In the works written in London the clarinet has utterly
forgotten its origins. It has left the somewhat plebeian world of the
brasses and has gained admittance to the more refined society of the
woods. Haydn, in his first attempts, took advantage of the beautiful
heavy tones, "_chalumeau_," and the flexibility and marvellous range of
a beautiful instrument.
During his stay in London Haydn sketched an _Orfeo_ which he never
completed, as the theatre which ordered it failed before it was
finished. Only fragments of the work remain, and, fortunately enough,
these have been engraved in an orchestra score. These fragments are
uneven in value. The dialogue, or recitative, which should bind them
together was lost and so we are unable to judge them fairly. Among the
fragments is a brilliant aria on Eurydice which is rather ridiculous,
while another on Eurydice dying is charming. We also find music for
mysterious _English horns_; it is written as for clarinets in B flat and
reaches heights which are impossible for the instrument we now know as
the English horn. There is also a beautiful bass part. This has been
provided with Latin words and is sung in churches. This aria was
assigned to a Creon who does not appear in the other fragments.
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