Circus music (also known as carnival music) is any sort of music that is played to accompany a circus, and also music written that emulates its general style. Popular music would also often get arranged for the circus band, as well as waltzes, foxtrots and other dances.
Although circuses have been in existence since the time of the ancient Romans, circus music first started as a performance by a fiddler or a flutist. [1] It was not until the twentieth century that circus music was performed by big bands. The first modern circus director and performer was Philip Astley (1742–1814), a veteran of the Seven Years' War and a skilled equestrian. With his horsemanship skills and the addition of jugglers, acrobats, and clowns, Astley opened Paris's first circus in 1782. [2] The first known composer of circus music was Charles Dibdin (1745–1814). [3] He was partners with Astley and was also the one who financed the theatre used for the royal circus. [4] Dibdin was a very well known composer in his time and had written hundreds of works before he decided to join Astley to work for the circus. He wrote all of the pieces used in the circus, which were mostly intermezzos or comedy pieces. An ensemble of approximately sixty children was used as singers and dancers to perform the many pieces that he wrote for the circus, such as "The Graces", "Clump and Cudden", and "Pandora", which was arguably the most famous piece that was used in the circus because it was originally used in a popular puppet show that mocked contemporary figures of the time. [5]
The most common type of circus music is the circus march, or screamer. It is characterized by a rapid-fire tempo – usually around 200 beats per minute – and melodies that contain showy features such as leaps, runs, and fanfares. It is difficult for "windjammers" (circus musicians) to play because of its fast tempo.
Marches served many purposes throughout the course of a circus. They were often used for grand entrances and exits, overtures and finales, acts featuring wild animals, or other daredevil-type acts. Circus marches are divided into "strains":
The galop is another popular form of circus music. Like the march, it is played at a fast, lively tempo and is primarily used for daredevil acts, such as trick-riding or other wild animal performances. Any performance or act that consisted of fast-paced tricks or stunts would probably have performed to a galop. The galop is typically written in 2/4 time and has a short length, but would only end when the ringmaster signaled the end of an act. If the act went longer, the galop could be extended by playing da capo. [7] One of the best-known examples is Gustav Peter's widely popular Memory of Circus Renz, which was published in 1894 with the title Souvenir de Cirque Renz. The piece was originally written for the xylophone.
Circus music catered to the needs of the different acts. For example, a high-flying, nimble trapeze act could be characterized by a dizzying galop or a graceful waltz. An act containing ferocious wild animals, such as lions, would probably use a march.
One of the most recognized pieces of circus music is "Entrance of the Gladiators" by Julius Fučík (1872–1916). Fučík wrote almost 300 marches and dances, [8] and for that reason he is often referred to as "Bohemian Sousa". Although his best-known piece is now famous in circus music, he did not compose with the intent of having his pieces played in a circus. [9] Another very famous piece of circus music that is very recognizable is "Barnum and Bailey's Favorite" by Karl King (1892–1971). [10] Unlike Fučík, King grew up performing circus music joining Robinson's Famous Circus at the age of 19 as a baritone player. During that time circus music needed its own style because modern music did not fit with most of the acts that the circus performed. This led to his quick rise in popularity as a circus music composer for circuses everywhere. [11] Also, "Sobre las Olas", or "Over the Waves", is a popular waltz used during trapeze shows. Mistakenly thought to be a waltz by Strauss, it was written by Mexican composer Juventino Rosas. Many other composers were well known for writing screamers, among them Fred Jewell and Henry Fillmore. One piece, however, that was never normally played was John Philip Sousa's "Stars and Stripes Forever". Instead, it was used in emergencies, such as animals getting loose, to help signify to workers that something was wrong. [12]
In 1971, Charles Bennett Jr. and Art Stensvad gathered fans of circus music and veteran circus bandleaders including Merle Evans into a circus music preservation society known as Windjammers Unlimited. The group meets twice annually to study and play the compositions of classic era circus music composers such as M. L. Lake and Karl L. King. They've also researched in the archives of the C.L. Barnhouse publishing company which was a major supplier of sheet music for circus bands. [13]
Music that imitates or evokes the sound of the circus has also been written, often showing up in film scores, some dedicated to the subject and some not. Nino Rota is known for his circus-inspired music that was written for many of Federico Fellini’s films, including I Clowns and 8 1/2. [14] Jerry Goldsmith famously wrote a theme for the 1984 film Gremlins in such a style, which influenced the film makers to an extent. [15]
Other bands and musicians that have employed or often employ circus music in their work include Danny Elfman, Oingo Boingo, Tom Waits, Mr. Bungle, the Dickies, Panic! at the Disco, Legendary Shack Shakers, Mr. Strange/The Shanklin Freakshow and Kaizers Orchestra. The music genre dark cabaret is heavily based on elements from circus music and from burlesque and vaudeville influences. Popular artists within the genre include The Tiger Lillies and Circus Contraption. Punk cabaret is also influenced by circus music. Artists include The Dresden Dolls, Amanda Palmer, and Emilie Autumn. The dance track "Disco Circus" is named for its resemblance to circus music. Post-hardcore and metalcore bands like The Venetia Fair, Ice Nine Kills, and Crown The Empire add circus music in some of their songs.
As the styles of circus music have changed, so has the instrumentation. With the nineteenth century came the introduction of brass bands. String instruments were no longer used in these "traditional" circus bands to make "traditional" circus music, which is defined by Merle Evans as music that is brighter in tone than other music. [16]
Sounds of cornets, trumpets, trombones, French horns, baritones, and tubas were able to reach far and wide, signaling to entire towns that the circus was around. Drums were also added to the circus bands and although saxophones have been arguable, they were frequently used as well. [1] The calliope, built by Joshua C. Stoddard in 1856, was also used by the circus. Not a part of the circus band, it is a sometimes called a "circus piano" and is played like a piano, but powered by a steam boiler. Its sound can carry as far as nine miles. [17]
Present-day circus music varies widely in instrumentation, style and form. It often incorporates the use of electric instruments and synthesizers alongside the more traditional instruments. [1]
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score", which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all and instead compose the song in their mind and then play, sing or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music.
