere between none and eight. There are many reasons for the confusion: some of the sonatas were originally written for other instruments, some have uncertain authenticity, some contain borrowings from other Handel works, and some were published (in an altered form) without Handel's knowledge. At least six of the sonatas are known to contain music written by Handel, although he may not have intended some of them to have been played by the flute. The main source of the sonatas is the c. 1730 publication Sonates pour un traversiere un violin ou hautbois con basso continuo composées par G. F. Handel, allegedly by the Amsterdam publisher Jeanne Roger (who had died in December 1722), however the publication was made by the printer John Walsh. In 1732 Walsh published a revised version under his own name. Three sonatas attributed to Handel were published by Walsh in 1730 as part of a collection titled Six Solos, Four for a German Flute and a Bass and two for a Violin with a Thorough Bass. It was supposed that they were early works composed by Handel before 1703 in Halle but their authenticity is now considered doubtful. The supposition of the date has been proven unfounded, at least for the second sonata, three movements of which are arrangements of music known to have been composed by Handel after 1712. Of the eleven flute sonatas formerly attributed to Handel, only one (the flute sonata in E minor (HWV 379)) appears to have been intended for the flute as it exists in that form in Handel's autograph, and even that one is a hasty arrangement of movements from other works. The flute sonata in D major (HWV 378), which was attributed in a manuscript to Johann Sigismund Weiss (brother of the lutenist Sylvius Leopold Weiss), has been proffered as a work by Handel, however no autograph version by Handel is known to exist.

It is impossible to say how many flute sonatas were composed by George Frideric Handel, but the correct number is somewhere between none and eight. There are many reasons for the confusion: some of the sonatas were originally written for other instruments, some have uncertain authenticity, some contain borrowings from other Handel works, and some were published (in an altered form) without Handel's knowledge. At least six of the sonatas are known to contain music written by Handel, although he may not have intended some of them to have been played by the flute. The main source of the sonatas is the c. 1730 publication Sonates pour un traversiere un violin ou hautbois con basso continuo composées par G. F. Handel, allegedly by the Amsterdam publisher Jeanne Roger (who had died in December 1722), however the publication was made by the printer John Walsh. In 1732 Walsh published a revised version under his own name. Three sonatas attributed to Handel were published by Walsh in 1730 as part of a collection titled Six Solos, Four for a German Flute and a Bass and two for a Violin with a Thorough Bass. It was supposed that they were early works composed by Handel before 1703 in Halle but their authenticity is now considered doubtful. The supposition of the date has been proven unfounded, at least for the second sonata, three movements of which are arrangements of music known to have been composed by Handel after 1712. Of the eleven flute sonatas formerly attributed to Handel, only one (the flute sonata in E minor (HWV 379)) appears to have been intended for the flute as it exists in that form in Handel's autograph, and even that one is a hasty arrangement of movements from other works. The flute sonata in D major (HWV 378), which was attributed in a manuscript to Johann Sigismund Weiss (brother of the lutenist Sylvius Leopold Weiss), has been proffered as a work by Handel, however no autograph version by Handel is known to exist.

It is impossible to say how many flute sonatas were composed by George Frideric Handel, but the correct number is somewhere between none and eight. There are many reasons for the confusion: some of the sonatas were originally written for other instruments, some have uncertain authenticity, some contain borrowings from other Handel works, and some were published (in an altered form) without Handel's knowledge. At least six of the sonatas are known to contain music written by Handel, although he may not have intended some of them to have been played by the flute. The main source of the sonatas is the c. 1730 publication Sonates pour un traversiere un violin ou hautbois con basso continuo composées par G. F. Handel, allegedly by the Amsterdam publisher Jeanne Roger (who had died in December 1722), however the publication was made by the printer John Walsh. In 1732 Walsh published a revised version under his own name. Three sonatas attributed to Handel were published by Walsh in 1730 as part of a collection titled Six Solos, Four for a German Flute and a Bass and two for a Violin with a Thorough Bass. It was supposed that they were early works composed by Handel before 1703 in Halle but their authenticity is now considered doubtful. The supposition of the date has been proven unfounded, at least for the second sonata, three movements of which are arrangements of music known to have been composed by Handel after 1712. Of the eleven flute sonatas formerly attributed to Handel, only one (the flute sonata in E minor (HWV 379)) appears to have been intended for the flute as it exists in that form in Handel's autograph, and even that one is a hasty arrangement of movements from other works. The flute sonata in D major (HWV 378), which was attributed in a manuscript to Johann Sigismund Weiss (brother of the lutenist Sylvius Leopold Weiss), has been proffered as a work by Handel, however no autograph version by Handel is known to exist.

