CHAPTER XII

THE CIRCUS BAND

BY BANDMASTER WILLIAM MERRICK

Few people who watch the circus parade as it comes down the street and who, almost invariably, cry, “Strike up the band!” “Why don’t you play!” “Let her go!” etc., have ever given a thought to the amount of work that falls to the circus musician, and the experience, care and patience it requires to organize and successfully conduct this nowadays necessary adjunct to the big tent enterprises. The earlier circus bands were far from being the complete affairs of to-day, and perhaps nothing gives a more striking example of the growth in civilization and culture of our country than the evolution of the circus band.

The bands carried by the first circuses and menageries were necessarily limited in size and not always composed of the best talent. Travelling as they did by wagon, and being forced by lack of transportation facilities to curtail the number of their people, and the accommodation of the performers coming in for first consideration, the band was looked upon in those days much in the light of a disagreeable necessity. Often the engaging of the music was left to the last moment, and frequently the earlier shows were content with picking up a roving gypsy band, similar to the ones we now see playing for pennies, under the windows of the residential quarters of our large cities.

As might have been expected, the first really military bands that were introduced into the circus business were of European origin, but even they were not so complete in numbers and so especially adapted in character to the purpose as the present circus military band. Still among them were occasionally musicians of exceptional ability, and many of the better soloists of our metropolitan bands and orchestras were at one period of their career members of a travelling circus band. But it is not the intention of this article to attempt a history of all the musical notables connected with the circus, but rather to contrast the circus band of to-day with that of the past.

Let us take a glance at the repertoire of the old time circus band. The overtures and grand entree were played by brass instruments alone, the usual instrumentation being three cornets (generally two E and one B), two E horns, one B tenor, baritone and bass, the drums being played by such performers as could (to use a slang expression) “fake” a little. Two to four overtures, and perhaps one or two selections or pot-pourris, composed their entire libraries in this respect. The incidental music for the various acts was almost invariably played with string instruments, the orchestra being composed of two violins (first and second), flute or piccolo, clarionet, two cornets, trombone, and bass.

I recall an amusing incident connected with the piccolo player of one of these travelling orchestras. The leader, a very good violinist by the way, had occasion to correct the piccolo player, and asked in a very pompous manner, “Bill, why don’t you play that last strain an octave higher?” To which Bill nonchalantly replied, “Professor, I am now playing higher than my salary goes.” As the company was not noted for its liberality in the way of salaries, the retort was highly relished by the balance of the orchestra.

The numbers that could be produced by a small number of instruments were exceedingly few, so the libraries of the travelling leaders were of a consequence limited.

Now all this is changed. The extreme competition between the music publishers of to-day and the practicability of our experienced modern managers, render it possible for a leader who is at all enterprising to obtain not only all the standard and classical overtures and selections, but an almost endless programme of popular music for the promenade concert that now precedes the performance with every large or well regulated circus.

But to be thoroughly efficient and “up-to-date,” the latter-day circus leader must not rest content with a pleasing or popular concert programme. There is the performance or incidental music to be looked after, and for this purpose the leader, to suit the varying tastes of the performers and public, must frequently draw on his own powers of composition. Every act, or series of acts, requires music exactly in keeping with its character. Nor will it do to keep one programme on too long; the performer grows tired of it, the musicians become careless, and the music itself (so fast is the age in which we live) becomes mildewed, and out of date.

By this it will be seen that the circus leader’s life, if he keep abreast of the times, is a very busy one, nor is the improvement confined solely to the augmentation of the musical library. The band, instead of being confined to the poorly balanced and limited instrumentation that we have just mentioned, is composed of sufficient reed to soften the natural harshness of the brass instruments, and the individual performers are selected from the youngest and best talent our country affords. I say “youngest,” for the rising generation having had the advantage of the experience and teaching of their predecessors in the “art divine,” possess in a marked degree that mobility of temperament, accuracy of attack, and facility of execution, so necessary in rendering properly the circus music of the present day. Then they must begin young in the circus business to acquire the proper embouchure for playing almost an unlimited amount double forte, over rough streets, and still be able to render pianissimo in the concert programme following the parade.

No amount of practice in the conservatory or concert room can obtain this embouchure. It must be acquired by actual experience, on the circus band wagon. A band composed of the better class of musicians that have “come up” in the circus business will render almost double the volume of tone of the same number taken from the theatre orchestra or concert stage, and if they have been properly handled by a painstaking and efficient leader, the quality will be also be found superior.

The life of the circus musician, filled as it is with plenty of hard work, is not without its sunny side. The constant change of scene incident to travel alone is a great factor in dispelling weariness. The open air life renders it the most healthful of occupations, while the antics of the rustic who comes into town to see the parade and hear the band, are an endless source of amusement. The music for the parade, played as it is in a very lively tempo, causes all manner of grotesque movements among the listeners on the streets. This is particularly noticeable on the southern tours. It is no uncommon thing for a number of “darkies” to start at the circus grounds and dance through the entire route of the parade; and when in doubling back on the main street, which is often necessary in the smaller towns, the band passes the steam calliope, which brings up the rear, the din caused by the mingling of the band-music with the shrill whistle of this instrument, seems to throw them into a veritable frenzy. During one of these parades the following colloquy was overheard between two of these over-excited “darkies”:

“Jim,” yelled a particularly dusky individual, “look at dat man up yonda with dat slip ho’n!”

“Deuce wid de slip ho’n,” replied Jim, “look at dat steam fiddle!”

I remember an astonishing but blessed effect the music of our circus band had on a woman in Grand Island, Nebraska, in 1882. She had been blind for years and was sitting dejectedly at a window as we approached in parade. When opposite her, we burst suddenly into brazen harmony, and the woman gave a scream of great joy. The shock of the music had caused her to regain her eyesight.