that the music was written in such style that it would not grow old, at least not for a long time.  He had taken the greatest pains in composing it, and declared that if it were not properly rehearsed at the Opera he would not let them have it at all, but would retain the work himself for his own pleasure.  He wrote to a friend:  “I have put forth what little strength is left in me, into ‘Armide’; I confess I should like to finish my career with it.”

It is said the Gluck composed “Armide” in order to praise the beauty of Marie Antoinette, and she for her part showed the deepest interest in the success of the piece, and really “became quite a slave to it.”  Gluck often told her he “rearranged his music according to the impression it made upon the Queen.”

“Great as was the success of ‘Armide,’” wrote the Princess de Lamballe, “no one prized this beautiful work more highly than the composer of it.  He was passionately enamored of it; he told the Queen the air of France had rejuvenated his creative powers, and the sight of her majesty had given such a wonderful impetus to the flow of ideas, that his composition had become like herself, angelic, sublime.”

The growing success of “Armide” only added fuel to the flame of controversy which had been stirred up.  To cap the climax, Piccini had finished his opera, which was duly brought out and met with a brilliant reception.  Indeed its success was greater than that won by “Armide,” much to the delight of the Piccinists.  Of course the natural outcome was that the other party should do something to surpass the work of their rivals.  Marie Antoinette was besought to prevail on Gluck to write another opera.

A new director was now in charge of the Opera House.  He conceived the bright idea of setting the two composers at work on the same subject, which was to be “Iphigenie en Tauride.”  This plan made great commotion in the ranks of the rival factions, as each wished to have their composer’s work performed first.  The director promised that Piccini’s opera should be first placed in rehearsal.  Gluck soon finished his and handed it in, but the Italian, trusting to the director’s word of honor, was not troubled when he heard the news, though he determined to complete his as soon as possible.  A few days later, when he went to the Opera House with his completed score, he was horrified to find the work of his rival already in rehearsal.  There was a lively scene, but the manager said he had received orders to produce the work of Gluck at once, and he must obey.  On the 18th of May, 1779, the Gluck opera was first performed.  It produced the greatest excitement and had a marvelous success.  Even Piccini succumbed to the spell, for the music made such an impression on him that he did not wish his own work to be brought out.

The director, however, insisted, and soon after the second Iphigenie appeared.  The first night the opera did not greatly please; the next night proved a comic tragedy, as the prima donna was intoxicated.  After a couple of days’ imprisonment she returned and sang well.  But the war between the two factions continued till the death of Gluck, and the retirement of Piccini.