This symphonie works, among the twenty or so that D.-V. Fumet left, show both the contemplative and the impetuous sides of the composer. At a time when being anti-Wagnerian was obligatory, D.-V. Fumet refused to reduce his music to the narrow nationalism which could ignore the immense contributions of that German giant to universal music. His fellow composer and friend, however, Erik Satie, had a more succinct definition, according to Cocteau, of "the masters' view: to find oneself beautiful and to be moved".
Considered that way, ail greatness, ail profundity, any approach to beauty, becomes suspect. One can't help but imagine the great composers like Monteverdi, Bach, Mozart, Franck, Chopin, Wagner, Debussy, etc., finding themselves beautiful and being moved by their own works. Satie's preconception allowed him to compose new and original works, but that should not in any way obscure the different path like the one chosen by D.-V. Fumet, whose inspiration went against the historical grain of many of his contemporaries .
On top of this, the mystical characteristics of many of his works, owing much to the heritage of his master César Franck, disturbed many of the specialists of his time trying to analyze his scores, something that did little to gain him favor.