The military bandmaster Julius Fučík served in two Austro-Hungarian regiments from 1897 until 1913: Infantry Regiment Forinyák No. 86 and Infantry Regiment No. 92. He spent the years of his military career in the garrisons of Sarajevo, Budapest, Subotica and Terezín. Although Fučík expected a lot for his musical art when his regiment deployed from Bosnia to the Hungarian capital in 1900, he wrote down in his diary after having recovered from a severe disease and probably in a rather downcast mood: “I do not like to live here. As far as the artistic conditions are concerned, it is nothing. It is money that counts only, and money again and everything is a fraud. There are eight bands around here, the competition is stiff and dishonest…” This attitude evidently did not exercise a lasting negative influence on his creativity, as some of his most beautiful works were written in Budapest, such as the marches “Kinizsi”, “Drachsel” or the “Marche fantastique”. Above all, however, “The Children of the Regiment”, his magnificent “Florentiner”, “Salve Imperator” and the sparkling concert overture “Marinarella” - a popular piece of music even today. When his regiment moved to the Hungarian provincial city of Subotica, he was grateful for the opportunity to change over to Infantry Regiment no. 92 in Terezín, as its regimental bandmaster, Ignac Švec, passed away in 1910. Fučík’s tour with the new regiment commenced on May 1, 1910. His colleagues stopped his hopes to stage concerts in Prague, and he consequently had to “restrict” himself to playing in the fashionable Northern Czech resort areas. The invitation by the Austro-Hungarian Association in 1912 to play at the “Ball of the Austrians” in Berlin, proved to be a triumphal success. This also applied to the remaining concerts that were given in Berlin on this tour. According to period sources Fučík and his band attracted some 10,000 listeners. This very successful tour probably was the reason, why Julius Fučík left the military and retired as the bandmaster of Infantry Regiment No. 92 on July 31, 1913. He then moved to Berlin where he established the Orchestra of Prague Musicians, and soon was in demand all over Berlin. The program presented during a double concert on April 13, 1914 together with the regimental band of the Emperor Franz Grenadier Guards No. 2 under the baton of Senior Bandmaster Adolf Becker is still available. According to period press reports it also was an overwhelming success. Unfortunately World War I presumably stopped Fučík’s plans, although he had founded a publishing company and also completed his operetta “Der Hofintendant” (“The Artistic Director to the Court”) in 1915. The main interests of the inhabitants of Berlin were directed elsewhere, as Germany was in the midst of a war, and things turned even worse for Fučík: he fell ill, had to undergo surgery toward the end of September 1916, and died on October 5 on account of this disease.
“The King’s Grenadiers” of 1914 was one of Fučík’s last marches. Perhaps the title seemed to be a bit too Prussian, or he presumably remembered the “March of the King’s Grenadiers” by Mehring, and made up his mind that one march bearing that title would well suffice. Whatever really happened, we do not know, but Fučík changed the title to “Fanfarenklänge” (The frontispiece of the music shows as the English title: “The Trumpet Call”.). It contains all ingredients of a thoroughbred, sparkling march by Fučík . We should be most grateful to Siegfried Rundel for having adapted this lesser known march to the contemporary symphonic wind band. His arrangement was done in a sensitive way and respecting the music of the great Julius Fučík. It is not the “march freaks” alone, who are grateful for adaptation of “Fanfarenklänge”, it is the entire band community.