entry of the Gladiators

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Entry of the Gladiators (or Vjezd gladiátorů in Czech ) is a triumphal march by the composer Julius Fučík (op. 68) from 1899. Via the detour via the United States, where it is usually played faster, it is best known as the circus march.

Julius Fučík: Entry of the Gladiators
(Played by the United States Marine Band )

Origin and development

Julius Fučík wrote the march on October 17, 1899 in Sarajevo , where he had been stationed as military bandmaster of the Austro-Hungarian army since 1897 .

He originally called the piece Grande Marche Chromatique . The march demonstrates the latest state of playing technique and construction of brass instruments at the time , which allowed fast and even chromatic movements in all instruments and positions . However, Fučík was so impressed by the description of a gladiator performance in a Roman amphitheater in Henryk Sienkiewicz's novel Quo Vadis (1895, German: 1896) that he soon changed the title of his work. The phrase “Entry of the gladiators” is known in two descriptions of Pompeii in 1877 and is probably older.

On January 10, 1900, Kapellmeister Anton Fridrich (1849–1924, Khevenhüller March ) created an arrangement for string orchestra for himself in Graz. In July 1900, the “Concert March for Large Orchestra” published by Hoffmann's Widow in Prague is listed under the title Einzug der Gladiatoren bei Hofmeister . Further edits followed. In 1903, a clay roller recorded by the HM Coldstream Guard Band was advertised by Columbia Records in the United States with the title Entry of the Gladiators . In the same year a piano score was released entitled Entry of the Gladiators / Thunder and Blazes . In English, the phrase Entrance of the Gladiators , which has existed since at least the 18th century, is also common.

In 1901, the Canadian composer Louis-Philippe Laurendeau rewrote the piece, using a faster tempo and a different key, and published it as Thunder and Blazes . Laurendeau often worked for Carl Fischer Music in New York. Americans are used to hearing the march at a much faster pace. The piece became known in the North American circus and was imported back to Europe. Especially in a very quick version it is the most famous circus music for clowns . It is also often found in the repertoire of mechanical jukeboxes .

In 1904 at the latest, Hermann Ludwig Blankenburg published his Farewell to the Gladiators . In 1928 both pieces were recorded on one record by the “Great Odeon Orchestra” (No. 85204).

Work description

The first part, after a short, pathetic introduction, in which the trumpets play the familiar motif , is best known . The second part is dominated by chromatic figures in the bass representing the fight of the gladiators. The third part is a slow trio that describes the march of the heroes and horsemen.

The piece is held in 2/2 time . If it is played very quickly, it seems downright hasty; in this way it is mostly used parodically - for example as the theme melody in the film Rosen for the Public Prosecutor - although it was originally meant seriously.

Edits

The melody associated with circus music is taken up in countless arrangements, including:

Web links

Individual evidence

  1. a b c catalog raisonné , Julius Fučík, Rundel music publisher
  2. ^ A b c Norman E. Smith: March music notes. Program Note Press, 1986, p. 142; Reference is made to Uno Andersson and Compton's Pictured Encyclopedia for the entire entry
  3. ^ Heinrich von Wedell: Pompeji and the Pompejaner: on the basis of M. Monnier's work expanded and corrected according to the latest research , Volume 9 of New Illustrated Youth Library F. Hirt, Leipzig 1877, pp. 207–208 ( online in the Google book search)
    “Through these mighty entrance gates, which were closed by bars during the fight, the ceremonial entry took place at the beginning of the games with the clatter of trumpets and horns of gladiators. On foot and on horseback, dressed in shiny weapons, the warlike crowd moved through the arena, which they first cleared, and then entered the battlefield in groups according to the provisions of the battle rules. "
  4. Reinhold Schoener: Pompeji: Description of the city and guide through the excavations , W. Spemann, Stuttgart 1877, p. 167 ( online in the Google book search)
  5. ^ Elisabeth Anzenberger-Ramminger: Anton Fridrich, life and work. In: Wolfgang Suppan (Hrsg.): International Society for Research and Promotion of Brass Music : Congress Report Abony / Hungary 1994. Volume 18 of Alta musica. Schneider, 1996, ISBN 3-7952-0847-5 , p. 29 (and on April 18, 1901, also in Graz, an arrangement for wind orchestra)
  6. ^ Hofmeister: Musical-literary monthly report. Volume: 1900, p. 327 .
  7. ^ Christopher Hervey: Letters from Portugal, Spain, Italy and Germany in the years 1759, 1760, and 1761. 2nd volume. R. Faulder, London 1785, p. 260 ( online in Google book search)
  8. a b William Emmett Studwell: Lest we forget: a chronological historical survey of some of the most notable songs of the first half of the 20th century. Many musical memories, 2001, p. 2.
  9. ^ William E. Studwell (ed.): Circus Songs: An Annotated Anthology. Routledge, 1999, ISBN 0-7890-0879-3 , p. 31 ( limited preview in Google book search)
  10. ^ Paul E. Bierley (ed.); William H. Rehrig, Robert Hoe (authors): The heritage encyclopedia of band music: composers and their music. Volume 1. Integrity Press, 1991, p. 261.
  11. ^ F. Michael Barnwell, Helmut Kallmann : Louis-Philippe Laurendeau ( English, French ) In: Encyclopedia of Music in Canada . published by The Canadian Encyclopedia .
  12. Armin Suppan, International Society for Research and Promotion of Brass Music (Ed.): Congress report Banská Bystrica 1998. Volume 22 of Alta musica. H. Schneider, 2000, ISBN 3-7952-1031-3 , p. 141.
  13. Hofmeister's Handbuch der Musikliteratur, Volume 13, 1904, p. 78.
  14. ^ The Phonograph monthly review. Volume 3, 1928, p. 358.
  15. Recording of the Great Odeon Orchestra on youtube