According to the notes that accompany this release, George Antheil hailed composer Ernest Fanelli (1860-1917) as “one of the greatest inventors and musical iconoclasts of our time.” Of course, much the same was said of Antheil himself, and look how much we care about him now! What matters, of course, is not how iconoclastic a composer is (or was), but rather how good his music sounds, and by this criterion Fanelli’s obscurity was well earned. He’s a bore. His six-movement, two-part Tableaux symphoniques d’après Le Roman de la Momie (The Tale of the Mummy) consists of a series of slow, dark, murky, formless sketches devoid of thematic interest, even though certain movements (such as Sur le Nil) have a vaguely impressionist cast that momentarily recalls his exact contemporary, Claude Debussy.
Fanelli does generate a little more energy in the lengthy closing movements of each part, but even the final orgy fails to work up much passion or excitement, and its melodic substance makes little or no impression at all. On the other hand, Louis Albert Bourgault-Ducoudray’s Rhapsodie combodgienne of 1882 offers a typically colorful bit of French Orientalism and supposedly includes some authentic Cambodian tunes. It’s far more appealing than the main item on this particular menu, not least because it makes its points and then stops in 17 as opposed to 49 minutes. Adriano leads typically committed performances, and the playing of the Slovak Radio Symphony isn’t bad at all. But Fanelli really wasn’t a cause that needed championing or rewards the attention. At budget price on Naxos, you might want to invest $8 and decide for yourself; but at full price on Marco Polo, forget it.
