Piccini was immediately commissioned to write a new opera, and he applied to the brilliant Marmontel for a libretto. The poet rearranged one of Quinault's tragedies, "Roland," and Piccini undertook the difficult task of composing music to words in a language as yet unknown to him. Marcnontel was his unwearied tutor, and he writes in his "Memoirs" of his pleasant yet arduous task: "Line by line, word by word, I had everything to explain; and, when he had laid hold of the meaning of a passage, I recited it to him, marking the accent, the prosody, and the cadence of the verses. He listened eagerly, and I had the satisfaction to know that what he heard was carefully noted. His delicate ear seized so readily the accent of the language and the measure of the poetry, that in his music he never mistook them. It was an inexpressible pleasure to me to see him practice before my eyes an art of which before I had no idea. His harmony was in his mind. He wrote his airs with the utmost rapidity, and when he had traced its designs, he filled up all the parts of the score, distributing the traits of harmony and melody, just as a skillful painter would distribute on his canvas the colors, lights, and shadows of his picture. When all this was done, he opened his harpsichord, which he had been using as his writing-table; and then I heard an air, a duet, a chorus, complete in all its parts, with a truth of expression, an intelligence, a unity of design, a magic in the harmony, which delighted both my ear and my feelings." Piccini's arrival in Paris had been kept a close secret while he was working on the new opera, but Abbe du Rollet ferreted it out, and acquainted Gluck, which piece of news the great German took with philosophical disdain. Indeed, he attended the rehearsal of "Roland;" and when his rival, in despair over his ignorance of French and the stupidity of the orchestra, threw down the baton in despair, Gluck took it up, and by his magnetic authority brought order out of chaos and restored tranquillity, a help as much, probably, the fruit of condescension and contempt as of generosity. Still Gluck was not easy in mind over this intrigue of his enemies, and wrote a bitter letter, which was made public, and aggravated the war of public feeling. Epigrams and accusations flew back and forth like hailstones.* * See article on Gluck in "Great German Composers." "Do you know that the Chevalier (Gluck's title) has an Armida and Orlando in his portfolio?" said Abbe Arnaud to a Piccinist. "But Piccini is also at work on an Orlando," was the retort. "So much the better," returned the abbe, "for then we shall have an Orlando and also an Orlandino," was the keen answer.