a fifth higher than the
real sounds produced. The compass of the cor anglais extends over two
octaves and a fifth:

[Illustration: Notation
Real sounds]

The true quality of the cor anglais is penetrating like that of the
oboe, but mellower and more melancholy.

The cor anglais is the alto Pommer (q.v.) or _haute-contre de hautbois_
(see OBOE), gradually developed, improved and provided with key-work. It
is not known exactly when the change took place, but it was probably
during the 17th century, after the Schalmey or Shawm had been
transformed into the oboe. In a 17th century MS. (Add. 30,342, f. 145)
in the British Museum, written in French, giving pen and ink sketches of
many instruments, is an "accord de hautbois" which comprises a _pedalle_
(bass oboe or Pommer), a _sacquebute_ (sackbut) as _basse-contre_, a
_taille_ (tenor) with a 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 drawing. Before 1688 the French
hoboy, made in four parts and having two keys, was known in England.[1]
It is probable that in France, where the hautbois played such an
important part in 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.[2]

[Illustration: FIG. 1.--Modern Cor anglais. (Besson & Co.)]

[Illustration: From Richard Hofmann's _Katechismus der
Musikinstrumente_.

FIG. 2.--Cor angle, 18th century.]

The origin of the name of the instrument is also a matter of
conjecture. Two theories exist--one that cor anglais is a corruption
of _cor angle_, a name given on account of the angular bend of the
early specimens. In that case the name, but not necessarily the
instrument, probably originated in France early in the 18th century,
for Gluck scored for two cors anglais in his Italian version of
_Alceste_ played in Vienna in 1767. When a French version of this
opera was given in Paris two years later, the cor anglais, not being
known or available there, was replaced by oboes. It was not until 1808
that the cor anglais was heard at the Paris Opera, when it was played
by the oboist Vogt in Catel's _Alexandre chez Apelle_. This, however,
proves only that the name was not familiar in France, where th