While the two aforementioned giants did of course exercise a profound influence, each of the composers listed are in no way carbon-copy “impressionist” clones by any stretch of the imagination. The closest to that category in my listening is Tournier, whose Suite is quite Ravel-like in substance and linear melody, reminding me of hisString Quartet. Florent Schmitt will be known to most people, studying under Faure and Debussy, and his Suite also shows some connections to Debussy’s aesthetic, but only just—he was still his own man and at least in this work was more classically concerned than his mentor.

Gabriel Pierne is familiar to many who play wind instruments, a typically Gallic composer with a great concern for clarity, wit, and stylistic congruity. These Variations are a perfect example of his art, succinct, clear as a bell, and rather rambunctious. Speaking of wit, no French composer had more of it than Jean Francaix, perhaps the quintessentially urbane classicist with a penchant for the madcap. Though he has been criticized, not without some justification, of “sameness” in his music, there are many pieces that completely avoid this appellation and demonstrate a profound sense of irony, drollness, sentimentality, and wistfulness, and this Quintet is one of them. Albert Roussel is the neoclassical composer par excellence, and this Serenade shows him in fine fashion, orderly and always looking back with a language that is distinctly modern—at least it was then.

The Mirage Quintet plays just beautifully, rich, warm tone, and with a quietly finessed sense of ensemble unanimity. The rather cavernous acoustics of St Anne’s Anglican Church in Toronto are captured brilliantly on this recording, truly a marvel of elegance and a testament to Engineer Norbert Craft’s expertise. Highest recommendation then, an album that is guaranteed to bring much pleasure.

Florent Schmitt’s Suite en rocaille is joyful and elegant, light-hearted and energetic, with four short movements. Schmitt was a composer, pianist and critic, and well received within the French musical scene. This is a highly enjoyable quintet, which has its roots in impressionism but has a relatively traditional language.

The opening moments of Pierné’s Variations libres et finale are truly breathtaking, with Robert Aitken’s flute in its low register producing a rich tone. Pierné’s music had a reputation for elegance, and this is immediately apparent in this work. His textures are translucent, while the diversity of sounds from within the quintet is carefully handled. The charming fast section towards the end is light and ebullient, with a poised sense of charm.

Francaix’s Quintette begins with a simple, well formed and calm Andante tranquillo. Francaix’s music is based on traditional forms, using a witty language to give a modern feel. The Scherzo is a fine example of his wit, and is a challenging movement full of character and sparkle. The remaining two movements also take on distinctive moods and are played with energetic vigour.

The disc ends with the Sérénade by Roussel. A neo-classical work, the piece has a delightful sonata-form opening movement with both spirit and a sense of refinement. The flute performs a fantasia-style solo melody in the Andante, over still exotic string harmonies, giving the music a sense of almost improvised freedom with gentle pizzicato cello punctuating the flow. This is an atmospheric piece that is performed here with sensitivity. The fiery final Presto is light, agile and highly convincing.

Although this disc is labelled French Flute Chamber Music, and Robert Aitken’s flute playing is undoubtedly excellent, the other instruments take on an equal role throughout. They deserve their share of the credit for this recording. The ensemble plays with a sense of unity and sensitivity, creating a well-balanced sound allowing solo lines to come through the texture. The repertoire heard here is successful, despite the inclusion of some less well known composers from the turn of the century. It has much to offer. The playing is consistently excellent and there is a wonderful range of expression. This makes a very good addition to any CD collection.

They also pay unmistakable tribute to Debussy and Ravel. The influence of Prélude à L’après-midi d’une faune hangs heavily over Tournier’s Suite, most notably in the opening Soir: Calme et expressif. There is an exotic twist to the Lied: Assez lent, avec mélancolie reflecting Debussy’s fascination with the East but it says much for Tournier that he maintains his own voice and character. Florent Schmitt, who studied with Fauré, also shows a fleeting love of the Orient before continuing with a gracefully flowing Minuet and whirlwind finale. Pierné (whose Variations for solo piano were greatly admired by Cortot) sounds a more substantial note with much restrained but demanding virtuosity in his finale, while Françaix closes his characteristically piquant Quintet with a Rondo based on the folksong “Savez-vous planter les choux?” and a touch of outrageousness.

Finally Roussel and a more astringent modernist style, including a flourish from the harp like a sudden cascade of stardust in the central Andante and some ghostly glissandi behind the final Presto’s hyperactivity. All this alternately thoughtful and exuberant music is played with great care and authority by the Mirage Quintet who never mistake a term such as animé for fast. Brilliantly alive to their challenge, they have been well recorded.

Marcel Tournier (1879–1951) is best remembered as one of France’s greatest harpists, but he also wrote some memorable music, like the suite (Op. 34, c. 1930) which opens this CD. In four movements, the opening “Soir” is a gorgeous nocturnal reverie, while the “Danse,” “Lied” and “Fête” movements all have the innocence of a Mary Cassatt (1844–1926) painting. Ravel’s (1875–1937) Introduction and Allegro (1905), which Tournier probably played, may well have been a source of inspiration.

Florent Schmitt’s (1870–1958) four-movement Suite en rocaille of 1937 follows. “En rocaille” is probably best translated as “in rococo style,” which certainly seems to fit this whimsical chamber offering. Intricately detailed, it exudes Gallic charm.

Gabriel Pierné (1863–1937) wrote some captivating chamber music, and the Variations libres et finale of 1933 that’s next is no exception. The refinement and grace characterizing his works are present in this meticulously crafted piece. No one plays second fiddle here, as each of its parts is not only a challenge to play but memorable for its content.

Many may find Jean Françaix’s Quintette dating from 1932 the high point of this disc. In four movements that alternate between slow and fast, the first and third are lovely, lazy lullabies which fall easily on the ear. The second and fourth possess that melodic as well as rhythmic cheekiness and irreverence that make this composer’s music so infectious.

Albert Roussel’s (1869–1937) Sérénade dating from 1925 is probably the best known selection included here. Neoclassical with only hints of impressionism, this exquisitely structured, chromatically colorful three-movement work shows the influence of his teacher Vincent d’Indy. The rhythmically spiky opening allegro and dreamy andante that follow presage Albert’s ballet Bacchus et Ariane of five years later. The final presto is an elegant stylistic encapsulation of the composer spiced with some concluding violin glissandi that make this diminutive work a French chamber masterpiece.

Made up of musicians who were or still are associated with some of Canada’s finest orchestras, the Mirage Quintet delivers letter-perfect performances of everything here. This is one of those rare ensembles where each of its members is obviously a virtuoso but very much aware that successful chamber music is a team effort requiring a concerted ego.

The sonics are exemplary, with the violin, flute, viola, harp and cello appearing from left to right across a generous soundstage in the warm acoustics of St. Anne’s Church in Toronto, Canada. The instruments are ideally captured, with none of that high-end flute flare typical of many digital recordings. The strings are silky smooth and the harp tone, perfectly rounded. This disc is a good test of a speaker system’s imaging capabilities.