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Oboe da caccia
The oboe da caccia (; literally "hunting oboe" in Italian) is a double reed woodwind instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music. It has a curved tube and a brass bell, unusual for an oboe.
Its range is close to that of the cor anglais—that is, from the F below middle C (notated C4 but sounding F3) to the G above the treble staff (notated D6 but sounding G5). The oboe da caccia is thus a transposing instrument in F. The ''notated'' range is identical to that of the soprano baroque oboe, and with a good reed, all registers speak very easily. Johann Sebastian Bach tended to favor the middle and lowest registers, however, perhaps because they are the most characteristic ones for this instrument.
==Development==
The instrument was likely invented by J.H. Eichentopf of Leipzig, Germany.〔See Cary Karp, "Structural Details of two J.H. Eichentopf Oboi da Caccia" and Reine Dahlqvist, "Taille, Oboe da Caccia and Corno Inglese", ''Galpin Society Journal'' May 1973.〕 The first dated reference to the oboe da caccia is 1722, when composer Johann Friedrich Fasch ordered "Waldhautbois" from Leipzig for the court at Zerbst.〔Bruce Haynes, ''The Speaking Hautboy'', draft 21 April 1998, pp. 72–74.〕 The first recorded use of the instrument is on 24 June 1723, when the Bach aria BWV 167/3, "Gottes Wort, das trüget nicht," from the cantata ''Ihr Menschen, rühmet Gottes Liebe'', BWV 167, was performed. As Bach had arrived in Leipzig just a month before, it seems hardly possible that he had been involved in developing the new instrument, even if one were to question the identity of the Waldhautbois a year earlier. But Bach was certainly the most prolific and most important composer for oboe da caccia, often using them in pairs. In 1723 alone, Bach wrote four cantatas using this instrument, the others being ''Schauet doch und sehet, ob irgend ein Schmerz sei'', BWV 46, 1 August, ''Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei'', BWV 179, 8 August), and ''Ich elender Mensch, wer wird mich erlösen'', BWV 48, 3 October.〔Christoph Wolff et al., "Bach Family," 1983.〕 Bach wrote extensively for the oboe da caccia in the years 1723–27.〔Haynes, ''op. cit.''〕 There are also significant parts for the oboe da caccia in his Christmas Oratorio (BWV 248, 1734), the Passions (''St John Passion'', 1724, and ''St Matthew Passion'', c. 1727), and the cantatas.
Other known compositions for the oboe da caccia are by Fasch 〔(), Christoph Graupner;(), and Giovanni Battista Ferrandini;() (op.cit. ).〕 The oboe da caccia was used only in the late Baroque period, after which it fell out of use until interest in authentic performance in the 20th century caused it to be revived. During the period c. 1780–1820, roughly the Classical period, centering on Vienna, the soprano oboe underwent major changes first in bore and then in keywork. It is therefore understandable that the oboe da caccia, with its complex means of construction, was not selected for the same evolutionary "treatment." The early English horn (''corno inglese'', ''cor anglais'') was no doubt more suitable. Innovation was the watchword of the day, and antiquated instruments such as the oboe da caccia stood little chance of surviving (''cf.'' the way in which the piano supplanted the harpsichord). A curious note: according to Cecil Forsyth in his famous book on orchestration, Beethoven was the last composer to write a part for the oboe da caccia until modern times. However, Forsyth wrote during a period when organology (the study of musical instruments) was in its infancy. Many of his statements, including the one about Beethoven, are in need of revision in light of modern research—in this case, Beethoven—in his Trios for two oboes and a deeper instrument in F —clearly labeled this deeper part "corno inglese" (English horn).
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