English Horn Information

The cor anglais, or English horn, is a double-reed woodwind instrument in the oboe family.

The cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe (a C instrument), and is consequently approximately one and a half times the length of the oboe. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe. Music for the cor anglais is thus written a perfect fifth higher than the instrument actually sounds. Because the cor anglais normally lacks the lowest B flat of the oboe, its sounding range stretches from the E (written B natural) below middle C to the C two octaves above middle C.

Description and timbre

Its pear-shaped bell gives it a more covered timbre than that of the oboe, being closer in tonal quality to the oboe d'amore. Whereas the oboe is the soprano instrument of the oboe family, the cor anglais is generally regarded as the alto member of the family, and the oboe d'amore, pitched between the two in the key of A, as the mezzo-soprano member. The cor anglais is perceived to have a more mellow and plaintive tone than the oboe. Its appearance differs from the oboe in that the reed is attached to a slightly bent metal tube called the bocal, or crook, and the bell has a bulbous shape. It is also much longer overall.

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 wire at the base, approximately 5 millimeters 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 instruments are the French firms of F. Lorée, Marigaux and Rigoutat, the British firm of T W Howarth, and the American firm Fox. Instruments from smaller makers, such as A. Laubin, are also sought after. Instruments are usually made from African Blackwood or Grenadilla, although some makers offer instruments in a choice of alternative woods as well, such as cocobolo (Howarth) or violet wood (Lorée), which are said to alter the voice of the cor anglais slightly, reputedly making it even more mellow and warmer. Fox has recently made some instruments in plastic resin.

History and etymology

The term cor anglais is French for English horn, but the instrument is neither from England nor a horn. The instrument is thought to have originated in Silesia about 1720, when a bulb bell was added to the oboe da caccia, a Baroque alto instrument of the oboe family, possibly by J. T. Weigel of Breslau. The two-keyed, open-belled straight tenor oboe (in French called "taille de hautbois", i.e., tenor oboe) and more especially the flare-belled oboe da caccia resembled the horns played by angels in religious icons of the Middle Ages and this gave rise in German-speaking central Europe to the Middle High German name engellisches Horn, meaning angelic horn. But engellisch also meant English in the vernacular of the time, and so the angelic horn became the English horn, a name which was retained, in the absence of any better alternative, for the curved, bulb-belled tenor oboe even after the oboe da caccia fell into disuse around 1760.^[1]

The earliest known orchestral part specifically for the English horn is in the Vienna version of Niccolò Jommelli's opera Ezio dating from 1749.^[2] Gluck and Haydn followed suit in the 1750s,^[3] and the first English horn concertos were written in the 1770s. Considering the name "cor anglais", it is ironic that the instrument wasn't used in France until about 1800 and in England until the 1830s.^[3]

Its name is sometimes said to derive from its original resemblance to the oboe da caccia, which tended to be either bent or curved in shape and was thus supposedly called a cor anglé (bent horn), a name later corrupted to cor anglais. The cor anglais still has a bent metal pipe, known as the bocal, which connects the reed to the instrument proper. This, however, is a false etymology, as anglé does not mean angled in any language. The name first appeared on a regular basis in Italian, German and Austrian scores from 1749, usually in the Italian form corno inglese.

Repertoire

Many oboists double on the cor anglais, just as flautists double on the piccolo. (Although piccolo oboes, called oboe musette, do exist, they are very rarely played.)

Concertos

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

• William Alwyn's Autumn Legend for English horn and string orchestra (1954)
• Emmanuel Chabrier's Lamento for English horn and orchestra (1875)
• Aaron Copland's Quiet City for trumpet, English horn, and string orchestra (1940) †
• Gaetano Donizetti's Concertino in G major (1816)
• Arthur Honegger's Concerto da camera, for flute, English horn & string orchestra (1948)
• Gordon Jacob's Rhapsody for English Horn and Strings (1948)
• Aaron Jay Kernis' Colored Field (2000)
• James MacMillan's The World's Ransoming (1997) †
• Walter Piston's Fantasy for English horn, harp and string orchestra (1952)
• Ned Rorem's Concerto for English Horn and Orchestra (1992)
• Jean Sibelius' Swan of Tuonela (1893) †
• Pēteris Vasks' Concerto for English horn and orchestra (1989)
• Ermanno Wolf-Ferrari's Concertino in A-flat, op. 34 (1947)

† Though concerto in nature, these are officially just extensive solos in orchestral works, as the players are seated within the orchestra

Chamber music

Better known chamber music for English horn include:

• Ludwig van Beethoven's Trio for 2 oboes & English horn op. 87 (1795)
• Ludwig van Beethoven's Variations on "La ci darem la mano", for 2 oboes & English horn, WoO 28 (1796)
• Elliott Carter's Pastoral for English horn (or viola, or clarinet) and piano (1940)
• Felix Draeseke's Little Suite for English horn and piano op. 87 (1911)
• Paul Hindemith's English Horn Sonata (1941)
• Charles Koechlin's Monody for English Horn, op. 216, n°11 (1947–1948)
• Wolfgang Amadeus Mozart's Adagio in C, for English Horn, Violin, Viola & Cello K580a (Fragment-1789)
• Igor Stravinsky's Pastorale for soprano and piano (1907), in the composer's own arrangements for soprano, oboe, English horn, clarinet, and bassoon (1923), and violin, oboe, English horn, clarinet, and bassoon (1933)
• Carlo Yvon's Sonata in F minor for English Horn (or Viola) and Piano (pub. ca. 1831), one of the few sonatas written during the Romantic era for this combination.

