This 16' stop was first described by Wedgwood, who says:

Invented by Mr. Hope-Jones. The pipes of the Double English Horn, which are of thick heavy metal, are of inverted conical shape and are surmounted by large bells. They are of full Oboe scale. The tongues are weighted and kept as flat and close to the reed as possible. The shallots are “open” (i.e., made with parallel apertures). The result is a very fiery “free” tone, of great brilliancy and richness. Possessing as it does but little body, the tone quality may be described as a thin blare (in a musical sense). The Double English Horn is particularly remarkable for the richness it imparts in combination. It is a most effective Swell double reed. At the same time its “freedom” of tone renders it scarcely well suited to form the position (which it has sometimes occupied of the only double stop in the Swell, a flue double being necessary. The stop does not resemble the Cor Anglais, and differs as much in tone from the ordinary double reeds. There are good specimens at the Collegiate Church, Warwick; St. Michael, Chester Square, W.; and Worcester Cathedral; (Hope-Jones).

Nearly two decades later, Bonavia-Hunt had this to say:

To substitute for closed shallots to the Willis contra hautboy can hardly be called an “invention”, nor is the result of such treatment highly commendable. A very free-toned double reed can only at best be serviceable as a special fancy effect, and the 16ft. orchestral oboe would seem to answer the purpose more efficiently.

On theatre organs, this name refers to a 16' English Post Horn.

Examples

Double English Horn 16', Swell; Worcester Cathedral, Worcester, England; Hope-Jones 1895.

Double English Horn 16', Pedal, Great, Orchestral; John Ledwon residence, Agoura, California, USA; Wurlitzer.

Bibliography