Charles Auguste de Bériot: Violin Concerto 1, 2, 3 번

Bust of Charles Auguste de Bériot from the Conservatoire Royal de Bruxelles.

 

(20 February 1802 – 8 April 1870) was a Belgian violinist, artist and composer.

 

Violin Concerto 1 opus 16

movement 1 : Allegro moderato

 

 

 

Violin Concerto No. 2 in B minor, Op. 32

I. Allegro maestoso 0:00​ II. Andantino 13:58​ III. Rondo russe: Allegretto 19:32​

Philippe Quint, violin Slovak Radio Symphony Orchestra Kirk Trevor, conductor

 

 

Violin Concerto No.3, in E Minor, Op.44

 

Philippe Quint (violin), Slovak Radio Symphony Orchestra, Kirk Trevor (conductor)

I. Moderato – 0:00​ II. Adagio – 13:27​ -------- III. Rondo: Allegretto - Allegro vivace – 19:08

 

​“Charles-Auguste de Bériot, (b. Feb. 20, 1802, Leuven, Belgium—d. April 8, 1870, Brussels), was a Belgian violinist and composer known for establishing a particular performance style (the Franco-Belgian school) that combined classical elegance with technical virtuosity. His first teacher was Jean-François Tiby, who became Bériot's guardian upon the death of his parents. He was so gifted that at the age of nine he performed a Giovanni Battista Viotti concerto in public. Later he undertook instruction from the noted Belgian violinist Andre who had been a pupil of Viotti. At that time, it was customary for musicians from the Low Countries to further their studies in Paris, and so, in 1821 at the age of nineteen, Bériot travelled to Paris to play for Viotti. He was praised by Viotti for the individuality of his style, but because of Viotti's duties as director of the Paris Opera, he was unable to teach Bériot. As a result, Bériot sought instruction from Pierre Baillot, a renowned teacher at the Paris Conservatoire. He attended Baillot's class for a few months, but was unable to submit to the rigors of Baillot's teaching. Moreover, Bériot had developed a distinctive personal style that Baillot disliked. Without seeking the approval of Baillot, Beriot embarked on a solo career, making a successful debut in Paris, followed by equal success in London, where in 1826 he played his Concertino at the Philharmonic Society. After his successful debuts in Paris and London, Bériot returned to Brussels, where he was named soloist to King William of the Netherlands, an appointment that was terminated after Belgium seceded in 1830. In the preceding year (1829), Beriot met the renowned singer Maria Malibran whom he eventually married in 1836. Tragically, she died within six months of their long-awaited union, collapsing after a concert in Manchester. During their six years together they toured Europe giving joint recitals. It was also during this time that Bériot heard Paganini and was inspired to incorporate Paganini's technical brilliance into his playing and compositions. Upon the death of his wife, Beriot returned to Brussels and did not perform for almost two years. In 1838 he resumed his career, touring Austria and Italy with his late wife's younger sister, Pauline Garcia. In Karlsbad, Ludwig Spohr heard Bériot perform and was said to have admired his playing but not his compositions. In 1840 Beriot was heard in Russia. In 1842, after declining an offer to replace Baillot at the Paris Conservatoire, Bériot accepted a position at the Brussels Conservatoire. He remained there until his retirement due to failing eyesight in 1852, and continued to compose until his death. During his tenure in Brussels, the Third through Seventh concertos were published; the Eighth and Ninth were published by Schott in the 1850s, and the final concerto published in the year before his death. In general, Bériot increased the technical demands upon the instrument in his works afler hearing Paganini in the early 1830s, although, strangely, he rarely employed left-hand pizzicato after the encounter. He had utilized the technique a number of times in his first concerto, which is believed to have been composed before he heard Paganini, in the 1820s. It is interesting, therefore, to ponder his reasons for abandoning it. Perhaps Bériot was so over-awed by Paganini's brilliant execution of left-hand pizzicato that he felt his efforts were paltry in comparison and so explored the technique no further.” (from "The Ten Violin Concertos of Charles-Auguste De Beriot: A Pedagogical Study" by NICOLE DE CARTERET HAMMILL, Louisiana State University, 1994)