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Cor anglais

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Cor anglais
Woodwind instrument
Classification
Hornbostel–Sachs classification422.112-71
(Double reedaerophonewithkeys)
Developedabout 1720 from theoboe da caccia
Playing range
Written pitch, notated in F, sounds aperfect fifthlower
Sounding pitch
Related instruments
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Thecor anglais(UK:/ˌkɔːrˈɒŋɡleɪ/,US:/-ɑːŋˈɡleɪ/[1][2]or originalFrench:[kɔʁɑ̃ɡlɛ];[3]plural:cors anglais), orEnglish horn(inNorth American English), is adouble-reedwoodwind instrumentin theoboefamily. It is approximately one and a half times the length of an oboe, making it essentially analto oboein F.

The cor anglais is atransposing instrumentpitched inF,aperfect fifthlower than theoboe(a C instrument).[4]This means that music for the cor anglais is written aperfect fifthhigher than the instrument sounds. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe, and oboists typically double on the cor anglais when required. The cor anglais normally lacks the lowest B♭key found on most oboes, and so its sounding range stretches from E3(written B♮) belowmiddle Cto C6two octaves above middle C. Some versions being made today have a Low B♭key to extend the range down one more note to sounding E♭3.

Description and timbre

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The pear-shaped bell (calledLiebesfuß) of the cor anglais gives it a more coveredtimbrethan the oboe, closer in tonal quality to theoboe d'amore.Whereas the oboe is the soprano instrument of the oboe family, the cor anglais is generally regarded as thealtomember of the family, and the oboe d'amore—pitched between the two in the key of A—as themezzo-sopranomember.[5]The cor anglais is perceived to have a more mellow and plaintive tone than the oboe.[6]The difference in sound results primarily from a wider reed and aconical borethat expands over a greater distance than the oboe's; although darker in tone and lower in pitch than the oboe, its sound is distinct from (though naturally blends with) the sound of thebassoonfamily. Its appearance differs from the oboe in that the instrument is notably longer, the reed is attached to a slightly curved metal tube called thebocal,or crook, and the bell has a bulbous shape ( "Liebesfuß" ).

The cor anglais is usually notated in the trebleclef,a perfect fifth higher than sounding pitch. Alto clef written at sounding pitch is occasionally used, even by as late a composer asSergei Prokofiev.In late-18th- and early-19th-century Italy, where the instrument was often played by bassoonists instead of oboists, it was notated in the bass clef an octave below sounding pitch (as found inRossini'sOverture toWilliam Tell). French operatic composers up toFromental Halévynotated the instrument at sounding pitch in the mezzo-soprano clef, which enabled the player to read the part as if it were in the treble clef.[5]

Although the instrument usually descends only to (written) low B♮,continental instruments with an extension to low B♭(sounding E♭) have existed since early in the 19th century.[7]Examples of works requiring this note (while acknowledging its exceptional nature) includeArnold Schoenberg'sGurre-Lieder,Gustav Mahler'sDas Lied von der Erde,Heitor Villa-Lobos'sChôros No. 6,andKarlheinz Stockhausen'sZeitmaße.Antonín Dvořák,in hisScherzo capriccioso,even writes for the cor anglais down to low A, though it seems unlikely that such an extension ever existed.[8]

Reeds used to play the cor anglais are similar to those used for an oboe, consisting of a piece of cane folded in two. While the cane on an oboe reed is mounted on a small metal tube (the staple) partially covered in cork, there is no such cork on a cor anglais reed, which fits directly on the bocal. The cane part of the reed is wider and longer than that of the oboe. Unlike American-style oboe reeds, cor anglais reeds typically have some wire at the base, approximately 5 mm (0.20 in) from the top of the string used to attach the cane to the staple. This wire serves to hold the two blades of cane together and stabilize tone and pitch.

