PROGRAM NOTESClick HERE to download a fascinating article on Gabriel Dupont.
Upon hearing the music of Gabriel Dupont for the first time, many have asked, “How is it possible this music is not well known?” The answer is unclear, but hopefully, that question itself becomes irrelevant as Dupont is restored in our memories as one of the great composers. To be sure, Dupont was seen as a rising star during his lifetime. His works were performed regularly and were largely enjoyed by the public. His opera, La Glu, was hailed to be the next Carmen. Yet he was a victim of tragic circumstance that nearly led to him being relegated as a historical footnote: he was stricken by a relentless illness that led to an early death at age 36, the very day France mobilized for World War I. Were it not for the work of a few scholars and musicians in recent years, Dupont would likely not be known at all.
The music of Gabriel Dupont is finally beginning to receive the recognition it deserves, thanks in no small part to the efforts of scholars like Phillipe Simon and Emmanuel Sauvlet, and musicians like Daniel Blumenthal (the first pianist to record Les Heures dolentes, in 1987) and Marie-Catherine Girod (the first pianist to record La Maison dans les dunes, in 1997). Interest in Dupont’s life and music has been slowly but steadily growing, and I humbly offer this recording as my contribution to the discovery of his work. Those interested in hearing more of Dupont’s output should explore his wonderful Poème for piano quintet, his intimate mélodies, and his operas. To date, there are no recordings of his orchestral pieces.
Although fate might have conspired that Dupont’s music should be forgotten in the 20th century, each person who has come to know Dupont’s music understands its supreme quality: it is profoundly human. The highest hopes, the deepest fears and the greatest joys and pains of life are fully expressed in his work. For Dupont, pain can be beautiful and beauty can be sad – yet each moment is a gift. We would be wise to follow Dupont’s example, that no matter the circumstances of life, we strive to do our best in the time we have been given.
Bo Ties (pronounced teece) has had an unorthodox musical education. Originally from southeastern Minnesota, he took piano lessons from an early age until the eighth grade, never really delving too deeply into classical music. After a four year hiatus from lessons, during which he played for his own enjoyment, Ties decided he needed to be a pianist. He began his formal training in classical music as a college freshman and never looked back. Being exposed to the works of Claude Debussy as a freshman opened up an exciting world of opportunities and sparked his intense admiration for French piano music of the late 19th and early 20th centuries. He completed his bachelor’s degree in Piano Performance at Winona State University studying with Dr. Deanne Mohr, then moving south to complete his Master’s degree in Piano Performance from the University of Iowa. Continuing on there to the doctoral program, he studied with Dr. Uriel Tsachor, and completed a DMA in Piano Performance and Pedagogy in May 2018. Ties is highly active as a teacher, performer and is a strong advocate for the music of Gabriel Dupont.
PROGRAMGABRIEL DUPONT (1878-1914)
LES HEURES DOLENTES (1903-05)
II. Le soir tombe dans la chambre
III. Du soleil au jardin
IV. Chanson de la pluie
V. Après-midi de dimanche
VI. Le médecin
VII. Une amie est venue avec des fleurs
VIII. La chanson du vent
IX. Au coin du feu
XI. La mort rôde
XII. Des enfants jouent dans le jardin
XIII. Nuit blanche – Hallucinations
LA MAISON DANS LES DUNES (1907-09)
I. Dans les dunes, par un clair matin
II. Voiles sur l’eau
III. La maison du souvenir
IV. Mon frère le Vent et ma soeur la Pluie
V. Mélancolie du bonheur
VI. Le soleil se joue dans les vagues
VII. Le soir dans les pins
VIII. La bruissement de la mer, la nuit
IX. Clair d’étoiles
DEUX AIRS DE BALLET (1895)
FEUILLETS D’ALBUM (1897)
IV. Air à danser