The work follows a modified Italian marcia sinfonica layout, typically in 2/4 or cut time, but expands each section beyond standard military brevity.
The Marcia Sinfonica Antoniana (Symphonic March of St. Anthony) occupies a unique niche in the wind band repertoire. Bridging the functional processional march and the autonomous concert overture, this work transcends mere street music. Composed by Fulvio Creux, a prolific composer for banda (wind band) in the early-to-mid 20th century, the piece embodies the quintessential Italian marcia sinfonica —a genre that elevates the march’s rhythmic foundation with operatic lyricism, harmonic expansion, and programmatic intent. This paper argues that the Marcia Sinfonica Antoniana functions simultaneously as a religious veneration, a display of band virtuosity, and a sophisticated musical narrative rooted in the trisagio (thrice-holy hymn) tradition. marcia sinfonica antoniana
Creux’s Antoniana was likely commissioned for one of these processions or a concorso bandistico (band competition). Its title explicitly links it to the saint, implying that musical themes are meant to evoke the piety, miracle-working, and eloquence of St. Anthony. The work follows a modified Italian marcia sinfonica