I have said that Madame Du Barry did not honour the representation of Gluck's operas with her presence. It was, in fact, she who headed the opposition against him. She was mortified at not having some favourite musician of her own to patronize when the Dauphiness had hers, and now resolved to send to Italy for Piccinni, in the hope that when Gluck returned, he would find himself neglected for the already celebrated Italian composer. Baron de Breteuil, the French ambassador at Rome, was instructed to offer Piccinni an annual salary of two thousand crowns if he would go to Paris, and reside there. The Italian needed no pressing, for he was as anxious to visit the French capital as Gluck himself had been. Just then, however, Louis XV. died, by which the patroness of the German composer, from Dauphiness, became Queen. Madame Du Barry's party hesitated about bringing over a composer to whom they fancied Marie Antoinette must be as hostile as they themselves were to Gluck. But the Marquis Caraccioli, the Neapolitan ambassador at the Court of France, had now taken the matter in hand, and from mere excess of patriotism, had determined that Piccinni should make his appearance in Paris to destroy the reputation of the German at a single blow. As for Marie Antoinette, she not only did not think of opposing the Italian, but, when he arrived, received him most graciously, and showed him every possible kindness. But before introducing Piccinni to our readers as the rival of Gluck in Paris, let us take a glance at his previous career in his native land.
NICOLAS PICCINNI.
Nicolas Piccinni, who was not less than fifty years of age when he left Naples, for Paris, with the avowed purpose of outrivalling Gluck, was born at Bari, in the Neapolitan territory, in 1728. His father was a musician, and apparently an unsuccessful one, for he endeavoured to disgust his son with the art he had himself practised, and absolutely forbade him to touch any musical instrument. No doubt this injunction of the father produced just the contrary of the effect intended. The child's natural inclination for music became the more invincible the more it was repressed, and little Nicolas contrived, every day, to devote a few hours in secret to the study of the harpsichord, the piano of that day. He knew nothing of music, but guided by his own instinct, learnt something of its mysteries simply by experimenting (for it was nothing more) on the instrument which his father had been imprudent enough, as he would have said himself, to leave within his reach. Gradually he learnt to play such airs as he happened to remember, and, probably without being aware himself of the process he was pursuing, studied the art of combining notes in a manner agreeable to the ear; in other words, he acquired some elementary notions of harmony. And still his father flattered himself that little Nicolas cared nothing for music, and that nothing could ever make him a musician.
One day, old Piccinni had occasion to visit the Bishop of Bari. He took his son with him, but left the little boy in one room while he conversed on private business with His Eminence in another. Now it chanced that in the room where Nicolas was left there was a magnificent harpsichord, and the temptation was really too great for him. Harpsichords were not made merely to be looked at, he doubtless thought. He went to the instrument, examined it carefully, and struck a note. The tone was superb.
Next he ventured upon a few notes in succession; and, then, how he longed to play an entire air!
There was no help for it; he must, at all events, play a few bars with both hands. The harpsichord at home was execrable, and this one was admirable—made by the Broadwood of harpsichord makers. He began, but, carried away by the melody, soon forgot where he was, and what he was doing.
The Bishop, and especially Piccinni père, were thunderstruck. There was a roughness and poverty about the accompaniment which showed that the young performer was far from having completed his studies in harmony; but, at the same time, there was no mistaking the fire, the true emotion, which characterised his playing. The father thought of going into a violent passion, but the Bishop would not hear of such a thing.
"Music is evidently the child's true vocation," said the worthy ecclesiastic; "He must be a musician, and one day, perhaps, will be a great composer."
PICCINNI AT NAPLES.
The Bishop now would not let old Piccinni rest until he promised to send his son to the Conservatory of Music, directed by the celebrated Leo. The father was obliged to consent, and Nicolas was sent off to Naples. Here he was confided to the care of an inferior professor, who was by no means aware of the child's precocious talent. The latter was soon disgusted with the routine of the class, and conceived the daring project of composing a mass, being at the time scarcely acquainted even with the rudiments of composition. He was conscious of the audacity of the undertaking, and therefore confided it to no one; but, somehow or other, the news got abroad that little Nicolas had composed a grand mass, and, before long, Leo himself heard of it.