Italian Duets
| HWV | Title | Composed | Notes | Text |
|---|---|---|---|---|
| 178 | A mirarvi io son intento | 1711-00-00?Hanover, circa 1711 | First movement reappeared 2 years later in the Utrecht Jubilate (HWV 279) as "Be ye sure that Lord he is God.". Slow middle section formed the basis for the final chorus of "Alcina" (HWV 34) in 1735. | |
| 179 | Ahi, nelle sorti umane | 1745-08-31London, 31 August 1745 | ||
| 180 | Amor, gioje mi porge | 1709-00-00Italy, circa 1707–09 | ||
| 181 | Beato in ver chi pùo | 1742-10-31London, 31 October 1742 | Italian version of Horace, "Beatus ille" | |
| 182a | Caro autor di mia doglia | 1709-00-00Probably Italy, circa 1707–09 | ||
| 182b | Caro autor di mia doglia | 1742-00-00London, circa 1742 | ||
| 183 | Caro autor di mia doglia | 1712-00-00Hanover, circa 1710–12 | Spurious, by Reinhard Keiser. | |
| 184 | Che via pensando, folle pensier | 1709-00-00Italy, circa 1707–09 | ||
| 185 | Conservate, raddoppiate | 1711-00-00?Hanover, circa 1711 | The 2nd movement, "Nodi voi" can be found later in the Opus 1 sonatas and also in the concerti grossi as well as various operas and oratorios. | |
| 186 | Fronda leggiera e mobile | 1745-00-00London, circa 1745 | The opening theme also appears in "Belshazzar" (HWV 61) as well as the Concerto a due cori No. 1 (HWV 332) | |
| 187 | Giù nei Tartarei regni | 1707-00-00Composed: Italy, circa 1707 | ||
| 188 | Langue, geme, e sospira | 1722-00-00London, circa 1722 | Theme of the 2nd movement later appeared as "Thou hast prevented him" in the Coronation Anthem, "The King shall rejoice" (HWV 260) | Libretto by G.D. de Totis (from opera, "La caduta del regno dell' Amazzoni"; 1690) |
| 189 | Nò, di voi non vo' fidarmi | 1741-07-03London, 3 July 1741 | Thematic ideas from 2 movements used in "Messiah" (HWV 56) | |
| 190 | Nò, di voi non vo' fidarmi | 1742-11-02London, 2 November 1742 | ||
| 191 | Quando in calma ride il mare | 1711-00-00Italy or Hanover, circa 1707–11 | ||
| 192 | Quel fior che all'alba ride | 1741-07-01London, 1 July 1741 | 3rd movement uses theme from, "Quel fior che all'alba ride," (HWV 154). Thematic ideas from 2 movements used in "Messiah" (HWV 56) | |
| 193 | Se tu non lasci amore | 1722-00-00London, circa 1722 (?1711) | Thematic idea from 1st movement used in "Messiah" (HWV 56) as the duet, "Oh death, where is thy sting." Sections of the concluding movement use in Esther (HWV 50a), 1718, and there's the hint of the famous Air from the "Water Music." | |
| 194 | Sono liete, fortunate | 1711-00-00?Hanover, circa 1710–11 | The final movement was later used in the overture to "Judas Maccabeus" (HWV 63). | |
| 195 | Spero indarno | 1740-00-00London, circa 1730–40 | Single movement, known only from copies. Authenticity uncertain. | |
| 196 | Tacete, ohimè, tacete | 1709-00-00Italy, circa 1707–09 | Libretto by Francesco de Lemene (1692) which appears under the title "Amor dorme" in his "Poesie Diverse." | |
| 197 | Tanti strali al sen mi scocchi | 1711-00-00?Hanover, circa 1711 | Fugal movement later used in "Solomon" (HWV 67) for "Take him all." | |
| 198 | Troppo cruda, troppo fiera | 1711-00-00?Hanover, circa 1711 | Autograph lost. | |
| 199 | Va', speme infida | 1711-00-00?Hanover, circa 1711 | Autograph lost. |
Read more about this topic: List Of Compositions By George Frideric Handel
Famous quotes containing the words italian and/or duets:
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—Alessandra Mussolini, Italian actor, politician, and medical student. As quoted in Newsweek magazine, p. 19 (February 17, 1992)
“For decades child development experts have erroneously directed parents to sing with one voice, a unison chorus of values, politics, disciplinary and loving styles. But duets have greater harmonic possibilities and are more interesting to listen to, so long as cacophony or dissonance remains at acceptable levels.”
—Kyle D. Pruett (20th century)