The oboe da caccia (; literally "hunting oboe" in Italian), also sometimes referred to as an oboe da silva, is a double reed woodwind instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music. It has a curved tube, and in the case of instruments by Eichentopf (and modern copies of same), a brass bell, unusual for an oboe. Its range is close to that of the cor anglais—that is, from the F below middle C (notated C4 but sounding F3) to the D above the treble staff (notated D6 but sounding G5). The oboe da caccia is thus a transposing instrument in F. The notated range is identical to that of the soprano baroque oboe, and with a good reed, all registers speak very easily. Johann Sebastian Bach tended to favor the middle and lowest registers, however, perhaps because they are the most characteristic ones for this instrument. 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. Other known compositions for the oboe da caccia are by Fasch. The oboe da caccia