It is impossible to say how many flute sonatas were composed by George Frideric Handel, but the correct number is somewhere between none and eight. There are many reasons for the confusion: some of the sonatas were originally written for other instruments, some have uncertain authenticity, some contain borrowings from other Handel works, and some were published (in an altered form) without Handel's knowledge. At least six of the sonatas are known to contain music written by Handel, although he may not have intended some of them to have been played by the flute. The main source of the sonatas is the c. 1730 publication Sonates pour un traversiere un violin ou hautbois con basso continuo composées par G. F. Handel, allegedly by the Amsterdam publisher Jeanne Roger (who had died in December 1722), however the publication was made by the printer John Walsh. In 1732 Walsh published a revised version under his own name. Three sonatas attributed to Handel were published by Walsh in 1730 as part of a collection titled Six Solos, Four for a German Flute and a Bass and two for a Violin with a Thorough Bass. It was supposed that they were early works composed by Handel before 1703 in Halle but their authenticity is now considered doubtful. The supposition of the date has been proven unfounded, at least for the second sonata, three movements of which are arrangements of music known to have been composed by Handel after 1712. Of the eleven flute sonatas formerly attributed to Handel, only one (the flute sonata in E minor (HWV 379)) appears to have been intended for the flute as it exists in that form in Handel's autograph, and even that one is a hasty arrangement of movements from other works. The flute sonata in D major (HWV 378), which was attributed in a manuscript to Johann Sigismund Weiss (brother of the lutenist Sylvius Leopold Weiss), has been proffered as a work by Handel, however no autograph version by Handel is known to exist.

George Frideric (or Frederick) Handel ( HAN-dəl; baptised Georg Fried[e]rich Händel, German: [ˈɡeːɔʁk ˈfʁiːdʁɪç ˈhɛndl̩] ; 5 March [O.S. 23 February] 1685 – 14 April 1759) was a German-British Baroque composer well-known for his operas, oratorios, anthems, concerti grossi, and organ concerti. Born in Halle, Handel spent his early life in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque. In turn, Handel's music forms one of the peaks of the "high baroque" style, bringing Italian opera to its highest development, creating the genres of English oratorio and organ concerto, and introducing a new style into English church music. He is consistently recognised as one of the greatest composers of his age. Handel started three commercial opera companies to supply the English nobility with Italian opera. In 1737 he had a physical breakdown, changed direction creatively, addressed the middle class and made a transition to English choral works. After his success with Messiah (1742), he never composed an Italian opera again. His orchestral Water Music and Music for the Royal Fireworks remain steadfastly popular. One of his four coronation anthems, Zadok the Priest, has been performed at every British coronation since 1727. He died a respected and rich man in 1759, aged 74, and was given a state funeral at Westminster Abbey. Interest in Handel's music has grown since the mid-20th century. The musicologist Winton Dean wrote that "Handel was not only a great composer; he was a dramatic genius of the first order." His music was admired by Classical-era composers, especially Haydn, Mozart and Beethoven.

Between 1858 and 1902, the Händel-Gesellschaft ("German Handel Society") produced a collected 105-volume edition of the works of George Frideric Handel. Even though the collection was initiated by the society, many of the volumes were published by Friedrich Chrysander working alone (Chrysander was the major contributor for almost all of the volumes). The wording on the title page of the volumes is "Georg Friedrich Händel's Werke. Ausgabe der Deutschen Händelgesellschaft" which translates as "Georg Friedrich Handel's works. Edition of the German Handel Society". Chrysander's work has been criticised, however the scale of his achievement is also praised. The collection's abbreviation of "HG" can be used to identify individual works by Handel; for example Handel's Messiah can be referred to as "HG xlv" (with the Roman numerals "xlv" indicating that the work is in volume 45). For practical use, the HG system has been superseded by the HWV numbering system. The 105 volumes do not contain the complete works of Handel—with at least 250 of his works unpublished in the collection.

The Oboe sonata in C minor (HWV 366) was composed (c. 1711–1712) by George Frideric Handel for oboe and basso continuo. The work is also referred to as Opus 1 No. 8, and was first published in 1732 by Walsh. Other catalogues of Handel's music have referred to the work as HG xxvii, 29; and HHA iv/18,32. Both the Walsh edition and the Chrysander edition indicate that the work is for oboe (Hoboy), and published it as Sonata VIII. A typical performance of the work takes about six and a half minutes.

The Violin sonata in F major (HWV 370) is a work for violin and basso continuo that was originally thought to have been composed by George Frideric Handel. Modern scholars however believe it doubtful that the work was composed by Handel, and have labelled it as "spurious". The work is also referred to as Opus 1 No. 12, and was first published in 1732 by Walsh. Other catalogues of Handel's music have referred to the work as HG xxvii,42; and HHA iv/4,40. Both the Walsh edition and the Chrysander edition indicate that the work is for violin, and published it as Sonata XII.

