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compass of the cor anglais extends over two octaves and a fifth: Notation_" 1°= Real sounds The true quality of the cor anglais is penetrating like that of the oboe, but mellower and more See also:

MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy. The cor anglais is the See also:

ALTO (Ital. for " high ")

alto See also:

POMMER

Pommer (q.v.) or haute-contre de hautbois (see OBOE), gradually See also:

DEVELOPED

developed, improved and provided with key-See also:

WORK

work. It is not known exactly when the See also:

CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change took See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, but it was probably during the 17th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century, after the Schalmey or See also:

SHAWM, SHALM (Fr. chalumeau, chalemelle, hautbois; Ger. Schalmei, Schalmey; Ital. Pifar cenamelle; Lat. calamus; tibia; Gr. a- Ws)

Shawm had been transformed into the oboe. In a , 7th century MS. (Add. 30,342, f. 145) in the See also:

BRITISH

British Museum, written in See also:

French, giving See also:

PEN (Lat. penna, a feather, pen)

pen and See also:

INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink sketches of many instruments, is an " See also:

ACCORD (from Fr. accorder, to agree)

accord de hautbois " which comprises a pedalle b0- (See also:

bass oboe or Pommer), a sacquebute (See also:

SACKBUT, SHAKBUSSHE, SAGBUT, DRAW

sackbut) as basse-contre, a See also:

TAILLE (from Fr. tailler, to cut or divide; late Lat. taliare, said to come from talia, talea)

taille (tenor) with a See also:

note that the haute-contre (the cor anglais) est de mesme sinon plus petite. The tubes of all the members of the hautbois family are straight in this See also:

DRAWING

drawing.

Before 1688 the French hoboy, made in four parts and having two keys, was known in See also:

England.' It is probable that in See also:

France, where the hautbois played such an important See also:

PART

part in See also:

court music, the cor anglais, under the name of haute-contre de hautbois, was also provided with keys. At the end of the 17th century there were two players of the haute-contre de hautbois among the musicians of the Grande Ecurie du Roi? The origin of the name of the instrument is also a See also:

MATTER

matter of conjecture. Two theories exist—one that cor anglais is a corruption of cor See also:

ANGLE (from the Lat. angulus, a corner, a diminutive, of which the primitive form, angus, does not occur in Latin; cognate are the Lat. angere, to compress into a bend or to strangle, and the Gr. ayKOS, a bend; both connected with the Aryan root ank-, to

angle, a name given on See also:

account of the angular See also:

BEND

bend of the See also:

early specimens. In that See also:

case the name, but not necessarily the instrument, probably originated in France early in the 18th century, for See also:

GLUCK

Gluck scored for two cors anglais in his See also:

ITALIAN

Italian version of Alceste played in See also:

Vienna in 1767. When a French version of this See also:

OPERA (Italian for " work ")

opera was given in See also:

Paris two years later, the cor anglais,not being known or available there, was replaced by oboes. It was not until 18o8 that the cor anglais was heard at the Paris Opera, when it was played by the oboist See also:

VOGT, KARL CHRISTOPH (1817-1895)

Vogt in Catel's See also:

ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre chez Apelle. This, however, proves only that the name was not See also:

FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar in France, where the oboe of the same See also:

pitch was called haute-contre de hautbois. The bending of the tube and the development of the cor anglais as See also:

SOLO, OR SOLO WHIST

solo instrument originated in See also:

Germany, unless the oboe da caccia was identical with the cor anglais, in which case See also:

Italy would be the See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country of origin. See also:

Thomas Stanesby, junior, made an oboe da caccia in 174o of straight See also:

PATTERN

pattern in four pieces, having a bent metal crook for the insertion of the reed and two See also:

SADDLE (a word common to Teutonic languages, cf. Ger. Sattel, Dut. zadel, also in Russ. siedlo and Lat. sella, for sedla; it is not derived directly from Lat. sedile, which means a chair, but all the words are to be referred to the root sad-, which gives

saddle keys;, but the bell was like the bell of the oboe, not globular like that of the cor anglais, a See also:

FORM (Lat. forma)

form to which the veiled quality of its timbre is due. It is interesting in this See also:

con- (Besson & Co.) the cor anglais, which 18th century. do not appear to have led to any See also:

PRACTICAL

practical result.

