Starting to get some good reviews on my Dupont CD. If you haven’t checked it out yet, what are you waiting for?!
“Even so, if you admire French music of the period, you’ll definitely want to hear Dupont. And this new release offers an extremely attractive way to make his acquaintance. The readings by the young Dupont expert Bo Ties (he wrote his dissertation on the composer) are consistently compelling—and I use that word advisedly. They’re strong, vital, and up-tempo performances; and whatever doubts you might have about certain pieces in these collections, they’re swept away by the sheer conviction we get here. I don’t want to suggest that Ties lacks subtlety—he’s extremely sensitive to color and harmonic twists. But in music that does occasionally have a slight tendency to stall, his momentum and his ability to keep the through line are significant benefits, as is his confident virtuosity. The set is made even more welcome by including, as well as the two big cycles, half a dozen miniatures from his student days, many featuring a strong Neoclassical bent (the Bach-infused Fughette is especially winsome). The sound is excellent, too, and Ties’s detailed notes are rich and informative. A follow-up recording of Dupont’s songs is in the works—and I look forward to hearing it. In the meanwhile, this set can be warmly recommended.” Peter J. Rabinowitz (July/August 2019)
“If some try to sell Dupont as a contemporary of Debussy—which he was!—his music is still closer in sound and spirit to a late 19th-century composer in my ears; the influences of Massenet, Fauré, and Franck cast long shadows over this music. That is not to take away anything from these magical works (as quoted before) “somewhere between romanticism and impressionism.” Bo Ties provides a fine gateway into the composer’s sound world, even if I at times prefer Marie-Catherine Girod’s approach… If Girod is a bit more nuanced and colorful in her approach, Ties works wonders in moments of power and energy. In his version of “Houles,” the waves are not just heard, but felt.” Scott Noriega (September/October 2019)