Oboe da caccia
Low Baroque oboe at tenor pitch.
What it means
The oboe da caccia is a Baroque double-reed instrument at tenor pitch. It stands in F and sounds a perfect fifth lower than written. Characteristic is the curved tube, often covered in leather, and the spherical brass bell, which gives the sound a covered, soft colour. It counts as the forerunner of the later cor anglais, which occupies the same register but is built straight and sounds different; the line of development between the two ran through various intermediate forms.
Musical use
In the music of the first half of the eighteenth century it is used for sustained, song-like passages, often in connection with singing voices, whose register it supports and colours. Its sound is less sharp than that of the oboe and less nasal than that of the cor anglais — rather round and restrained. In cantatas and Passions of the period it appears regularly in especially expressive movements. After the middle of the eighteenth century it fell out of use, and the parts concerned were long performed on the cor anglais; with historically informed performance practice the instrument has returned in reconstructions.
Performance practice
The curved construction demands a hand position of its own; whoever comes from the oboe needs time until the fingering paths become familiar. The reed is larger than on the oboe and demands more air at somewhat lower pressure; work with a loose embouchure, so that the sound stays round. Intonation is sensitive and depends strongly on the reed, which is cared for and adjusted oneself. Clarify the pitch standard within the ensemble, since various pitch standards were common in early music and reconstructions are built accordingly. Let the instrument dry well after playing and protect the leather from moisture.
Bear in mind that the instrument is used in connection with singing voices and is meant to adapt to them: phrasing, breathing places, and ornaments are worked out together, not separately. Check the register, because the part is often led closely with the singing voice and crossings occur. Expect a sluggish response in the low register and start there earlier. Keep the sound round and forgo pressure, because the instrument otherwise becomes nasal and loses its particular colour.