Studies of Handel's compositions have in general understandably stressed his use of and sensitivity to the human voice: studies of his orchestral works have, also understandably, dwelt on the Concerti Grossi and other purely instrumental works. Yet the orchestra was the underpinning for the vast majority of his compositions – for all of the operas and oratorios, for example, which are the heart of his output. It was the working musical ensemble at the core of Handel's career, but apparently he did not consider it a viable separate concert ‘instrument’: in his own performances, the orchestra was merely a part of a larger entertainment, featured at times, but never self-sufficient.

We know almost nothing about the orchestra at Hamburg's Theater am Gänsemarkt, where Handel's first surviving major work involving orchestra was performed. Johann Mattheson, Handel's mentor and friend in Hamburg, tells us only that the orchestra used just one harpsichord, and that he (Mattheson) favoured orchestral direction from the keyboard. Almira (HWV 1, 1705), the only surviving Handel score from this period, uses an orchestra of two upper wind parts (mainly oboes, occasionally recorders), one bassoon part, three trumpets, timpani, and strings (up to three violin parts, one viola part and basso continuo). It is not known how many string and woodwind players performed each part, or how many other realising continuo instruments were present. Even further from view is knowledge of the workings of the orchestra in terms of the division of continuo labour, or the extent to which the full string section may have been reduced occasionally to concertino players.