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BERIOT, C.-A. de: Violin Concertos Nos. 2, 3 and 5 (Quint)

Composer(s):Beriot, Charles Auguste de
Artist(s) Trevor, Kirk, Conductor • Slovak Radio Symphony OrchestraQuint, Philippe, violin
Period(s) Romantic
Genre Classical Music
Category Concertos
Catalogue 8.570360
Label Naxos
Quality   320kbps
Album Price
 
CD
USD 9.99
 

 
MP3
USD 6.99
 

 


One of the most distinguished violinists of his time, Bériot was the father of the Franco-Belgian school of violin playing. His ten violin concertos display the youthful élan and high spirits of early romanticism. Bériot combined elements of the French School charm and taste with the new pyrotechnics pioneered by Paganini. Bériot’s Concertos Nos. 2 and 3 show the immediate influence of Paganini with their brilliant displays of virtuosity and operatic melodies, while the Concerto No. 5 displays a more playful side of Bériot.


   




Review By Duncan Druce,Gramophone,February 2013

THE SPECIALIST’S GUIDE TO…Forgotten 19th-century violin concertos: # 8

Charles-Auguste de Bériot (1802–70), a prominent violinist and teacher, wrote prolifically for his instrument. The third of his 10 concertos includes strong dramatic gestures but its main impression is of a composer who has successfully adapted Paganini’s showy style to a more flowing, elegant idiom. Philippe Quint’s delightfully airy performance makes the most of this colourful, balletic score. © 2013 Gramophone



Review By Duncan Druce,Gramophone,February 2013

THE SPECIALIST’S GUIDE TO…Forgotten 19th-century violin concertos: # 8

Charles-Auguste de Bériot (1802–70), a prominent violinist and teacher, wrote prolifically for his instrument. The third of his 10 concertos includes strong dramatic gestures but its main impression is of a composer who has successfully adapted Paganini’s showy style to a more flowing, elegant idiom. Philippe Quint’s delightfully airy performance makes the most of this colourful, balletic score. © 2013 Gramophone



Review By Duncan Druce,Gramophone,February 2013

THE SPECIALIST’S GUIDE TO…Forgotten 19th-century violin concertos: # 8

Charles-Auguste de Bériot (1802–70), a prominent violinist and teacher, wrote prolifically for his instrument. The third of his 10 concertos includes strong dramatic gestures but its main impression is of a composer who has successfully adapted Paganini’s showy style to a more flowing, elegant idiom. Philippe Quint’s delightfully airy performance makes the most of this colourful, balletic score. © 2013 Gramophone



Review By Duncan Druce,Gramophone,February 2013

THE SPECIALIST’S GUIDE TO…Forgotten 19th-century violin concertos: # 8

Charles-Auguste de Bériot (1802–70), a prominent violinist and teacher, wrote prolifically for his instrument. The third of his 10 concertos includes strong dramatic gestures but its main impression is of a composer who has successfully adapted Paganini’s showy style to a more flowing, elegant idiom. Philippe Quint’s delightfully airy performance makes the most of this colourful, balletic score. © 2013 Gramophone



Review By Giv Cornfield,The New Recordings, Cliffs Classics,August 2008

This excellent Belgian Romantic composer is sadly neglected in America, with only Takako Nishizaki's earlier recording (of concertos 1, 8 and 9, Naxos 8.555104) to represent him. He was a child prodigy who studied with Viotti, performing the master's music in public at age nine! De Beriot wrote brilliantly for his instrument, with elements of Paganini-style bravura combined with French elegance in phrasing. The performances are smashingly good, if only the recording engineer had sought to bring forward Philippe Quint's superb playing. The real star here is the soloist, but there is a woeful lack of violin presence on the disc.



Review By Julian Haylock,The Strad,June 2008

By comparison with the posthumous respect accorded to Wienawski, Sarasate, Joachim, Viotti, Ernst and Vieuxtemps, Charles-Auguste de Bériot (1802-70) hasn't fared particularly well in the annals of 19th-century violinist-composers. Yet in his day he was widely admired for combining the flirtatious brilliance of Paganini with the cantabile nobility of the French school. In truth, his ten published violin concertos lack Paganini's charismatic intensity and Wieniawski's melodic indelibility, but as long as one doesn't expect to uncover any masterpieces along the way, Bériot's balletic invention is thoroughly diverting.

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Review By David Denton, Naxos,August 2008

Charles-Auguste de Beriot was born in Belgium in 1802 into a wealthy family, but was orphaned at the age of nine. Well schooled in music, he dedicated his late teenage years to self-tuition, before embarking on a life as a virtuoso soloist. His life with the celebrated diva, Maria Malibran, ended in tragedy with her death following a riding accident, the shock causing his touring days to come to an end in his thirties. From therein he dedicated much of his time to teaching at the Brussels Conservatoire, and was responsible for creating the much talked of Franco-Belgian school of violin playing. It was a style that married the virtuosity of Paganini and Viotti with the more singing quality of the French violinists that Beriot heard during his many years spent in France. His ten

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Review By David Denton, Naxos,February 2008

By the time Charles-Auguste de Beriot was nine he had lost both of his wealthy parents. By that time he had already shown himself as a prodigiously gifted violinist, and though largely self-taught, he was to become the great virtuoso in the first half of the 19th century. Causing a sensation wherever he appeared, his early life was coloured by a relationship with Maria Malibran, the most famous diva of the 19th century, but already married. Her young death caused him much distress, though it was to be a rather sobering effect on his extroverted lifestyle. Though he was overlooked for some influential positions, he was later to become the professor of violin in Brussels where he established a new school of violin playing. Turning his hand to composition in the style of Paganini, his

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