Cor anglais
Woodwind instrument | |
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Classification | |
Hornbostel–Sachs classification | 422.112-71 (Double reed aerophone with keys) |
Developed | about 1720 from the oboe da caccia |
Playing range | |
Written pitch, notated in F, sounds a perfect fifth lower
Sounding pitch | |
Related instruments | |
Part of a series on |
Musical instruments |
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The cor anglais (
The cor anglais is a
Description and timbre
The pear-shaped bell (called
The cor anglais is usually notated in the treble clef, a perfect fifth higher than sounding pitch, and several other options were employed. Alto clef written at sounding pitch is occasionally used, even by as late a composer as Sergei 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 in Rossini's Overture to William Tell). French operatic composers up to Fromental Halévy notated 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.[4]
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.[5] Examples of works requiring this note (while acknowledging its exceptional nature) include Arnold Schoenberg's Gurre-Lieder, Gustav Mahler's Das Lied von der Erde, Heitor Villa-Lobos's Chôros No. 6, and Karlheinz Stockhausen's Zeitmaße. Antonín Dvořák, in his Scherzo capriccioso, even writes for the cor anglais down to low A, though it seems unlikely that such an extension ever existed.[6]
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 of
History and etymology
The term cor anglais is French for English horn, but the instrument is neither from England nor related to the various conical-bore brass instruments called "horns", such as the French horn, the natural horn, the post horn, or the tenor horn. The instrument originated in Silesia about 1720 when a bulb bell was fitted to a curved oboe da caccia-type body by the Weigel family of Breslau. The two-keyed, open-belled, straight tenor oboe (French taille de hautbois, "tenor oboe"), and more particularly the flare-belled oboe da caccia, resembled the horns played by angels in religious images of the Middle Ages. This gave rise in German-speaking central Europe to the Middle High German name engellisches Horn, meaning angelic horn. Because engellisch also meant English in 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 the oboe da caccia fell into disuse around 1760.[7] The name first appeared regularly in Italian, German, and Austrian scores from 1749 on, usually in the Italian form corno inglese.[8]
The earliest known orchestral part specifically for the instrument is in the Vienna version of
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. 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 that anglais might be a corruption of Middle French anglé (angular, or bent at an angle, angulaire in modern French),[14] but this has been rejected on grounds that there is no evidence of the term cor anglé before it was offered as a possible origin of anglais in the late 19th century.[15]
Repertoire
Concertos and concertante
Until the 20th century, there were few solo pieces for the instrument with a large ensemble (such as orchestra or concert band). 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) †
- Miguel del Aguila, Broken Rondo for solo English horn and orchestra
- Gaetano Donizetti's Concertino in G major (1816)
- Arthur Honegger's Concerto da camera for flute, English horn and string orchestra (1948)
- Gordon Jacob's Rhapsody for English horn and strings (1948)
- Aaron Jay Kernis' Colored Field (1994)
- James MacMillan's The World's Ransoming, for obbligato English horn and orchestra (1995–96), part of the orchestral triptych Triduum (1995–97) †
- Walter Piston's Fantasy for English horn, harp and string orchestra (1952)
- Ned Rorem's Concerto for English horn and orchestra (1992)
- Peter Seabourne's Concerto for English horn and orchestra (2013)
- Jean Sibelius' The Swan of Tuonela (1893) †
- Jack Stamp's Elegy for English horn and Band (2004)
- Pēteris Vasks' Concerto for English horn and orchestra (1989)
- Ermanno Wolf-Ferrari's Concertino in A♭, op. 34 (1947)
† Though concertante in nature, these are just orchestral works featuring extensive solos, with the player seated within the orchestra
Chamber music
Better known chamber music for English horn includes:
- Ludwig van Beethoven's Trio for 2 oboes and English horn, Op. 87 (1795)
- Ludwig van Beethoven's Variations on "Là ci darem la mano", for 2 oboes and English horn, WoO 28 (1796)
- Elliott Carter's Pastoral for 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's Monody 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's Parable 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's Zeitmaße for flute, oboe, clarinet, English horn and bassoon (1955–56)
- Igor Stravinsky's Pastorale for 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's Pilgrim Soul for 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 few sonatas written during the Romantic era for this combination.
