No. 1 HWV 426 in A Major

This collection is a compilation of Handel's earlier works, published by him to counteract pirated editions of suites issued without the composer's permission by the London publisher Walsh in collaboration with Roger of Amsterdam, as well as circulating manuscript copies, as stated in the preface to the 1720 Cluer edition. The publishing privilege in Britain, obtained from the Crown in June 1720, is also considered a countermeasure against the Roger edition, intended for the publication of this collection.

For this publication, the composer revised existing movements, added newly composed movements, or replaced original ones, ultimately compiling a total of eight pieces, with two contrasting works for each of the four types of suites. The compilation of a harpsichord suite collection consisting of eight pieces has a precedent in Purcell.

Suites consisting of a prelude and three dance movements are placed at both ends of the collection. No. 1 HWV 426 shows a strong inclination towards the French style throughout. Although the year of composition for the dance movements is unknown, it is said that only the Prelude was newly added in 1720. The Prelude of this work consists of simple arpeggiated chords and is essentially unconstrained by meter, taking the form that came to be known as 'Prélude non mesuré' in the late 17th century. In the first half, chords unfold over the tonic A, while in the second half, the tonality fluctuates, including chromatic movement in the bass. Finally, a long dominant note emphasizes the cadence.

The Allemande employs the 'style brisé,' which makes harmonies and melodies discontinuous, leaving the connections between them to the imagination of the performer and listener—a characteristic feature of French lute and keyboard works. The imitation of short motives, suggesting polyphonic progression, is also a characteristic feature of the French style.

In the Courante, the frequent rhythmic changes and rich ornamentation suggest a conscious adoption of the French style. In the Gigue, the characteristic opening motive is distributed throughout, sometimes with its rhythm divided into two voices (e.g., m. 10). In the latter half, modulations occur along the circle of fifths, following the sequence of the opening motive.