Eighteenth-century French cultural life was often characterised by
quarrels, and the arrival of Viennese composer Christoph Wilibald
Gluck in Paris in 1774 was no exception, sparking a five-year
pamphlet and press controversy which featured a rival Neapolitan
composer, Niccolo Piccinni. However, as this study shows, the
Glick-Piccinni controversy was about far more than which composer
was better suited to lead French operatic reform.
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