Méhul was born at Givet, in the Ardennes, June 22, 1763. Like many other great composers, he was of low degree, had but few opportunities for study at the start, and struggled hard to gain his musical footing. His talent displayed itself at an early age and he himself never had a doubt as to his ultimate vocation in life, though his naturally religious disposition had predetermined his parents to send him to a monastery. At ten years of age he played in the Franciscan Church at Givet, such qualifications as he may have had being the result of his studies with a blind organist. Shortly after this time, Wilhelm Hauser, a distinguished German organist, arrived at the neighboring convent of La Val Dieu, whither the boy repaired to pursue his studies. He was fortunate enough to attract the favorable attention of the Abbé Lissoir, under whose auspices he studied for three years with Hauser. He made such rapid progress that he soon equalled his master and was appointed deputy organist at the convent. It is altogether probable that he would have been his successor had not good fortune attended him again. His playing attracted the notice of an officer of the garrison, who was a musical amateur, and it needed but little solicitation to induce the boy to go to Paris. He arrived at the capital in his sixteenth year and placed himself under the tuition of Edelmann, a Strasburg composer of eminence, who some years afterward deserted music for politics and perished ultimately upon the same scaffold to which he had consigned many a victim. With Edelmann he studied both the piano and composition, supporting himself meanwhile by giving lessons and writing sonatas and minor compositions for that instrument. The genius of his good fortune did not desert him in these days of stress. It was shortly after his arrival in Paris that Gluck’s “Iphigénia en Tauride” was placed in rehearsal. The popular interest in the performance had been heightened by the feud which had raged so bitterly between the Gluck and Piccini factions. Méhul caught the infection and, being without the money to purchase a ticket, he smuggled himself into the theatre the day before, intending to remain in concealment until the next eventful evening. He was discovered, however, by one of the inspectors, and as the latter was on the point of ejecting him, Gluck’s attention was drawn to him. He made some inquiries, and upon learning the facts in the case gave the young man a ticket. It was the turning-point in his career and decided the direction he should take; for Gluck followed up the chance acquaintance, took a decided interest in Méhul, gave him the benefit of his experience and advice and instructed him in the dramatic qualities of music. The young composer already had produced a cantata at the Concert Spirituel, written upon the subject of Rousseau’s Sacred Ode, and was ambitious to become known as a composer of church music, for the