The Violin sonata in F major (HWV 370) is a work for violin and basso continuo that was originally thought to have been composed by George Frideric Handel. Modern scholars however believe it doubtful that the work was composed by Handel, and have labelled it as "spurious". The work is also referred to as Opus 1 No. 12, and was first published in 1732 by Walsh. Other catalogues of Handel's music have referred to the work as HG xxvii,42; and HHA iv/4,40. Both the Walsh edition and the Chrysander edition indicate that the work is for violin, and published it as Sonata XII.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

The Keyboard suite in D minor (HWV 437) was composed by George Frideric Handel, for solo keyboard (harpsichord), between 1703 and 1706. It is also referred to as Suite de pièces Vol. 2 No. 4. It was first published in 1733.

The passacaglia (; Italian: [passaˈkaʎʎa]) is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is typically based on a bass-ostinato and written in triple metre.

The following is a non-exhaustive list of notable compositions for the harp.

The Concerti grossi, Op. 3, HWV 312–317, are six concerti grossi by George Frideric Handel compiled into a set and published by John Walsh in 1734. Musicologists now agree that Handel had no initial knowledge of the publishing. Instead, Walsh, seeking to take advantage of the commercial success of Corelli's Concerti grossi, Op. 6, simply combined several of Handel's already existing works and grouped them into six "concertos".

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

The Sonata in C major (HWV 365), for recorder and basso continuo, was composed (probably before 1712) by George Frideric Handel. The work is also referred to as Opus 1 No. 7, and was first published in or shortly after 1726—in a collection of twelve sonatas titled Sonates pour un Traversiere un Violon ou Hautbois Con Basso Continuo Composées par G. F. Handel—purportedly in Amsterdam by Jeanne Roger, but now shown to have been a forgery by the London publisher John Walsh. Walsh republished this sonata in 1731 or 1732 under his own imprint in a similar collection, containing ten of the earlier sonatas and two new ones, with the new title Solos for a German Flute a Hoboy or Violin With a Thorough Bass for the Harpsichord or Bass Violin Compos'd by Mr. Handel. Other catalogues of Handel's music have referred to the work as HG xxvii, 15; and HHA iv/3,33. The pseudo-Roger, Walsh, and the Chrysander (based upon pseudo-Roger and Walsh) editions indicate that the work is for recorder ("flauto"), and published it as Sonata VII, though the autograph manuscript is missing the title page. This autograph is a fair copy made most likely in 1712, but a reliable copyist's manuscript gives the instrumentation in Italian: flauto e cembalo, exactly as in Handel's complete autographs of the Sonatas in G minor, A minor, and F major.

The Sonata in D minor (HWV 367a) was composed, circa 1709–15, by George Frideric Handel for recorder and basso continuo. The work is also referred to as Opus 1 No. 9a. Another catalogue of Handel's music refers to the work as HHA iv/18,19,45 (there is no HG designation for the work). The autograph manuscript of the sonata is written on Italian paper, which was acquired by Handel during his travels in Italy between the end of 1706 and the end of 1709. Although he continued to use this paper until 1715, it is most likely that the autograph was written in about 1712. Handel's handwriting in this manuscript (and the one for the B♭ major recorder sonata) is much less careful than in the fair copies he made at about the same time as the four sonatas in G minor, A minor, C major, and F major. The sonata was published by Walsh circa 1730, in an "incredibly botched" edition purporting to be from the Amsterdam publisher Jean Roger, arranged by an unknown hand as a flute sonata in B minor (HWV 367b), shorn of its third and fourth movements and designated "op. 1, no. 9". The Walsh firm reissued it in the same form and under their own imprint in 1731 or 1732. Although the Handel autograph manuscript does not indicate an instrumentation, the key and range are consistent with the recorder, and both an earlier autograph of the sixth movement and a contemporary non-autograph manuscript of the entire sonata are headed "Sonata a Flauto e Cembalo". Both the Walsh edition and the Chrysander edition indicate that the work is for traversa (the Italian word customarily used in the 18th century for the transverse flute), and published it as Sonata IX (in B minor). Movements 1 to 5 of the work were published as the "Fitzwilliam Sonata No. III" edited by Thurston Dart. A typical performance of the work takes about fourteen-and-a-half minutes.