Perhaps the best-known makers of modern cors anglais are the French firms ofF. Lorée,Marigaux,and Rigoutat, the British firm ofT. W. Howarth,and the American firmFox Products.Instruments from smaller makers, such asA. Laubin,are also sought after. Instruments are usually made fromAfrican blackwood(akaGrenadilla), although some makers offer instruments in a choice of alternative woods as well, such ascocobolo(Howarth) or violet wood (Lorée), which are said to alter the voice of the cor anglais slightly, producing a more mellow sound. Fox has recently made some instruments in plastic resin and maple, the latter being the wood traditionally used forbassoons.

History and etymology

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English horn,c. 1860–70

The termcor anglaisis French forEnglish horn,but the instrument is neither from England nor related to the various conical-bore brass instruments called "horns", such as theFrench horn,thenatural horn,thepost horn,or thetenor horn.The instrument originated inSilesiaabout 1720 when a bulb bell was fitted to a curvedoboe da caccia-type body by the Weigel family ofBreslau.The two-keyed, open-belled, straight tenor oboe (Frenchtaille de hautbois,"tenor oboe" ), and more particularly the flare-belledoboe da caccia,resembled the horns played by angels in religious images of theMiddle Ages.This gave rise in German-speaking central Europe to theMiddle High Germannameengellisches Horn,meaningangelic horn.Becauseengellischalso meantEnglishin the vernacular of the time, the "angelic horn" became the "English horn". In the absence of any better alternative, the curved, bulb-belled tenor oboe then retained the name even after theoboe da cacciafell into disuse around 1760.[9]The name first appeared regularly in Italian, German, and Austrian scores from 1749 on, usually in the Italian formcorno inglese.[10]

The earliest known orchestral part specifically for the instrument is in the Vienna version ofNiccolò Jommelli's operaEziodating from 1749,[11]where it was given the Italian namecorno inglese.[12]GluckandHaydnfollowed suit in the 1750s,[13]and the firstEnglish horn concertoswere written in the 1770s. The Schwarzenberg Wind Harmonie of 1771 employed 2 cors anglais as well as 2 oboes, 2 bassoons and 2 horns. Johan Went was first cor anglais and Ignaz Teimer (father of the Teimer brothers) was second cor anglais. The first oboe trios were composed by Johan Went for the Teimer brothers. The oboe and cor anglais writing in these original Bohemian/Viennese trios by Johan Went and Joseph Triebensee are notable as written by oboists for oboists and include some early examples of florid virtuosic writing for the cor anglais, paving the way for similar writing to come. In 1796 Johann and Franz Teimer died. The first recorded performance of an oboe trio was 1793 (which Beethoven attended). While the Teimer brothers performed in Vienna and environs, over 20 oboe trios were composed. Phillip Teimer continued to play the cor anglais in Schikaneder's opera house in Vienna. He also sang some roles with the company due to his sonorous bass voice. Many cor anglais parts were specially written for him by Stengel, Süssmayr, Paer, Winter, Weigl, Eberl, Eybler, Salieri, Hummel, Schacht and Fisher.[14]

Considering the name "cor anglais", it is ironic that the instrument was not regularly used in France before about 1800 or in England before the 1830s.[13]It is mentioned in thePenny Cyclopediafrom 1838 as "The English Horn, or Corno Inglese, is a deeper-toned oboe [...]", while the first identified printed use of the termcor anglaisin English was in 1870.[15]In the UK the instrument is colloquially generally referred to as the "cor".[5]The local equivalent for "English horn" is used in most other European languages, while a few languages use their equivalent of "alto oboe".

Due to the earlier bowed or angular forms it took, the suggestion has been made thatanglaismight be a corruption ofMiddle Frenchanglé(angular, or bent at an angle,angulairein modern French),[16]but this has been rejected on grounds that there is no evidence of the termcor anglébefore it was offered as a possible origin ofanglaisin the late 19th century.[17]

Repertoire

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Concertos and concertante

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Main article:List of concertos for English horn

Until the 20th century, there were few solo pieces for the instrument with a large ensemble (such asorchestraorconcert band). Important examples of such concertos and concertante works are:

† Though concertante in nature, these are just orchestral works featuring extensive solos, with the player seated within the orchestra