Solos in orchestral works and dramas
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)
- Harold in Italy(1834)
- Hector Berlioz's La damnation de Faust: "D’amour l’ardente flamme"
- 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)
- Emmanuel Chabrier's "Lamento" for orchestra (1875)
- Claude Debussy's Nocturnes (1899) ("Nuages")
- Frederick Delius's Florida Suite (1887)
- Antonín Dvořák's Symphony No. 9 (1893), From the New World (Largo)
- César Franck's Symphony in D minor (1888) (2nd movement)
- Alexander Glazunov's Symphony No. 4 in E-flat major (1893) (1st 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)
- Vincent d'Indy's Symphony on a French Mountain Air (1886)
- Zoltán Kodály's Summer Evening (1906)
- Gustav Mahler's Ich bin der Welt abhanden gekommen from Rückert-Lieder (1901), Wenn dein Mütterlein from Kindertotenlieder (1905)
- Jules Massenet's Le Cid Ballet Suite (Madrilène) (1885)
- L'ascension(1932–33) (2nd movement)
- Thea Musgrave's Phoenix Rising (1997)
- Basil Poledouris's Conan the Barbarian score – "Riddle of Steel" (1982)
- Amilcare Ponchielli's Voce di donna from La Gioconda
- 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)
- Piano Concerto in G(1931) (2nd movement)
- Maurice Ravel's Ballet Daphnis et Chloé (1912)
- Maurice Ravel's Rapsodie espagnole (1908)
- Alfred Reed's Russian Christmas Music (1944)
- Ottorino Respighi's Fontane di Roma (1918)
- Ottorino Respighi's Pini di Roma(1924)
- Ottorino Respighi's Lauda per la Natività del Signore (1930)
- 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 Adelaide di Borgogna, aria: "Soffri la tua sventura … Amica speme"
- Gioachino Rossini's William Tell Overture (1829)
- Howard Shore's The Lord of the Rings film trilogy (film score)
- Dmitri Shostakovich's Symphony No. 4 in C minor (1936) (1st movement)
- Dmitri Shostakovich's Symphony No. 6 in B minor (1939) (1st movement)
- 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
- Romeo and Juliet Fantasy Overture(1870) (Love Theme, Exposition)
- Pyotr Ilyich Tchaikovsky's The Nutcracker (1892)
- Ralph Vaughan Williams' In the Fen Country (1904)
- Ralph Vaughan Williams' Symphony No. 2 A London Symphony (2nd movement)
- Ralph Vaughan Williams' Symphony No. 5 in D major (1943) (3rd movement)
- Ralph Vaughan Williams' Symphony No. 6 in E minor (1946–47) (2nd movement)
- Richard Wagner's Tristan und Isolde (1859) (Act 3, Scene 1)
- Ennio Morricone's The Ecstasy of Gold (1966)
- John Williams' Harry Potter and the Philosopher's Stone (film score) (2001)
- John Williams' Schindler's List (film score) (1993)
Unaccompanied
- 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
- ^ Cambridge English Pronouncing Dictionary, cor anglais, Cambridge University Press, 2011, p. 110
- Longman Pronunciation Dictionary, 3rd edition, Pearson Education Limited, 2008, p.185
- ^ cor anglais in the Oxford English Dictionary
- ^ ISBN 0-520-05062-2.
- ISBN 0-521-23953-2.
- ISBN 0-520-05062-2.
- ^ 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).
- ISBN 0-674-37501-7.
- ^ History of the English horn/cor anglais at the Vienna Symphonic Library
- ^ 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.
- ^ a b Michael Finkelman, "Die Oboeinstrumente in tieferer Stimmlage – Teil 5: Das Englischhorn in der Klassik", in Tibia 99 (1999): 618–24. (in German)
- ^ "Teimer Oboe Trio and their patrons the Princes Schwarzenbergs".
- ^ English Horn at www.oed.com
- OCLC 802019668
- ISBN 0-393-00758-8.