R.M.20.g.12

1. ff. 1-16v. ‘Concerto per l’Organo ed altri stromenti’ (Op. IV, No. 1, HWV 289)(H-G. XXVIII, p. 1). ‘N. 22’ is written in pencil at the top of the page. Other pencilled notes are almost erased and illegible. f. 5v: The MS ends at the last bar of the Larghetto (H-G., p. 6). On the blank stave below is written in pencil: ‘Org. ad libit ex [Bass clef with three flats]’ followed by a musical phrase (in pencil); ‘so dann Cadenz’ and more musical notes. For a copy see Eg. 2945 (ff. 18-32).

2. ff. 8-12v. ‘Concerto per la Harpa’ (Op. IV, No. 6, HWV 294)(H-G. XXVIII, p. 63). Pencilled note at the top of the page, nearly erased: ‘…ex G’. Several bars in the opening Andante Allegro have ‘in drey’ or ‘in fünff’ written in pencil over them, as guides for the division to be made by the copyist. f. 10v: At the end of the Andante Allegro: ‘Fine’, in pencil, crossed out. The following Larghetto (H-G., p. 66) is crossed out in pencil, with the exception of the final half close. No Adagio is marked to the last three bars of the movement. f. 12v: Allegro moderato. At the end: ‘Fine’. See also R.M.20.g.13. (ff. 24v-28); for a copy see Eg. 2945 (ff. 14-17v).

3. ff. 14-21v. ‘Concerto’ (HWV 295) (H-G. XLVIII, p. 2. No 1). f. 18: End of Allegro: ‘Org: ad libitum ex A [here is an half circle with a dot] ¾’. f. 18v: Blank. f. 21v: The Ms ends at the end of H-G., p. 12, line 4, bar 3. N.B.: the last leaf is RM.20.g.14, f. 10; ); for a copy see Eg. 2945 (ff. 43-52).

4. ff. 23-31v. ‘Concerto’ (HWV 296a) (H-G. XLVIII, p. 14, No. 2). f. 25: Above the Andante (H-G., p. 17): ‘Concerto per l’Organo ed altri stromenti’ (in pencil). f. 25v: The passage from the beginning of H-G., p. 19, line 2, bar 3 to the end of the line is crossed out in pencil. f. 26: From the end of H-G., p. 20, line 1, to the beginning of p. 20, line 3, bar 3, is crossed out, and the first notes of bar 4 altered, in pencil. f. 27: ‘Or Flauto’ (H-G., p. 22), is in pencil. f. 27v: ‘more’ in pencil over p. 23, line 1, bar 3. ‘Or diapason or… a tempo’: in pencil over ‘ad libitum’ (H-G., p. 23, line 2, bar 1). At the end of the movement there are four notes (treble and bass) of the Organ part of an Adagio in common time. f. 28: Grave (H-G., p. 24). The whole movement, with the first notes (Vi. 1) of the following Allegro, crossed out in pencil. ‘Segue’ [in ink] la Fuga [in pencil]’ with musical notes (in pencil). f. 28v: Blank. f. 29: Allegro (H-G., p. 24). f. 31: ‘Fine’. For a copy see Eg. 2945 (ff. 33-42v).

5. ff. 32-44v. ‘Concerto in B flat, Op. 7, No 1 (HWV 306) (H-G. XXVIII, p. 73). f. 40: The passage marked ‘Org. a 2 Clav e Pedale’ (H-G., p. 82) is written on three staves. f. 41: At the end of the Andante (H-G., p. 84): ‘Org ad libitum ex D.m.’, followed by a few musical notes, all crossed out in ink. f. 42v: Following the Largo is: ‘Fuga ex B. un mezzo tuono piu alto’. For Organ and strings, but only consisting of short clues. At the end of a passage of the Organ part: ‘ut Violini e Bassi ad finem usque’, followed by a short close, above which is written: ‘Org: ad libit: adag: ex g moll’. f. 43: ‘Bourré’ [sic] originally called ‘Gavotte’, but crossed out in ink. f. 44v: ‘Fine. G. F. Handel. Fevr. 17. 1740. [Here is the symbol for Sunday]’. . For a copy see Eg. 2945 (ff. 52v-66).

6. ff. 45-52v. ‘Concerto’ (Op. 7, No 2.) (HWV 307) (H-G., XXVIII, p. 90). In the tutti passages the Organ part is not fully written out. f. 49: A long passage is crossed out in ink from the end of H-G., p. 96, line 3, bar 3. f. 51: A passage is crossed out in ink from the end of p. 99, line 2, bar 4. f. 52v: ‘Fine. London. Febr. 5 [here is the symbol for Saturday]. 1743.’. For copies see R.M.19.a.2. (ff. 19-30v), Eg. 2945 (ff. 86v-93v).

7. ff. 53-62v. ‘Concerto per l’Organo ed altri stromenti’. (HWV 308) (H-G. XXVIII, p. 102. Op. VII, No 3) ‘angefangen January 1. 1751’. f. 54: ‘e contrabasso’ (H-G., p. 104, line 3) is not in the MS. f. 56v: At the end of the Allegro: ‘Adagio and fuga ad libitum’ [?another version]. f. 60v: At the end of the Spiritoso: ‘Segue Menuet’. f. 61: ‘Menuet’ (H-G., p. 114). The top line is marked: ‘Tutti unis:’ and there is no Organ part. f. 62: ‘Menuet’ (H-G., p. 113). At the end: ‘Fine. G. F. Handel January 4. 1751. geendiget’.

8. ff. 63-66v. Concerto. (Op. VII, No 4) (HWV 309) (H-G. XXVIII, p. 115). The first and last movements are wanting. ‘Allegro così così’. . For copies see R.M.19.a.1. (ff. 151-157v), Eg. 2945 (ff. 83-86).

9. ff. 67-70v. ‘Concerto’ (Op. VII, No 5) (HWV 310) (H-G. XXVIII, p. 126). ‘Staccato mà non troppo allegro’. f. 70: ‘Menuet’ (H-G., p. 132). At the end: ‘Fine. Jan. 31. 1750’. The Gavotte (H-G., p. 132) is wanting.

10. ff. 71-74v. ‘Sinfonia’, in B flat (HWV 347). The first movement (‘Pomposo’), scored for ‘V. unis’, ‘et Hautbo: unis’ (crossed out in ink), ‘Viola e Violin 3’, and ‘Bassi’, is identical with the first movement of the Organ Concerto, Op. VII, No 6 (H-G. XXVIII, p. 135), the Organ passages in the latter being given to the strings. f. 73v: ‘Air lentement’ in B flat, for 3 Violins, Oboes, Viola and Basses. Crossed out in pencil. The ‘Introduzione’ to Joshua (H-G. XVII, p. 1), based on an Adagio in G. Muffat’s ‘Componimenti’ (Händel-Gesellschaft’s edition, p. 20). f. 74: ‘Air a tempo ordinario’ (H-G. XXVIII, p. 139). The 1^st and 2^nd Violin and Oboes (unis.) and Bass part only written, for blanks for ‘Org. ad libitum’.

Frederick Nicolay, royal musician and librarian: Handel's autograph scores annotated by: circa 1760- circa 1809: Autogr.