Download-Noten von Georg Friedrich Händel

One year after completing the 'Messiah', Handel scored another triumph with the 1743 oratorio 'Samson'. Harapha's famous aria from 'Samson' is presented here for grade 4 soloist with piano accompanime...

This grade 4 George Frederic Handel excerpt is from his 1746 oratorio 'Judas Maccabaeus', which was commission by Frederic, Prince of Wales, to celebrate the return of the Duke of Cumberland from Scot...

This grade 4 George Frederic Handel excerpt is from his 1746 oratorio 'Judas Maccabaeus', which was commission by Frederic, Prince of Wales, to celebrate the return of the Duke of Cumberland from Scot...

From the collection Solo Time for Violin Book 3, this Baroque presto is adapted from the last movement of Handel's Keyboard Suite No. 3 and arranged in the style of a violin concerto movement, with 't...

Gavotte arranged by Mary Cohen for violin and piano accompaniment, taken from Superstart Violin Level 2.

The style of this cantata suggests an early date with the use of a dance-form ariette typical in operas from Hamburg, including Handel's.

It is believed this cantata was written for Senesino when he arrived in England in 1720, however this volume was not complete until 1722.

The autograph would seem to identify this work as having an English provenance; corroborated by the lack of key signature in the recitative and highly embellished melodic style..

The style of this cantata points to an Italian provenance, due to the survival of a copy in an Italian manuscript.

Handel must have particularly enjoyed the light and airy first aria, as versions of it can be found in a number of his works, including Rodrigo, Io languisco, and Il pastor fido.

This aria has been dated to 1722, and, also like Deh! Lasciate, it may have been written for the castrato Senesino.

A highly ornamanted cantata, possibly written for a single singer, and, based on style comparisons, this may have been castrato Valentini.

This cantata is unusual in that its text is addressed to a man, with the persistent use of the masculine form 'caro' rather than 'cara'.

This cantata was originally composed for the marquis Ruspoli in the soprano range.