HWV441 G major

Due to its stylistic immaturity, this work has often been classified as an early work by Handel in musicological research. However, the style of this work is not characteristic of Handel's early period. Furthermore, this work is not included in any of the historical sources of Handel's keyboard works in Germany, and its authenticity as a work by Handel is questioned based on the extant source material.

The opening of the Allemande resembles that of an Allemande in G major found in Jeremiah Clarke's collection of exercises published in 1711, and its stylistic immaturity also casts doubt on Handel's authorship. The entire movement is written in a simple two-part texture, with the left hand presenting the harmonic progression and the right hand focusing solely on the melodic voice, with no voice exchange observed. Almost all phrases are two measures long, and there are no motivic manipulations or unusual modulations. Its form, harmony, and melodic structure are all extremely simple.

The Allegro, Aria, Minuet, and Gigue do not exhibit Handel's stylistic characteristics, and their true author is presumed to be William Babell. For the Aria, there is a manuscript in an extant collection explicitly stating it is by Babell. The Minuet and Gigue are included in the same manuscript collection as the Aria, which is explicitly attributed to Babell. Furthermore, they also appear in a separate manuscript collection by Babell, thus raising the possibility of their authorship by Babell.

The Allegro features scales on weak beats and arpeggiated chords in the bass that clarify the harmony as its main motives, with no particularly unusual aspects in terms of motivic variation or formal construction. Without exception, all cadences throughout the movement consist of descending parallel thirds in both hands. A similar figuration is also found in the Aria's cadences, which is uncharacteristic of Handel's works.

The Minuet begins with a monophonic melody in the right hand imitated by octave chords in the left hand. The opening phrase of this movement later reappears in D major, E minor, B minor, and finally again in the tonic G major. The sections between these opening phrases are filled with sixteenth-note runs primarily based on scales.

The Gavotte's structure, combining rondo form with variations, resembles the Air and Variations found in Babell's collection of exercises published in 1717. Additionally, the figuration in measures 56-64 has been pointed out as a commonality with Babell's works. The ornamental variations of the melody in the doubles are simple, consisting of arpeggios and scales, and this immaturity in variation technique also serves as a basis for denying its authenticity.

Both halves of the Gigue begin with a lively motive featuring leaps and trills. The melodic voice primarily consists of repetitions of scales or arpeggios, maintaining a uniform rhythm until the final cadence. The continuous eighth notes and motivic repetitions, along with the less strictly regular ascending and descending changes in the melodic line, support the musical fluidity.

The only movement in this work with high authenticity is the Courante. Its formal structure is clear, and phrases generally consist of two or four measures. The melodic voice is written with an alternation of contrasting motives: scales and arpeggios. Regarding the sonority, dense parallel thirds in both hands, reminiscent of Scarlatti, create a contrasting change in register compared to the preceding and following sections.