dim with time.

Of Haydn's one hundred and eighteen symphonies, many are simple trifles
written from day to day for Prince Esterhazy's little chapel, when the
master was musical director there. But after Haydn was called to London
by Salomon, a director of concerts, where he had a large orchestra at
his disposal, his genius took magnificent flights. Then he wrote great
symphonies and in them the clarinets for the first time unfolded the
resources from which the modern orchestra has profited so abundantly.
Originally the clarinet played a humble role, as the name indicates.
_Clarinetto_ is the diminutive of _clarino_, and the instrument was
invented to replace the shrill tones that the trumpet lost as it gained
in depth of tone.

Old editions of Haydn's symphonies show a picturesque arrangement, in
that the disposition of the orchestra is shown on the printed page.
Above, is a group made up of drums and the brass. In the center is a
second group--the flutes, oboes and bassoons, while the stringed
instruments are at the bottom of the page. When clarinets are used, they
are a part of the first group. This pretty arrangement has,
unfortunately, not been followed in the modern editions of these
symphonies. 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