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Parma), Ifigenia in Aulide (1759, Vienna) and Armide (1761, Vienna). He was gifted musically and dramatically, and has been credited with some fore-*gleams of Gluck's ideas.

Nicola Piccinni (d. 1800), born in 1728, studied about twelve years under Leo and Durante, and then (1754) risked competition with Logroscino in opera buffa, displacing the latter as the popular favorite at Naples and Rome, and becoming famous far and wide. Before 1775 he produced at least 60 operas, serious and comic, as a rule with success, since his gift of melody was ample and his power in ensemble-finali unique. In 1776 he was induced to move to Paris, where the enemies of Gluck seized him and pushed him forward, against his will, as representing the true lyric ideal. Hence developed the fiercest contest in music-history, that between the 'Gluckists' and the 'Piccinnists.' In all this Piccinni himself held aloof, except that he strove to execute worthily the commissions given him. His Parisian productions continued till 1789, some being well received, but others suffering by comparison with the vigor of Gluck or the fresh popularity of Sacchini. His direct competition with Gluck (Iphigénie en Tauride, 1781) was distinctly unsuccessful, Piccinni himself acknowledging his rival's greatness. From 1784 he taught in the royal music-school. Returning to Naples in 1789, he fell under suspicion of republicanism, was kept a prisoner in his house for four years, and lapsed into poverty, against which he struggled by writing some oratorios and church music. In 1798, however, he was called to Paris to receive a pension and other honors, which his broken health did not long allow him to enjoy. His operas are said to have numbered over 130, of which about 90 are still traceable. Among the most noted were Alessandro nell' Indie (1758, Rome), La Cecchina (1760, Rome), L'Olimpiade (1761, Rome), La Didone (1769, Naples), Antigono (1771, Rome), Roland (1778, Paris), Atys (1780, Paris) and Didon (1783, Paris). It is probable that some of his works were carefully studied by Mozart before 1781.

Antonio Maria Gasparo Sacchini (d. 1786), a fisher-boy, was discovered by Durante, with whom he studied eight years. From 1756 he wrote colloquial comic operas at Naples, and from 1762 undertook grand opera with rapid success at Rome and other cities, becoming a strong rival of Piccinni. In 1768 he succeeded Traetta at Venice as a teacher, writing considerable sacred music. After sojourns at Munich and Stuttgart, from 1772 he was in London, reproducing his earlier works. In 1781 he visited Paris and soon removed thither, once more competing ably with Piccinni. In all, he wrote about 60 operas, varying in size and importance, those of his youth being specially full of spirit and of simple, graceful melody, though hasty in workmanship, while those later were less spontaneous, but better finished. The leading examples are Semiramide (1762, Rome), Alessandro nell' Indie (1768, Venice), Scipione (1770, Munich), Rinaldo (1783, Paris), Oedipe (1786, Versailles), ''Arvire et Évelina'' (1788, Paris, finished by Rey). He also left some orchestral and clavier-pieces.

Pietro Guglielmi (d. 1804), born in 1727, was another pupil of Durante, though when is not clear. It is claimed that he began opera-writing as early as 1739. Winning applause in Italy by many works before 1762, he then worked for a time at Dresden and Brunswick, and in 1772-7 was in London.