Italian composers, Nicolo Piccini, who, mostly forgotten
in his works, is principally known to modern fame as the rival of the
mighty Gluck in that art controversy which shook Paris into such bitter
factions. Yet, overshadowed as Piccini was in the greatness of his
rival, there can be no question of his desert as the most brilliant
ornament and exponent of the early operatic school. No greater honor
could have been paid to him than that he should have been chosen as
their champion by the _Italianissimi_ of his day in the battle royal
with such a giant as Gluck, an honor richly deserved by a composer
distinguished by multiplicity and beauty of ideas, dramatic insight, and
ardent conviction.

II.

Niccolo Piccini, who was not less than fifty years of age when he left
Naples for the purpose of outrivaling Gluck, was born at Bari, in the
kingdom of Naples, in 1728. His father, also a musician, had destined
him for holy orders, but Nature made him an artist. His great delight
even as a little child was playing on the harpsichord, which he quickly
learned. One day the bishop of Bari heard him playing and was amazed
at the power of the little _virtuoso_. "By all means, send him to a
conservatory of music," he said to the elder Piccini. "If the vocation
of the priesthood brings trials and sacrifices, a musical career is
not less beset with obstacles. Music demands great perseverance and
incessant labor. It exposes one to many chagrins and toils."

By the advice of the shrewd prelate, the precocious boy was placed at
the school of St. Onofrio at the age of fourteen. At first confided to
the care of an inferior professor, he revolted from the arid teachings
of a mere human machine. Obeying the dictates of his daring fancy,
though hardly acquainted with the rudiments of composition, he
determined to compose a mass. The news got abroad that the little
Niccolo was working on a grand mass, and the great Leo, the chief of the
conservatory, sent for the trembling culprit.

"You have written a mass?" he commenced.

"Excuse me, sir, I could not help it," said the timid boy.

"Let me see it."

Niccolo brought him the score and all the orchestral parts, and Leo
immediately went to the concert-room, assembled the orchestra, and
gave them the parts. The boy was ordered to take his place in front and
conduct the performance, which he went through with great agitation.

"I pardon you this time," said the grave maestro, at the end;