Chamber music

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Better knownchamber musicfor English horn includes:

  • Ludwig van Beethoven's Trio for 2 oboes and English horn, Op. 87 (1795)
  • Ludwig van Beethoven'sVariations on "Là ci darem la mano",for 2 oboes and English horn, WoO 28 (1796)
  • Elliott Carter'sPastoralfor English horn and piano (1940)
  • Felix Draeseke's "Kleine Suite" for English horn and piano, Op. 87 (1911)
  • Paul Hindemith's Sonata for English Horn and Piano (1941)
  • Charles Koechlin'sMonody for English Horn,Op. 216, Nr. 11 (1947–48)
  • Franz Krommer's Trio for 2 oboes and English horn, Trio in F major c.(1794)
  • Franz Krommer's Trio for 2 oboes and English horn, Variations on a Theme by Pleyel c.(1794–6)
  • Vincent Persichetti'sParable XV for Solo English Horn
  • Franz Poessinger's Trio for 2 oboes and English horn, Trio in F major c.(1794–6)
  • Anton Reicha's Andante arioso, Andante and Adagio for wind quintet with featured cor anglais (1817-9)
  • Karlheinz Stockhausen'sZeitmaßefor flute, oboe, clarinet, English horn and bassoon (1955–56)
  • Igor Stravinsky'sPastoralefor soprano and piano (1907), in the composer's arrangements for soprano, oboe, English horn, clarinet, and bassoon (1923), and violin, oboe, English horn, clarinet, and bassoon (1933)
  • Augusta Read Thomas'sPilgrim Soulfor cor anglais and two violins (2011)
  • Josef Triebensee's Trio for 2 oboes and English horn, Trio in F major c.(1794–6)
  • Josef Triebensee's Trio for 2 oboes and English horn, Trio in C major c.(1794–6)
  • Josef Triebensee's Trio for 2 oboes and English horn, Trio in Bb major c.(1794–6)
  • Josef Triebensee's Trio for 2 oboes and English horn, Variations on a Theme by Haydn c.(1794–6)
  • Heitor Villa-Lobos'Quinteto (em forma de chôros)for flute, oboe, clarinet, English horn and bassoon (1928)
  • Peter Warlock's 'The Curlew' for singer, flute, cor anglais and string quartet (1920–22)
  • Johan Went's Trio for 2 oboes and English horn, Petite Serenade Concertante in F major c.(1790)
  • Johan Went's Trio for 2 oboes and English horn, Divertimento in Bb major c.(1790)
  • Johan Went's Trio for 2 oboes and English horn, Variations on a Theme by Paisiello c.(1790)
  • Johan Went's Trio for 2 oboes and English horn, Variations on a Theme by Haydn c.(1790)
  • Johan Went's Trio for 2 oboes and English horn, Pas de Deux in C major de Signore e Signora Vigano c.(1790)
  • Anton Wranitsky's Trio for 2 oboes and English horn, Trio in C major c.(1794–6)
  • Carlo Yvon's Sonata in F minor for English Horn (or Viola) and Piano (published ca. 1831), one of the fewsonataswritten during theRomantic erafor this combination.

Solos in orchestral works and dramas

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The English horn's timbre makes it well suited to the performance of expressive, melancholic solos inorchestralworks (includingfilm scores) as well as operas. Famous examples are:

Opening motive from the 2nd movement (Largo) ofDvořák'sSymphony No. 9,From the New World

