to devote himself to ecclesiastical life.

Méhul's advent in Paris, whither he went at the age of sixteen, soon
opened his eyes to his true vocation, that of a dramatic composer. The
excitement over the contest between Gluck and Piccini was then at its
height, and the youthful musician was not long in espousing the side of
Gluck with enthusiasm. He made the acquaintance of Gluck accidentally,
the great ehevalier interposing one night to prevent his being ejected
from the theatre, into one of whose boxes Méhul had slipped without
buying a ticket. Thence forward the youth had free access to the opera,
and the friendship and tuition of one of the master minds of the age.

An opera, "Cora et Alonzo," had been composed at the age of twenty and
accepted at the opera; but it was not till 1790 that he got a hearing in
the comic opera of "Euphrasque et Coradin," composed under the direction
of Gluck. This work was brilliantly successful, and "Stratonice," which
anpeared two years afterward, established his reputation. The French
critics describe both these early works as being equally admirable in
melody, orchestral accompaniment, and dramatic effect. The stormiest
year of the revolution was not favorable to operatic composition, and
Méhul wrote but little music except pieces for republican festivities,
much to his own disgust, for he was by no means a warm friend of the
republic.

In 1797 he produced his "Le Jeune Henri," which nearly caused a riot in
the theatre. The story displeased the republican audience, who hissed
and hooted till the turmoil compelled the fall of the curtain. They
insisted, however, on the overture, which is one of great beauty,
being performed over and over again, a compliment which has rarely been
accorded to any composer. Méhul's appointment as inspector and professor