Solos in orchestral works

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

• Vincenzo Bellini's Il Pirata (Act II: Introduzione) (1827)
• Hector Berlioz's Harold in Italy (1834)
• Hector Berlioz's Rob Roy Overture (1826)
• Hector Berlioz's Roman Carnival Overture (1844)
• Hector Berlioz's Symphonie fantastique (third movement) (1830)
• Alexander Borodin's In the Steppes of Central Asia (1880)
• Alexander Borodin's Polovetsian Dances from "Prince Igor" (1890)
• Claude Debussy's Nocturnes (1899) ("Nuages")
• Antonín Dvořák's Symphony No. 9 (1893), "From the New World" (Largo)
• César Franck's Symphony in D minor (1888) (2nd movement)
• Joseph Haydn's Symphony No. 22, The Philosopher (1764) (two English horns)
• Joseph Haydn's Divertimento in F for Two Violins, Two English Horns, Two Horns & Two Bassoons Hob. II: 6 (1760)
• Joseph Haydn's Divertimento in Eb, for Flute, Two English Horns, Bassoon, Two Horns, Two Violins & Bass Hob. II: 24 (Fragment-Ca. 1761)
• Zoltán Kodály's Summer Evening (1906)
• Gustav Mahler's Wenn dein Mutterlein from Kindertotenlieder (1905)
• Olivier Messiaen's L'Ascension (1932–33) (2nd movement)
• Thea Musgrave's Phoenix Rising (1997)
• Basil Poledouris' Conan the Barbarian (film) score - The Riddle of Steel (1982)
• Gaetano Pugnani's Werther Melodrama in Two Parts, (Part II No. 21 Largo assai) (1790)
• Sergei Rachmaninoff's Symphonic Dances (1940)
• Sergei Rachmaninoff's The Bells (1913) (4th movement)
• Maurice Ravel's Piano Concerto in G (1931) (2nd movement)
• Maurice Ravel's Ballet Daphnis et Chloe (1912)
• Maurice Ravel's Rapsodie Espagnole (1908)
• Alfred Reed's Russian Christmas Music (1944)
• Ottorino Respighi's Lauda per la Nativita del Signore (1930)
• Ottorino Respighi's Pini di Roma (1924)
• Nikolai Rimsky-Korsakov's Capriccio Espagnol (1887) (2nd Movement)
• Nikolai Rimsky-Korsakov's Scheherazade Op. 35 (1888)
• Joaquín Rodrigo's Concierto de Aranjuez (1939) (2nd movement)
• Gioachino Rossini's William Tell Overture (1829)
• Howard Shore's The Lord of the Rings film trilogy (Film Score)
• Dmitri Shostakovich's Symphony No. 8 in C minor (1943) (1st movement)
• Dmitri Shostakovich's Symphony No. 10 in E minor (1953) (3rd movement)
• Dmitri Shostakovich's Symphony No. 11 in G minor (1957) (4th movement)
• Jean Sibelius' Karelia Suite (1893) and Pelléas et Mélisande (1905)
• Robert W. Smith's Symphony No. 2 "The Odyssey" (3rd Movement,"The Isle of Calypso")
• Richard Strauss' Ein Heldenleben (1898)
• Igor Stravinsky's The Rite of Spring (1913) Mainly in the Intro to Part I and the next-to-last dance in Part II, "Ritual Action of the Ancestors".
• Pyotr Ilyich Tchaikovsky's Romeo and Juliet Fantasy Overture (1870) (Love Theme, Exposition)
• Pyotr Ilyich Tchaikovsky's The Nutcracker (1892)
• Ralph Vaughan Williams's In the Fen Country (1904)
• Ralph Vaughan Williams's Symphony No. 5 in D Major (1943) (3rd movement)
• Ralph Vaughan Williams's Symphony No. 6 in E Minor (1946-7) (2nd Movement)
• Richard Wagner's Tristan und Isolde (1859) (Act 3, Scene 1)
• John Williams' Harry Potter and the Sorcerer's Stone (film score) (2001)
• John Williams' Schindler's List (film score) (1993)

Use outside classical music

Though primarily featured in classical music, the cor anglais has also been used by a few musicians as a jazz instrument; most prominent among these are Paul McCandless, Jean-Luc Fillon, Sonny Simmons, and Vinny Golia (see also Oboists performing primarily outside classical genres). The cor anglais also figures in the instrumental arrangements of several Carpenters songs. It has also made some appearances in pop music, such as in King Crimson's "Dawn Song" on their album Lizard, Lindisfarne's "Run For Home", Randy Crawford's "One Day I'll Fly Away", Tanita Tikaram's "Twist in My Sobriety", and many (e.g. Judy Collins' and Barbra Streisand's) versions of Send in the Clowns. In Britain, Tony Hatch's theme tune to the long-running soap opera Emmerdale Farm was originally performed on the cor anglais. The cor anglais is also featured in the Lionel Richie and Diana Ross version of "Endless Love", and in Elton John's "Can You Feel the Love Tonight" and "Candle in the Wind 1997". The song "A Mutual Friend" by the band Wire from the album 154 uses a cor anglais.

Paul McCartney holds a cor anglais on the album cover of Sgt. Pepper's Lonely Hearts Club Band. The instrument also features in the 2005 film American Pie Presents: Band Camp (referred to as the oboe).

See also

• List of English horn players
• List of English horn concertos

References

1. ^ 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 by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001); also at Grove Music Online (Subscription access).
2. ^ History of the English horn/cor anglais at the Vienna Symphonic Library.
3. ^ ^{a b} Michael Finkelman, "", Tibia 99 (1999):618–24.

External links

• English horn fingering guide

Categories: Single oboes with conical bore | Woodwind instruments | F instruments | Oboes

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See Also:

• Baritone Horn
• British English