Unaccompanied

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  • Andriessen, Hendrik,Elegia (1967)
  • Auerbach, Lera,The Prayer
  • Bancquart, A.,Sonatine
  • Bentzon, J., Rhapsodique Etude, Op. 10
  • Berkeley, Michael,Snake(1990)
  • Brandon, J., In the City at Night
  • Caldini, F., Abendstück, Op. 12
  • Caldini, F., Aria di Eliogabalo, Op. 18
  • Cantalbiano, R., Sonata
  • Carbon, J., Four Impromptus
  • Carter, E., A 6-letter Letter
  • Cherney, B., Epitaph
  • Childs, Barney,Four Involutions
  • Dagher, Abdo, The New Egyptian-Arabic
  • Davies, Ken, Dark River
  • Douglas, Paul Marshall, Luquet
  • Downey, John W.,Soliloquy
  • Filippi, A., Equations
  • Hall, Juliana,A Certain Tune
  • Head, Raymond, No Nights are Dark Enough
  • Isaacson, M., A Quiet Prayer
  • Koechlin, Charles,Monodie
  • Koechlin, Charles, Suite
  • Lawrence, Echoes in Wilderness
  • Persichetti, Vincent,Parable XV
  • Pfiffner, Miniature d'Umbria I
  • Rudin, R., Recitativ und Arie
  • Silvestrini, Paysage avec Pyrame eet Thisbe
  • Tomasi, H., Evocations
  • Turok, P., Partita

References

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  1. ^Cambridge English Pronouncing Dictionary,cor anglais,Cambridge University Press, 2011, p. 110
  2. ^Longman Pronunciation Dictionary,3rd edition, Pearson Education Limited, 2008, p.185
  3. ^cor anglaisin theOxford English Dictionary
  4. ^"This is how the oboe and the cor anglais differ".
  5. ^abcNorman Del Mar,Anatomy of the Orchestra(Berkeley: University of California Press, 1981): 143.ISBN0-520-04500-9(cloth);ISBN0-520-05062-2.
  6. ^"English Horn - English Horns: The Enigmatic Beauty of the Cor Anglais - Cor Anglais Meaning".2023-11-16.Retrieved2024-05-20.
  7. ^Hector Berlioz,Berlioz's Orchestration Treatise: A Translation and Commentary,translated from the French by Hugh Macdonald (Cambridge Musical Texts and Monographs. Cambridge and New York: Cambridge University Press, 2002): 108.ISBN0-521-23953-2.
  8. ^Norman Del Mar,Anatomy of the Orchestra(Berkeley: University of California Press, 1981): 158–59.ISBN0-520-04500-9(cloth);ISBN0-520-05062-2.
  9. ^Michael Finkelman, "Oboe: III. Larger and Smaller European Oboes, 4. Tenor Oboes, (iv) English Horn",The New Grove Dictionary of Music and Musicians,second edition, edited byStanley Sadieand John Tyrrell (London: Macmillan Publishers, 2001); also atGrove Music Online(Subscription access).
  10. ^Willi Apel,"English Horn",The Harvard Dictionary of Music,second edition (Cambridge: Harvard University Press, 1969).ISBN0-674-37501-7.
  11. ^History of the English horn/cor anglaisat the Vienna Symphonic Library
  12. ^Adam Carse,Musical Wind Instruments: A History of the Wind Instruments Used in European Orchestras and Wind-Bands from the Later Middle Ages Up to the Present Time(London: Macmillan and Co., 1939): 144.
  13. ^abMichael Finkelman,"Die Oboeinstrumente in tieferer Stimmlage – Teil 5: Das Englischhorn in der Klassik",inTibia99 (1999): 618–24.(in German)
  14. ^"Teimer Oboe Trio and their patrons the Princes Schwarzenbergs".
  15. ^English Hornat www.oed.com
  16. ^Michael Kennedy,"Cor anglais",The Oxford Dictionary of Music,second edition, revised, Joyce Bourne, associate editor (Oxford and New York: Oxford University Press, 2006); A. J. Greimas,Dictionnaire de l'ancien français jusqu'au milieu du XIV siècle,second edition (Paris: Librarie Larousse, 1968): 31.OCLC802019668
  17. ^Adam Carse,Musical Wind Instruments: A History of the Wind Instruments Used in European Orchestras and Wind-Bands from the Later Middle Ages Up to the Present Time(London: Macmillan and Co., 1939): 143; Sybil Marcuse, "Cor anglais", inMusical Instruments: A Comprehensive Dictionary,revised edition, The Norton Library (New York: W. W. Norton, 1975).ISBN0-393-00758-8.
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