The composer has endeavored to make this descriptive March his best composition. A great deal of thought, energy, and careful study has been expended to make this his masterpiece. As is the case with all composers, however, the author's individuality will readily be recognized by those who play his other compositions. In order that the performer may know what he had in mind in arranging this March, the following explanation will doubtless be interesting and instructive.

The first part of the March is supposed to represent a grand gala or fete day in the great Colliseum [sic], where the wonderful Roman Chariot Race contests take place. In a number of stalls, with doors closed, facing the great race-course in the stupendous amphitheatre [sic], stand charioteers and their racing steeds, nervously awaiting the signal for the race, which is given by all the doors being opened simultaneously. Each charioteer makes a dash to get the best possible position he can in the race. The introduction of the March represents "The Dash of the Charioteer for Position." The first strain of the March represents "The Race," and this strain being repeated, concluding with the second ending, represents the "Finish of the Race." This part of the March should be played with vim and spirit, in a brilliant manner.

The second strain of the March represents the "Parade of the Victors" around the world-famed arena, receiving the greeting cheers of the countless thousands, this demonstration ending the day's contest. This strain should be played as indicated by the music, in a grandioso style and in strict tempo, each note being properly accented where so marked. The short 4 Bar introduction to the Trio, under the caption "Populace Dispersing," represents the hastening of the people to their homes on account of the approaching night-fall, and should be played in "Ral-en-tan-dó" style as designated in the music, commencing FF, gradually diminishing.

The beginning of the Trio represents "The Evening Song of the Christians," which is supposed to be heard in the distance (as the Christians at this early date were compelled to worship in caves and out-of-the-way places), and from a melodic standpoint is the prettiest part of the entire composition. Care should be taken to play this part of the March in a soft, even, smooth, and flowing style, so as to get the best effect.

The great fire, which was on of the direst calamities that the world had ever seen, is supposed to break out shortly afterwards. The tremendous billows of flame raging, surging, roaring, and thundering for six days and nights of the Palatine Esquiline, Viminal, and Quirinal bills, in connection with whole streets of burning houses collapsing with terrific crashes, caused a veritable pandemonium to reign throughout the entire city. In contra-distinction to the soft, flowing movement of "The Evening Song of the Christians," the great fire is described in the March by a triple Forte opening, under the heading, "Alarm of Fire," followed by "People in Consternation." A second alarm is quickly sounded, causing "People in Panic," which is followed by a representation of "People Rushing Through the Streets." This movement should be played in a furioso manner, and increase in velocity until the part is reached which represents the "Fire Fiercely Raging." This strain should be played with full force in a grand "Maestosa" manner. The reader will notice that the above quoted headings are printed in the music, showing just where the various movements begin and end. The balance of the March is a repetition of the Introduction, first and second strain, ending with a grand finale that is thoroughly in keeping with the spirit, life, and enthusiasm of the occasion that is being described.

The author bespeaks for this piece the same general support that has been accorded his other compositions by a generous public, assuring them, as he does, that this present piece represents the culmination of his best efforts.

          E. T. Paull

The Burning of Rome — Performed by Bill Edwards