Circus music (also known ascarnival music) is any sort of music that is played to accompany acircus, and also music written that emulates its general style. Popular music would also often get arranged for the circus band, as well aswaltzes,foxtrots and other dances.
Although circuses have been in existence since the time of theancient Romans, circus music first started as a performance by afiddler or aflutist.[1] It was not until the twentieth century that circus music was performed bybig bands.
The first modern circus director and performer wasPhilip Astley (1742–1814), a veteran of theSeven Years' War and a skilled equestrian. With hishorsemanship skills and the addition of jugglers, acrobats, and clowns, Astley openedParis's first circus in 1782.[2]
The first known composer of circus music wasCharles 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 mostlyintermezzos 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 circusmarch, orscreamer. 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":
Thegalop 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 playingda capo.[7] One of the best-known examples isGustav Peter's widely popularMemory of Circus Renz, which was published in 1894 with the titleSouvenir 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.
"Sobre las Olas", or "Over the Waves", is a popular waltz used during trapeze shows, written by Mexican composerJuventino Rosas.
One piece that was never normally played wasJohn 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.[8]
One of the most recognized pieces of circus music is "Entrance of the Gladiators" byJulius Fučík (1872–1916). Fučík wrote almost 300 marches and dances,[9] 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.[10]
"Barnum and Bailey's Favorite" byKarl King (1892–1971) is a famous circus music piece.[11] Unlike Fučík, King grew up performing circus music joiningRobinson'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 King's quick rise in popularity as a circus music composer for circuses everywhere.[12]
Many other composers were well known for writing screamers, among themFred Jewell andHenry Fillmore.
As the styles of circus music changed, so has the instrumentation. With the nineteenth century came the introduction of brass bands. String instruments were no longer used in "traditional" circus bands to make "traditional" circus music, which is defined byMerle Evans as music that is brighter in tone than other music.[13]
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] Thecalliope, built byJoshua 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.[14]
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]
In 1971, Charles Bennett Jr. and Art Stensvad gathered fans of circus music and veteran circus bandleaders includingMerle Evans into a circus music preservation society known as Windjammers Unlimited. According to the Windjammers Unlimited website, the name windjammers preserves historic circus slang.
"Because circus musicians spent their days 'jamming wind through their horns', they were known to others in the circus as 'windjammers.'"[15]
The group meets twice annually to study and play the compositions of classic era circus music composers such as M. L. Lake andKarl 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.[16]
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 ofFederico Fellini’s films, includingI Clowns and8 1/2.[17]Jerry Goldsmith famously wrote a theme for the 1984 filmGremlins in such a style, which influenced the film makers to an extent.[18]
Circus music and bands shaped the musicians who played with them. One example is CaptainKenneth R. Force, who went on to become a band director for theU.S. Merchant Marine Academy Regimental Band.[19]
Other bands and musicians that have employed or often employ circus music in their work includeDanny Elfman,Oingo Boingo,Tom Waits,Mr. Bungle,the Dickies,Panic! at the Disco,Legendary Shack Shakers, Mr. Strange/The Shanklin Freakshow andKaizers Orchestra.
The music genredark cabaret is heavily based on elements from circus music and fromburlesque andvaudeville influences. Popular artists within the genre includeThe Tiger Lillies andCircus Contraption. Punk cabaret is also influenced by circus music. Artists includeThe Dresden Dolls,Amanda Palmer, andEmilie Autumn. The dance track "Disco Circus" is named for its resemblance to circus music. Post-hardcore and metalcore bands likeThe Venetia Fair,Ice Nine Kills, andCrown The Empire add circus music in some of their songs.
