During the l 960's, even while serial music was more and more in fashion, Raphael Fumet decided to write his ambitious "Symphonie de l'Ame", with a total liberty of inspiration that went well beyond the dictates of the history of musical creation of his time. This audacious move would cost him years of silence, and complete snubbing by the institutions of the day as well as by the media interested only in what they called "serious music".
According to Fumet himself, evolution is the natural development of life on its own base, but it destroys itself if it alters or interferes with its own roots; progress of an entity can only be made in relation to its past. We can see that this metaphorical theory of roots is a constant feature in Raphael Fumet's creative thoughts. We can indeed observe that Mozart can be found in Beethoven, Beethoven in Brahms, Wagner is found in Mahler and even Debussy or Shoenberg, to name but these famous composers.
The "Symphonie de l'Ame" integrates a whole musical past, while renewing the whole, whether using Wagnerian space, or Debussy-Jike subtlety, or the incandescence of his father, Dynam-Victor Fumet, in what is immediately obvious and makes one forget the composer's craft. And yet, the creation of this work was long, stretching out over several years. lt can be considered to be made up of two parts : the first is ecstatic, reflecting the author's love for beauty, embodying like an explorer of the invisible extraordinarly and sublime sound visions; the second is a rupture in which the sublime is plunged into modem reality in a both glorious and yet pathetic confrontation.