Henry Fillmore was an American musician, composer, publisher, and bandleader, best known for his many marches and screamers, a few of which he wrote for the Band of the Hour at the University of Miami in Coral Gables, Florida.
American march music is march music written and/or performed in the United States. Its origins are those of European composers borrowing from the military music of the Ottoman Empire in place there from the 16th century. The American genre developed after the British model during the colonial and Revolutionary periods, then later as military ceremonials and for civilian entertainment events.
Johann Baptist Strauss I, also known as Johann Strauss Sr., the Elder or the Father, was an Austrian composer of the Romantic Period. He was famous for his light music, namely waltzes, polkas, and galops, which he popularized alongside Joseph Lanner, thereby setting the foundations for his sons—Johann, Josef and Eduard—to carry on his musical dynasty. He is best known for his composition of the Radetzky March.
A circus is a company of performers who put on diverse entertainment shows that may include clowns, acrobats, trained animals, trapeze acts, musicians, dancers, hoopers, tightrope walkers, jugglers, magicians, ventriloquists, and unicyclists as well as other object manipulation and stunt-oriented artists. The term circus also describes the field of performance, training and community which has followed various formats through its 250-year modern history. Although not the inventor of the medium, Newcastle-under-Lyme born Philip Astley is credited as the father of the modern circus.
Karl L. King was a United States march music bandmaster and composer. He is best known as the composer of "Barnum and Bailey's Favorite".
A screamer is a circus march intended to stir up the audience during the show.
A concert march is a march specifically composed for a concert band, brass band or an orchestra. See march music.
"The Blue Danube" is the common English title of "An der schönen blauen Donau", Op. 314, a waltz by the Austrian composer Johann Strauss II, composed in 1866. Originally performed on 15 February 1867 at a concert of the Wiener Männergesang-Verein, it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was considered only a mild success, however, and Strauss is reputed to have said, "The devil take the waltz, my only regret is for the coda—I wish that had been a success!"
Morton Gould was an American composer, conductor, arranger, and pianist.
Julius Ernest Wilhelm Fučík was a Czech composer and conductor of military bands. He became a prolific composer, with over 400 marches, polkas, and waltzes to his name. As most of his works were for military bands, he is sometimes known as the "Bohemian Sousa".
Russell Alexander was an entertainer and composer, active primarily with vaudeville shows and musical comedy organizations.
"Entrance of the Gladiators" op. 68 or "Entry of the Gladiators" is a military march composed in 1897 by the Czech composer Julius Fučík. He originally titled it "Grande Marche Chromatique", reflecting the use of chromatic scales throughout the piece, but changed the title based on his personal interest in the Roman Empire.
A march, as a musical genre, is a piece of music with a strong regular rhythm which in origin was expressly written for marching to and most frequently performed by a military band. In mood, marches range from the moving death march in Wagner's Götterdämmerung to the brisk military marches of John Philip Sousa and the martial hymns of the late 19th century. Examples of the varied use of the march can be found in Beethoven's Eroica Symphony, in the Marches Militaires of Franz Schubert, in the Marche funèbre in Chopin's Sonata in B flat minor, the "Jäger March" in the Op. 91a by Jean Sibelius, and in the Dead March in Handel's Saul.
Walter Paul "Woody" English was an American composer, conductor, and tubist.
Arthur Wellesley Hughes (1870–1950) was a Canadian musician and composer. Born in Kingston, Ontario, he separated from his family at a young age, spending many years in the United States as an itinerant circus musician. He was a performer on piano, calliope, and alto horn. His circus associations on record include: Mighty Haag Circus, Downie & Wheeler Circus (1912); Hagenbeck-Wallace Circus (1922); Sells-Floto Circus (1923); and Ringling Bros & Barnum & Bailey Combined Shows (1924–26). He was with Robbins Bros. Circus (1928–29) whence his Robbins Bros. Triumphal March arose, and Miller Bros. 101 Ranch Wild West Show, and Walter L. Main Circus (1930–31). Hughes worked as composer and arranger for the Waterloo Music Company of Waterloo, Ontario, from 1932 to 1935. At other times, Hughes worked as arranger in the Whaley, Royce and Cundy-Bettoney publishing houses. According to his own account, Hughes wrote band music in the US for much of his life, under various pen names, including Arthur Wellesley and H W Arthur.
Masquerade was written by Aram Khachaturian in 1941 as incidental music for a production of Mikhail Lermontov's play of the same name. He turned it into a suite with five movements for an orchestra in 1944. It is best known for the Waltz, widely considered one of Khachaturian's finest and most popular pieces, second in popularity only to "Sabre Dance" from the ballet Gayane.
Heritage of the March is a series of 185 vinyl records of marches and galops released from 1973 to 1988. It remains the largest single march music record series in history, featuring close to 3,000 different marches.
Johannes Brahms' Liebeslieder Waltzes (Liebeslieder-Walzer) are distributed across two opus numbers: Op. 52 and Op. 65. The waltzes are a collection of love songs in Ländler style for voices and piano four hands. The lyrics for the Liebeslieder come from Georg Friedrich Daumer's Polydora, a collection of folk songs and love poems. While there is no concrete record indicating the exact inspiration for the Waltzes, there is speculation that Brahms' motivation for the songs was his frustrated love for pianist and composer Clara Schumann.