A French See also:

BROADSIDE

broadside (c. 1650), " La Musique," preserved in the British Museum, contains drawings of many musical instruments in use in the 17th century; among them are an oboe with keys in a perforated case, and two other wood' wind instruments of the same family, which may be taken to represent attempts to dispose of the inconvenient length of the haute-contre (I) by bending the tube at right angles for about one See also:

QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of its length from the mouthpiece, which contains a large ' See Harleian MS. 2034, f. 207b, British Museum, in the third part of Randle Holme's See also:

Academy of Armoury, written before 1688, where an outline See also:

SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch in ink is also given. 2 See J Ecorcheville, " Quelques documents sur la musique de la Grande Ecurie du Roi," Sammelband intern. Musikges. ii. 4, pp. 6o9 and 625. Deeds exist creating charges for four hautbois and musettes de See also:

POITOU

Poitou in the See also:

hand of See also:

King See also:

John, See also:

MIDDLE

middle of 14th century, see p. 633.double reed, (2) by bending the tube in the elongated " S " shape of the corno torto or bass Zinke, for which the drawing in question might be mistaken but for the bent crook inserted in the end for the reception of the reed, which, however, is missing. The other hypo-thesis is that when the cor anglais was given a bend in See also:

order to facilitate the handling, the name was adopted to See also:

mark its resemblance to a See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

hunting-horn said to be in use in England at the time. This See also:

SUGGESTION

suggestion does not seem to be a happy one; for if the reference be to the See also:

CRESCENT (Lat. crescens, growing)

crescent-shaped horn, that instrument was in use in all countries at various periods before the 17th century, while if it be to the angular form, then a See also:

REPRODUCTION

reproduction of such a horn should be. forthcoming to support the statement.

The See also:

IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of bending the instrument is attributed to Giovanni or Giuseppe Ferlendis of See also:

Bergamo,' See also:

BROTHERS, RICHARD (1757-1824)

brothers and virtuosi on the oboe. One of these had settled in See also:

SALZBURG

Salzburg, and both were equally renowned as performers on the English horn. They visited See also:

Venice, See also:

Brescia, See also:

TRIESTE (Ger. Triest; Slay. Trst; the Roman Tergeste, q.v.)

Trieste, Vienna, See also:

LONDON

London (in 1795) and See also:

LISBON (Lisboa)

Lisbon, where Giuseppe died. In this case we might expect the name to have been given in Italian, corno inglese; yet Gluck in his Italian edition used the French name already in 1767, when Giuseppe was but twelve years old. We must await some more conclusive explanation, but we may suppose that the new name was bestowed when the instrument assumed a form entirely new to the family of hautbois or oboes. The cor anglais was well known in England before 1774, for in a See also:

QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint See also:

BOOK

book of travels through England, published in that See also:

YEAR

year, we read that Signor Sougelder,' " an eminent surgeon of See also:

Bristol," was a performer " on the English horn." The experiment of bending the cor anglais did not prove satisfactory, for the tube instead of being bored had to be cut out of two pieces of wood which were then glued together and covered with See also:

leather. Even the most skilful craftsman did not succeed in making the inside of the tube quite smooth; the roughness of the wood was detrimental to the See also:

TONE, THEOBALD WOLFE (1763-1798)

tone and gave the cor anglais a veiled, somewhat hoarse quality, and makers before See also:

long reverted to the See also:

DIRECT

direct or See also:

VERTICAL (from Lat. vertex, highest point)

vertical form. (K. S.). , CORATO, a See also:

CITY (through Fr. cite, from Lat. civitas)

city of See also:

APULIA (sometimes APPULIa in manuscripts but never in inscriptions)

Apulia, Italy, in the See also:

province of See also:

Bari, 26 m. W. of Bari by See also:

steam See also:

TRAMWAY

tramway. Pop.

(1901) 41,573. It is situated in the centre of an agricultural See also:

DISTRICT

district. It contains no buildings of See also:

GREAT

great See also:

INTEREST

interest, but is a clean and well-kept See also:

TOWN

town.

End of Article: COR ANGLAIS

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