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Cor anglais

April 12, 2024

The cor anglais (UK: /ˌkɔːr ˈɒŋɡleɪ/, US: /- ɑːŋˈɡleɪ/[1][2] or original French: [kɔʁ ɑ̃ɡlɛ];[3] plural: cors anglais), or English horn (in North American English) is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, making it essentially an alto oboe in F.

The cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe (a C instrument). This means that music for the cor anglais is written a perfect fifth higher 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♮) below middle C to C6 two octaves above middle C.

Description and timbre edit

The pear-shaped bell (called Liebesfuß) of the cor anglais gives it a more covered timbre than the oboe, 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.[4] The cor anglais is perceived to have a more mellow and plaintive tone than the oboe. The difference in sound results primarily from a wider reed and a conical bore that 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 the bassoon family. Its appearance differs from the oboe in that the instrument is notably longer, the reed is attached to a slightly bent metal tube called the bocal, or crook, and the bell has a bulbous shape ("Liebesfuß").

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 F. Lorée, Marigaux, and Rigoutat, the British firm of T. W. Howarth, and the American firm Fox Products. Instruments from smaller makers, such as A. Laubin, are also sought after. Instruments are usually made from African blackwood (aka 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, producing a more mellow sound. Fox has recently made some instruments in plastic resin and maple, the latter being the wood traditionally used for bassoons.

History and etymology edit

 
English horn, ca. 1860–70

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 Niccolò Jommelli's opera Ezio dating from 1749,[9] where it was given the Italian name corno inglese.[10] Gluck and Haydn followed suit in the 1750s,[11] and the first English horn concertos were 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.[12]

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.[11] It is mentioned in the Penny Cyclopedia from 1838 as "The English Horn, or Corno Inglese, is a deeper-toned oboe [...]", while the first identified printed use of the term cor anglais in English was in 1870.[13] In the UK the instrument is colloquially generally referred to as the "cor".[4] 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 edit

Concertos and concertante edit

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 as orchestra or concert 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 edit

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 edit

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:

 
Opening motive from the 2nd movement (Largo) of Dvořák's Symphony No. 9, From the New World

Unaccompanied edit

  • 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 edit

  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 anglais in the Oxford English Dictionary
  4. ^ a b c Norman Del Mar, Anatomy of the Orchestra (Berkeley: University of California Press, 1981): 143. ISBN 0-520-04500-9 (cloth); ISBN 0-520-05062-2.
  5. ^ 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. ISBN 0-521-23953-2.
  6. ^ Norman Del Mar, Anatomy of the Orchestra (Berkeley: University of California Press, 1981): 158–59. ISBN 0-520-04500-9 (cloth); ISBN 0-520-05062-2.
  7. ^ 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).
  8. ^ Willi Apel, "English Horn", The Harvard Dictionary of Music, second edition (Cambridge: Harvard University Press, 1969). ISBN 0-674-37501-7.
  9. ^ History of the English horn/cor anglais at the Vienna Symphonic Library
  10. ^ 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.
  11. ^ a b Michael Finkelman, "Die Oboeinstrumente in tieferer Stimmlage – Teil 5: Das Englischhorn in der Klassik", in Tibia 99 (1999): 618–24. (in German)
  12. ^ "Teimer Oboe Trio and their patrons the Princes Schwarzenbergs".
  13. ^ English Horn at www.oed.com
  14. ^ 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. OCLC 802019668
  15. ^ 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", in Musical Instruments: A Comprehensive Dictionary, revised edition, The Norton Library (New York: W. W. Norton, 1975). ISBN 0-393-00758-8.

External links edit

 
Wikisource has the text of the 1911 Encyclopædia Britannica article "Cor anglais".
 
Wikimedia Commons has media related to Cor anglais.
  • English horn fingering guide

