the approval was unanimous. When Marie Antoinette became queen shortly
afterward, she gave the composer a pension of six thousand francs, with
the entree to her morning receptions. He often visited her at Trianon,
where the daughter of Maria Theresa was always gracious to the
forester's gifted son. The next work of Gluck to be given in Paris was
his "Orpheus and Eurydice," whose success was greater than that of the
"Iphigenia," and caused Rousseau to publicly acknowledge that he was
mistaken in asserting that the French language was unsuitable to set to
music. He also said that the music of "Orpheus" had reconciled him to
existence, and met the reproach that Gluck's work was lacking in melody
with the words, "I believe that melody proceeds from every pore."

When the composer's next opera, "Alcestis," was produced, in 1776, the
queen gave it her decided approbation, and loyally supported Gluck
against the king's preference for the older form of opera, and the
partisans of the Italian composer Piccini, who was Gluck's rival for
the favour of the Parisians. Great was the battle between the warring
factions, the "Gluckists" and the "Piccinists," whose differences of
opinion sometimes even resulted in personal encounters in the theatre.
Between the two composers themselves, matters were more pleasant. When
Piccini's "Roland" was being studied, the composer, unused to
conducting and unfamiliar with the French language, became confused at
a rehearsal. Gluck happened to be present, and, rushing into the
orchestra, threw off his wig and coat, and led the performance with
such energy and skill that all went smooth again. On the other hand,
Piccini, when he learned of the death of his whilom rival, expressed
his respect for Gluck by starting a subscription for the establishment
of an annual concert to be given upon the anniversary of the composer's
death, at which nothing but his music should be performed.

Gluck's "Armida" was given its first presentation in 1777, and
increased his fame so much that his bust was placed in the Grand Opera
beside those of Lulli, Rameau, and Quinault. "Iphigenia in Tauris" was
produced in 1779, with great success, but "Echo and Narcissus," the
last opera which Gluck gave in Paris, was a failure. He left France
for Vienna in the same year, never to return, though his royal pupil
pressed him to do so in the most flattering manner.

Before taking leave of Gluck, let us read the eloquent wo