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Updated: June 25, 2025
In this same war of operatic schools and composers which raged in Paris upon the reforms of Gluck, the Italian composer Piccinni was haled to the front as an unwilling opponent of Gluck. The world is needlessly cruel to those who happen to interfere in any way with the favourites of posterity, and Piccinni's name is a byword in the history of music.
So says Ginguené of the theories of Piccinni, which are not, as we see, so opposed to the theories of Gluck as we are sometimes urged to believe. In the course of time Napoleon took up Piccinni, but he was too old to revive under this new favour, and Ginguené has this last picture of him: "It was in this state that he had the courage to give a concert at his home.
Piccinni, with a voice that age had rendered more grave and less light, without making it less beautiful or touching, and with a method as wise as it was learned, and well opposed to these pretentious displays, these eternal embroideries which disfigure Italian song to-day, and which Piccinni never admitted into his school, but which he always detested."
But we are not concerned here with the history of music, only with the intimate history of musicians. Piccinni's domestic life was so beautiful, that it makes it all the more pitiable that he should have been dragged willy-nilly into a contest for which he had neither inclination nor ability. Piccinni fell in love with a pupil, like him an Italian, Vicenza Sibilla.
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