Gluck was then the German hero, supported by Marie Antoinette, and Piccini fought for the Italian opera under the colors of the king’s mistress Du Barry, while all the litterateurs and nobles ranged themselves on either side in bitter contest.  The battle between Handel and Bononcini, as the exponents of German and Italian music, was also repeated in after-years between Mozart and Salieri, Weber and Rossini, and to-day is seen in the acrimonious disputes going on between Wagner and the Italian school.  Bononcini’s career in England came to an end very suddenly.  It was discovered that a madrigal brought out by him was pirated from another Italian composer; whereupon Bononcini left England, humiliated to the dust, and finally died obscure and alone, the victim of a charlatan alchemist, who succeeded in obtaining all his savings.

Another powerful rival of Handel was Porpora, or, as Handel used to call him, “old Borbora.”  Without Bononcini’s fire or Handel’s daring originality, he represented the dry contrapuntal school of Italian music.  He was also a great singing-master, famous throughout Europe, and upon this his reputation had hitherto principally rested.  He came to London in 1733, under the patronage of the Italian faction, especially to serve as a thorn in the side of Handel.  His first opera, “Ariadne,” was a great success; but when he had the audacity to challenge the great German in the field of oratorio, his defeat was so overwhelming that he candidly admitted his rival’s superiority.  But he believed that no operas in the world were equal to his own, and he composed fifty of them during his life, extending to the days of Haydn, whom he had the honor of teaching, while the father of the symphony, on the other hand, cleaned Por-pora’s boots and powdered his wig for him.

Another Italian opponent was Hasse, a man of true genius, who in his old age instructed some of the most splendid singers in the history of the lyric stage.  He also married one of the most gifted and most beautiful divas of Europe, Faustina Bordoni.  The following anecdote does equal credit to Hasse’s heart and penetration:  In after-years, when he had left England, he was again sent for to take Handel’s place as conductor of opera and oratorio.  Hasse inquired, “What! is Handel dead?” On being told no, he indignantly refused, saying he was not worthy to tie Handel’s shoe-latchets.

There are also Dr. Pepusch, the Anglicized Prussian, and Dr. Greene, both names well known in English music.  Pepusch had had the leading place, before Handel’s arrival, as organist and conductor, and made a distinct place for himself even after the sun of Handel had obscured all of his contemporaries.  He wrote the music of the “Beggar’s Opera,” which was the great sensation of the times, and which still keeps possession of the stage.  Pepusch was chiefly notable for his skill in arranging the popular songs of the day, and probably did more than any other composer to give the English ballad its artistic form.