Composer: Raphaël FUMET
Works: Hommage à Raphaël FUMET, L’Ange des Bois, Lacrimosa, Barcarolle, Ode Concertante, La Rose, Toccata, La Nuit
Performers: Bruno Rigutto (piano), Gérard Caussée (viola), Gabriel Fuet (flute), Jean Mouillère (violin), Jean Galard (organ), Ichiro Nodaïra (piano 2-5), Orchestra de chambre Jean-Jacques Wiederker/Anne Wiederker (solo violin)
Recording: March 1988, l’Association Musique-Esprit
Label: ARION ARN 68475 [61.06]
Raphaël Fumet, a figure often overshadowed in the annals of 20th-century French music, emerges with a compelling voice in this collection, aptly titled “Hommage à Raphaël FUMET.” Born into a culturally rich environment, Fumet’s musical language reflects a complex interplay of influences, ranging from the impressionistic aesthetics of his contemporaries to the more avant-garde tendencies of post-war Europe. This collection of works, recorded with a notable ensemble, offers an insightful survey of Fumet’s stylistic breadth, juxtaposing lyrical melodies with a more nuanced harmonic language.
The opening piece, L’Ange des Bois, performed by Bruno Rigutto, sets an atmospheric tone that balances rhapsodic improvisation with structural integrity. Rigutto’s interpretation captures the elusive spirit of the work, highlighting its ombrageous qualities while navigating the delicate lines of the piano part with dexterous sensitivity. This rhapsody serves as an effective prelude to the more introspective Lacrimosa, where Gérard Caussée’s viola plays with a warm clarity that expertly conveys the work’s Slavonic-Hebraic influences. The subtlety of Caussée’s phrasing brings an emotional depth that resonates throughout the piece, revealing Fumet’s capacity for mournful yet beautiful expression.
The Barcarolle and La Rose further showcase Fumet’s penchant for lyrical writing, though Mouillère’s violin in La Rose occasionally lacks the tonal refinement present in Caussée’s performance. This inconsistency, while not detrimental, draws attention to the interpretative choices that can either illuminate or obscure the music’s inherent beauty. The Ode Concertante, a standout piece in this collection, is particularly striking for its inventive interplay between flute and piano, reminiscent of Debussy yet venturing into darker, more wooded territories akin to the echoes of Syrinx. The performance here, while captivating, could benefit from a more commanding presence from the flute, as the breathy passages occasionally dilute the intended ethereality of the work.
The Toccata, led by Jean Galard, jolts the listener back to a more vigorous plane, showcasing Fumet’s bold harmonic language and free-thinking ethos. This work, with its intricate counterpoint and rhythmic drive, evokes a sense of astonishment akin to the grand orchestral concertos of the French repertoire. The transition to La Nuit, for string orchestra, illustrates Fumet’s departure from the picturesque to the profound. This piece, originally composed as a response to Pierre Emmanuel’s poetry, is laden with a more somber palette, evoking a sense of existential reflection reminiscent of the works of Berg and Schoenberg rather than the lighter textures of Ravel.
The recording quality itself is commendable, allowing the listener to appreciate the nuanced interplay between the instruments while maintaining clarity in the orchestration. The engineering captures the warmth of the ensemble, although some passages could benefit from a more pronounced dynamic range to fully express Fumet’s intentions. The absence of specific dates for many works is a missed opportunity for contextual understanding, yet the accompanying notes, albeit occasionally prone to special pleading, provide useful insight into Fumet’s artistic milieu.
Fumet’s music, with its understated elegance and emotional complexity, deserves wider recognition within the broader landscape of French music. This recording serves as a vital testament to his contributions, urging listeners to explore the depths of his catalogue, including other notable compositions such as the Symphonie de l’Ame and various chamber works. The richness of this collection not only affirms Fumet’s unique voice but also invites comparison with the broader tapestry of 20th-century music, solidifying his place in the Gallic treasury of classical composition.
