Two more visitors were announced—Signor Piccini and the Chevalier Noverre, who started and colored in some embarrassment when he saw Gluck. The king commanded the two composers to salute each other, which they did with dignity, cordiality, and easy grace. After the queen had spoken to them, the Chevalier Noverre reminded her majesty that she had been pleased to grant permission to Signor Piccini to play some new airs from his Iphigenia before her.
Marie Antoinette assented, and asked Piccini what selection he had made; to which he replied that Noverre had wished him to play the first Scythian dance.
D'Artois burst into a laugh; but the others restrained their mirth. At the queen's command, Piccini seated himself at the piano, the Comte de Provence and Noverre beating time to his music. All the company thought Piccini's Scythian dance more pleasing and better adapted to the grace of motion than that of Gluck. But D'Artois whispered to the king that the dance, though admirable and full of melody, was better suited for a masked ball in the salon of the grand opera than for a private abode in Tauris. Gluck listened with earnest attention, evidently appreciating the merits of his opponent; but a light curl of his lips was seen, when Piccini indulged too freely in his pretty quaverings and tinklings. There was great applause when it was ended. Noverre praised the performance as displaying the inspiriting rhythmus which alone would enable the dancer to give true expression to his pirouettes and enterchats.
"I agree with you, Monsieur Noverre," interrupted Louis, "that Signor Piccini's music is admirable; but I hope you will also make yourself acquainted with the music of the Chevalier Gluck."
Noverre replied timidly, that the Chevalier Gluck and he were on the most friendly terms.
After the artists had left the royal abode, Gluck and Piccini took a courteous leave of each other. As Gluck stepped into his carriage, he said to Noverre: "Do not, chevavalier, forget his majesty's command. If I made you dance against your will, it was to introduce you to my music. I regret I am not a proficient in the art of dancing; yet I am, like yourself, chevalier of the order de l'Esprit, and in that character I wish you a good morning."
Piccini laughed at this, but Noverre looked vexed as Gluck drove away.
The rehearsals and preparations for the representation of the two Iphigenias were nearly complete, and the day was appointed when the masterpiece of Gluck was to receive the sentence of the Parisians. It was to be performed first; the preference having been yielded to him as the oldest of the two composers. He was at that time sixty-five.
Treatises, learned and superficial, were published, upon Gluck and Piccini, the differences in their style and in the two operas; all tinctured with party spirit, and many showing gross ignorance of music. The performers, too, fell into dissension. Piccini had hard work to propitiate, by attentions and favors, some who were opposed to him, that his work might not be spoiled by their perversity. Gluck resorted to threats, and made his enemies afraid of him. He trusted to the excellence of his motto, "Truth makes its way through all things;" and reflected that the worst success would not make a good work a bad one.
On the morning of the final rehearsal, the day before the first representation, young Mehul was announced. Gluck cordially welcomed him, and asked why he had not seen him before.