Marcia Sinfonica Antoniana -

A unique feature of the Antoniana is the quotation or paraphrasing of the Trisagio (Greek: “Thrice Holy”) — Sanctus Deus, Sanctus Fortis, Sanctus Immortalis, miserere nobis . This is not sung but embedded in the brass choir as a chorale. This direct liturgical reference confirms the work’s sacred function, temporarily suspending the march rhythm for a moment of homophonic prayer.

The banda (wind band) has historically been integral to these outdoor celebrations. Unlike the orchestra, the band is mobile and powerful, capable of leading thousands of pilgrims. The marcia sinfonica emerged in the late 19th and early 20th centuries as a hybrid genre: it retains the binary or ternary march form (fast–slow–fast) but incorporates the harmonic language, dynamic shading, and thematic development of the operatic sinfonia. marcia sinfonica antoniana

Marcia Sinfonica Antoniana (likely referring to the work by Italian composer Fulvio Creux or, in a broader generic sense, to processional march-symphonies for St. Anthony’s Feast—most commonly associated with the Festa di Sant’Antonio in Padua or the Italian diaspora tradition). For the purpose of this paper, we will analyze the canonical concert band work by Fulvio Creux (1900–1969), a staple of the Italian and Swiss wind band repertoire. A unique feature of the Antoniana is the

Often a solemn, declamatory fanfare using the lower brass (trombones, euphoniums, bassi) in a chiamata (call) texture. This section establishes the Dorian or Mixolydian modality, evoking Gregorian chant. The percussion is limited (bass drum roll, cymbal crash), creating a sacred atmosphere before the march proper. The banda (wind band) has historically been integral