April 12, 2024
anglais, anglais, ɔːr, ɑː, original, french, kɔʁ, ɡlɛ, plural, cors, anglais, english, horn, north, american, english, double, reed, woodwind, instrument, oboe, family, approximately, half, times, length, oboe, making, essentially, alto, oboe, woodwind, instru. The cor anglais UK ˌ k ɔːr ˈ ɒ ŋ ɡ l eɪ US ɑː ŋ ˈ ɡ l eɪ 1 2 or original French kɔʁ ɑ ɡlɛ 3 plural cors anglais or English horn in North American English is a double reed woodwind instrument in the oboe family It is approximately one and a half times the length of an oboe making it essentially an alto oboe in F Cor anglaisWoodwind instrumentClassificationWoodwind Wind AerophoneHornbostel Sachs classification422 112 71 Double reed aerophone with keys Developedabout 1720 from the oboe da cacciaPlaying rangeWritten pitch notated in F sounds a perfect fifth lower Sounding pitchRelated instrumentsPiccolo oboe Oboe Oboe d amore Oboe da caccia Bass oboe Heckelphone Lupophon Contrabass oboeThe cor anglais is a transposing instrument pitched in F a perfect fifth lower than the oboe a C instrument This means that music for the cor anglais is written a perfect fifth higher 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 below middle C to C6 two octaves above middle C Contents 1 Description and timbre 2 History and etymology 3 Repertoire 3 1 Concertos and concertante 3 2 Chamber music 3 3 Solos in orchestral works and dramas 3 4 Unaccompanied 4 References 5 External linksDescription and timbre editThe pear shaped bell called Liebesfuss of the cor anglais gives it a more covered timbre than the oboe 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 4 The cor anglais is perceived to have a more mellow and plaintive tone than the oboe The difference in sound results primarily from a wider reed and a conical bore that 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 the bassoon family Its appearance differs from the oboe in that the instrument is notably longer the reed is attached to a slightly bent metal tube called the bocal or crook and the bell has a bulbous shape Liebesfuss 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 Halevy 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 Choros No 6 and Karlheinz Stockhausen s Zeitmasse Antonin Dvorak 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 F Loree Marigaux and Rigoutat the British firm of T W Howarth and the American firm Fox Products Instruments from smaller makers such as A Laubin are also sought after Instruments are usually made from African blackwood aka Grenadilla although some makers offer instruments in a choice of alternative woods as well such as cocobolo Howarth or violet wood Loree 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 for bassoons History and etymology edit nbsp English horn ca 1860 70The 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 Niccolo Jommelli s opera Ezio dating from 1749 9 where it was given the Italian name corno inglese 10 Gluck and Haydn followed suit in the 1750s 11 and the first English horn concertos were 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 Sussmayr Paer Winter Weigl Eberl Eybler Salieri Hummel Schacht and Fisher 12 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 11 It is mentioned in the Penny Cyclopedia from 1838 as The English Horn or Corno Inglese is a deeper toned oboe while the first identified printed use of the term cor anglais in English was in 1870 13 In the UK the instrument is colloquially generally referred to as the cor 4 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 angle 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 angle before it was offered as a possible origin of anglais in the late 19th century 15 Repertoire editConcertos and concertante edit Main article List of concertos for English horn This section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed January 2017 Learn how and when to remove this template message 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 Peteris 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 edit 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 La 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 choros 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 edit This section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed January 2017 Learn how and when to remove this template message 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 nbsp Opening motive from the 2nd movement Largo of Dvorak s Symphony No 9 From the New WorldVincenzo Bellini s Il Pirata Act II Introduzione 1827 Hector Berlioz s 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 Antonin Dvorak s Symphony No 9 1893 From the New World Largo Cesar 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 amp two bassoons Hob II 6 1760 Vincent d Indy s Symphony on a French Mountain Air 1886 Zoltan Kodaly s Summer Evening 1906 Gustav Mahler s Ich bin der Welt abhanden gekommen from Ruckert Lieder 1901 Wenn dein Mutterlein from Kindertotenlieder 1905 Jules Massenet s Le Cid Ballet Suite Madrilene 1885 Olivier Messiaen s 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 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 Fontane di Roma 1918 Ottorino Respighi s Pini di Roma 1924 Ottorino Respighi s Lauda per la Nativita del Signore 1930 Nikolai Rimsky Korsakov s Capriccio Espagnol 1887 2nd movement Nikolai Rimsky Korsakov s Scheherazade Op 35 1888 Joaquin 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 Pelleas et Melisande 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 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 edit This section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed July 2016 Learn how and when to remove this template message 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 Abendstuck 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 PartitaReferences edit 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 a b c Norman Del Mar Anatomy of the Orchestra Berkeley University of California Press 1981 143 ISBN 0 520 04500 9 cloth ISBN 0 520 05062 2 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 ISBN 0 521 23953 2 Norman Del Mar Anatomy of the Orchestra Berkeley University of California Press 1981 158 59 ISBN 0 520 04500 9 cloth 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 Willi Apel English Horn The Harvard Dictionary of Music second edition Cambridge Harvard University Press 1969 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 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 francais jusqu au milieu du XIV siecle second edition Paris Librarie Larousse 1968 31 OCLC 802019668 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 in Musical Instruments A Comprehensive Dictionary revised edition The Norton Library New York W W Norton 1975 ISBN 0 393 00758 8 External links edit nbsp Wikisource has the text of the 1911 Encyclopaedia Britannica article Cor anglais nbsp Wikimedia Commons has media related to Cor anglais English horn fingering guide Retrieved from https en wikipedia org w index php title Cor anglais amp oldid 1218083025, wikipedia, wiki, book, books, library,

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