The _cor anglais_ is nothing more or less than the alto, or tenor, oboe. It has the same scale and compass as the oboe; but it stands in the key of F, a fifth below that of the oboe. It is, however, unlike the oboe, a “transposing instrument,” that is to say, the music does not represent the real sounds. In the case of the _cor anglais_ the music is written in a key a fifth above the real sounds. Any good oboe player can play the _cor anglais_, because the technique and fingering are practically the same. “Its tone,” says Lavignac, “is essentially sad, melancholy, sorrowful. The _cor anglais_ exactly suits the expression of mental suffering, which is, therefore, especially characteristic of it.” “Its quality of tone,” says Berlioz, “less piercing, more veiled and deeper than that of the oboe, does not so well as the latter lend itself to the gayety of rustic strains. Nor could it give utterance to anguished complainings. Accents of keen grief are almost beyond its powers. It is a melancholy, dreamy, and rather noble voice, of which the sonorousness has something vague and remote about it which renders it superior to all others in exciting regret and reviving images and sentiments of the past when the composer desires to awaken the secret echo of tender memories. In compositions where the prevailing impression is that of melancholy the frequent use of the _cor anglais_ hidden in the midst of the great mass of instruments is perfectly suited.” The _cor anglais_ has been called “an oboe in mourning.” Perhaps that will give the best idea of its sorrowful voice. The _cor anglais_ came directly from the alto pommer of the Schalmey-Pommer family.[22] Most probably the _oboe di caccia_, or hunting oboe, was its immediate ancestor. A very good reason for thinking this the case is because in Rossini’s Overture to _William Tell_ the “_Ranz des vaches_” (calling the cows) was originally given to the _oboe di caccia_, which was still in use in Rossini’s time; and when the _oboe di caccia_ became obsolete, the part was taken by the newer _cor anglais_. The _cor anglais_ and the oboe assumed their modern appearance about the same time. Both instruments were much changed in construction and mechanism during the last hundred years; but both instruments kept the old family voice, which has a curious harsh quality combined with plaintiveness. Beethoven wrote a Trio for two oboes and _cor anglais_, op. 29. The French composers made it popular. Meyerbeer has it play an _obbligato_ to the aria “_Robert, toi que j’aime_,” in _Robert le Diable_; Berlioz made it important in his _Symphonie Fantastique_; and it appears in Dvořák’s _New World Symphony_, having a melody in the _Largo_ with accompaniment of strings _con sordini_. Strauss gives it prominence in _Heldenleben_. [Illustration: COR ANGLAIS, SYMPHONY SOCIETY OF NEW YORK _Attilio Bianco_]