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Updated: June 19, 2025
The leaders of the feud kept things well stirred up, so that a stranger could not enter a café, hotel or theater without first answering the question whether he stood for Gluck or Piccini. Many foolish lies were told of Gluck in his absence.
While the Gluck-Piccini battle was at its height, an amateur who was disgusted with the contest returned to the country and sang the praises of the birds and their gratuitous performances in the following epigram: "La n'est point d'art, d'ennui scientifique; Piccini, Gluck, n'ont point noté les airs. Nature seule en dicta la musique, Et Marmontel n'en a pas fait les vers."
The contest between Gluck and Piccini, or rather the cabals who adopted the two musicians as their figure-heads, was brought to an end by the death of the former. An attempt was made to set up Sacchini in his place, but it proved unavailing, as the new composer proved to be quite as much a follower of the prevailing Italian method as of the new school of Gluck.
Arne's "Artaxerxes," which the critics of the day praised as possessing "the beautiful melody of Hasse, the mellifluous richness of Pergolese, the easy flow of Piccini, and the finished cantabile of Sacchini, with his own true and native simplicity."
"To avoid that catastrophe," said the director, "we will play yours first." "But Gluck will not permit it." "I give you my word of honor," said De Vismes, "that your opera shall be put in rehearsal and brought out as soon as it is finished." Before Piccini had finished his opera, he heard that his rival was back from Germany with his "Iphigenia" completed, and that it was in rehearsal.
One of the most accomplished of historians and critics, Oulibischeff, sums up the place of Cherubini in musical art in these words: "If on the one hand Gluck's calm and plastic grandeur, and on the other the tender and voluptuous charm of the melodies of Piccini and Zacchini, had suited the circumstances of a state of society sunk in luxury and nourished with classical exhibitions, this could not satisfy a society shaken to the very foundations of its faith and organization.
He seldom spoke of me to any one, and when he did, it was always in a stupid, injudicious, or disparaging way. He was constantly urging me to go to see Piccini, and also Caribaldi, for there is a miserable opera buffa here, but I always said, "No, I will not go a single step," &c. In short, he is of the Italian faction; he is insincere himself, and strives to crush me.
I have seen the Chevalier Gluck at dear Madame's feet to get her to sing his music, and she did, she who so adored Piccini, one of the finest men of his day; never did he come into Madame's room without catching me round the waist and calling me a dear rogue."
Therefore, the Italian Piccini was imported to be pitted against the reigning deity. The French court was broken up into hostile ranks. Marie Antoinette was Gluck's patron, but Madame Du Barry, the king's mistress, declared for Piccini. Abbé Arnaud fought for Gluck; but the witty Marmontel was the advocate of his rival.
Gluck was then the German hero, supported by Marie Antoinette, and Piccini fought for the Italian opera under the colors of the king's mistress Du Barry, while all the litterateurs and nobles ranged themselves on either side in bitter contest.
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