Unlike the First Collection, compiled and published by the composer himself in 1720, the first edition of the Second Collection, "Suite de Pieces Pour le CLAVECIN. COMPOSES par G. F. Handel. SECOND VOLUME," was published in 1730 by the London publisher Walsh, without the composer's authorization, in imitation of the First Collection. It is presumed that Walsh capitalized on Handel's statement in the preface to the First Collection, indicating that further volumes would follow if the collection was well-received.

Most of the included works were previously published, and many are early compositions by Handel. It is believed that Walsh created the plates for HWV 434, 437-440 based on the Roger edition or fair copies prepared for it. The second edition of the collection is said to have been published from late 1730 to early 1731, following the first edition.

Subsequently, Walsh's son (Walsh junior) took over the management of the publishing house. In contrast to his father, the son was able to establish a good relationship with Handel personally. As a result, the second edition required the composer's consent, and a new edition was published by Walsh junior, with the order of the pieces in the collection altered (though the plates still contained errors). Although there is speculation that the order of the pieces followed the composer's own suggestions, the details remain unclear to this day.

For many years, the publication year of the new edition by Walsh junior was considered to be around 1733, but the exact date has not yet been precisely determined.

HWV434

The Prelude to the third movement likely originated from improvisation and has a strong pedagogical character. Its period of composition is considered to be during Handel's first stay in Italy. The Minuet in G minor is believed to have been composed independently of the other movements before 1707 and was added by Walsh on his own initiative; it is also included as an appendix in the complete edition of Handel's works.

The Prelude is said to have been set as the prelude to the subsequent movements only in 1711 or 1717, based on extant early autograph manuscripts. Since early manuscripts show the beginning of the subsequent movements written immediately after the Prelude, it is thought that there was a compositional intention to combine the Prelude and the subsequent movements into one large unit. The Allegro is a perpetuum mobile piece with continuous arpeggiated sixteenth notes. The final movement is a set of variations, where the first and second variations, and the third and fourth variations, are paired respectively through corresponding rhythmic and melodic figures. While the final variation is often more ornate and technically demanding compared to the preceding one, this work does not exhibit such prominent brilliance. Overall, it can be described as a relatively concise set of variations.