Development
The instrument was likely invented by J.H. Eichentopf of Leipzig, Germany. 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. 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. Bach wrote extensively for the oboe da caccia in the years 1723–27. 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, especially in cantata Wachet auf, ruft uns die Stimme, BWV 140.
The other known compositions for the oboe da caccia are by Fasch. 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 bizarre brass bell and difficult means of construction, was not selected for the same evolutionary "treatment." The prototypical English horn (corno inglese, cor anglais, cor anglé) 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 questionable and 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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