The Sonata in F major (HWV 369) was composed (before 1712) by George Frideric Handel for recorder and basso continuo (the autograph manuscript, a fair copy made most likely in 1712, gives this instrumentation in Italian: "flauto e cembalo"). The work is also referred to as Opus 1 No. 11, and was first published in 1732 by Walsh. Other catalogues of Handel's music have referred to the work as HG xxvii, 40; and HHA iv/3,52. Handel used an arrangement of the sonata in his Organ Concerto in F major (HWV 293). Both the Walsh edition and the Chrysander edition indicate that the work is for recorder ("flauto"), and published it as Sonata XI. The theme plays during the opening titles of Ingmar Bergman's 1978 film Autumn Sonata.

The Concerti grossi, Op. 3, HWV 312–317, are six concerti grossi by George Frideric Handel compiled into a set and published by John Walsh in 1734. Musicologists now agree that Handel had no initial knowledge of the publishing. Instead, Walsh, seeking to take advantage of the commercial success of Corelli's Concerti grossi, Op. 6, simply combined several of Handel's already existing works and grouped them into six "concertos".

The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino violin duet and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became Handel's Opus 6 in a second edition two years later. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, the concerti were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concerti were largely composed of new material; they are amongst the finest examples in the genre of baroque concerti grossi. The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

This article lists the various treatments given by Franz Liszt to the works of almost 100 other composers. These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions. Liszt also extensively treated his own works in a similar manner, but these are not tallied here—neither are his treatments of national (or "folk") melodies whose composers are unknown, nor other anonymous works. In most cases, Liszt arranged only one or two pieces by a composer, but he delved more deeply into the works of Bach, Beethoven, Bellini, Berlioz, Chopin, Donizetti, Gounod, Mendelssohn, Meyerbeer, Mozart, Rossini, Schubert, Schumann, Verdi, Wagner, and Weber. The earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born c. 1532). Jacques Arcadelt was born earlier (c. 1507), but Liszt's treatment was not of Arcadelt's original work, rather of a setting by Pierre-Louis Dietsch loosely based on Arcadelt. The last composer to die whose works Liszt dealt with was Géza Zichy (1849–1924).

George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 24 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos. Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56. Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.

The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino violin duet and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became Handel's Opus 6 in a second edition two years later. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, the concerti were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concerti were largely composed of new material; they are amongst the finest examples in the genre of baroque concerti grossi. The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.

Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion of Jesus and ends with the Hallelujah chorus. In Part III, he covers Paul's teachings on the resurrection of the dead and Christ's glorification in heaven. Handel wrote Messiah for modest vocal and instrumental forces, with optional alternative settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs numbering up to 800 performers. Efforts to update its orchestration began with Mozart's Der Messias. In the late 20th and early 21st centuries, the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times. The autograph manuscript of the oratorio is preserved in the British Library.

The Violin sonata in G minor (HWV 364a) was composed (c. 1722–24) by George Frideric Handel for violin and basso continuo. The work is also referred to as Opus 1 No. 6, and was first published in 1732 by Walsh. Other catalogues of Handel's music have referred to the work as HG xxvii,22; and HHA iv/18,6. Also published in HG xlviii,118 (with an extra part for Organo). Both the Walsh edition and the Chrysander edition indicate that the work is for oboe, and published it as Sonata VI. It is not known whether Handel sanctioned the change of instrument, however the fact that the piece contains notes beyond the range of the oboe would suggest that he did not. Handel's original manuscript indicates that the sonata would be suitable "per la Viola da Gamba"—and the version of the work for that instrument is designated as HWV 364b. A typical performance of the work takes just over seven minutes.

The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino violin duet and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became Handel's Opus 6 in a second edition two years later. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, the concerti were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concerti were largely composed of new material; they are amongst the finest examples in the genre of baroque concerti grossi. The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.

The Violin Sonata in D major (HWV 371) was composed (c. 1749-50) by George Frideric Handel, for violin and basso continuo. Other catalogues of Handel's music have referred to the work as HG xxvii,47; and HHA iv/4,28. This sonata represents Handel's last piece of chamber music. The piece was not published by Walsh. The designation Opus 1 No.13 was first made in the Chrysander edition. A typical performance of the work takes about twelve minutes.

The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino violin duet and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became Handel's Opus 6 in a second edition two years later. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, the concerti were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concerti were largely composed of new material; they are amongst the finest examples in the genre of baroque concerti grossi. The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.

The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino violin duet and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became Handel's Opus 6 in a second edition two years later. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, the concerti were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concerti were largely composed of new material; they are amongst the finest examples in the genre of baroque concerti grossi. The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.

The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino violin duet and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became Handel's Opus 6 in a second edition two years later. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, the concerti were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concerti were largely composed of new material; they are amongst the finest examples in the genre of baroque concerti grossi. The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.