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One night Handel listened to a new opera from a young and unknown composer, the "Caduta de' Giganti," one of Gluck's very earliest works, written when he was yet corrupted with all the vices of the Italian method. "Mein Gott! he is an idiot," said Handel; "he knows no more of counterpoint then mein cook." Handel did not see with prophetic eyes.
Four years later he was fortunate enough to secure Prince Melzi for a patron, who sent him to Milan, where he completed his studies with Sammartini. From 1741 to 1745 he produced numerous operas, which were well received, and in the latter year visited London, where he brought out several works, among them "La Caduta de' Giganti."
The opening opera, written on purpose to introduce Gluck to English audiences, was entitled "La Caduta del Giganti," "Fall of the Giants" and did not seem to please the public. But the young composer was undaunted. His next opera, "Artamene," pleased them no better.
A sailor man came out of the marine headquarters at the turning of the Strada dei Giganti, bending his flat cap against the rain and burying his ears in the blue linen collar of his shirt, which was turned back over his thick jacket. The water splashed out from under his heavy shoes, to the right and left, as he walked quickly up the hill.
All over the island of Sardinia, side by side with the NURHAGS, rise tombs to which have been given the name of SEPOLTURE DEI GIGANTI. They are from thirty-two to thirty-nine feet long by a nearly equal width, and are built,. some of huge slabs of stone, some of stones of smaller size.
From the staircase of the Giganti, extending to the scaffold, were two lines of Austrian soldiers, through which we passed. After ascending the platform, we looked around us, and saw an immense assembly of people, apparently struck with terror.
In 1745 Gluck visited England where he produced 'La Caduta de' Giganti, a work which excited the contempt of Handel. In the following year he produced 'Piramo e Tisbe, a pasticcio, which failed completely.
I, who had been piping and strumming with the rest, suddenly rushed out of the throng, and thrusting my masterpiece in their faces, told them that it was music. Was it their fault if they turned their backs and would not believe me? I think not." "Oh I you need not excuse the English, Christopher. I know the history of the 'Cuduta de Giganti, although Master Gluck has never told it me.
Ed una donna involta in veste negra, Con un furor qual io non so se mai Al tempo de' giganti fosse a Flegra. Trionfo della Morte, cap. i. 31. On a scroll above these wretches is written this legend: Dacchè prosperitade ci ha lasciati, O morte, medicina d'ogni pena, Deh vieni a darne omai l'ultima cena.
"You call me giant, and that recalls to me a fact which bears upon the subject of our conversation now," said Gluck, with a laugh. "It was the fall of my 'Giant' that first showed me the precipice toward which I, my works, and all my musical predecessors, were hastening." "You mean your 'Cuduta de Giganti, which you tried to exhibit before those icy English people?"
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