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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.
Philip Quint [sic], the Russian-born American violinist, is making his debut on CD. It's a very capable performance in every way look out for him again. --Gramophone
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Beriot was among the foremost virtuosi of his day and toured widely. His violin concerti reflect his skills as a performer. Concerto No. 2 was written in 1835 and published in 1841. It sounds a lot like a Paganini concerto characterized by lovely melodies and fantastic passage work by the soloist. There is a long orchestral introduction in the first movement that gives way to a lyrical melody by the soloist. The movement has some dramatic music by the orchestra with passages of more reflective and lyrical playing by the violin. The middle movement is elegant and the Finale in an expressive and colorful Rondo russe.
Concerto No 3 opens with an orchestral passage that sounds more like a Verdi opera than a concerto. The soloist enters with an equally dramatic display of technical skill, and the movement goes on with some catchy melodies punctuated by some remarkable passages by the soloist. The second movement has some charming music with the soloist leading with the theme. The Finale begins with a lilting melody played by the soloist; like the prior concerto, this is an energetic rondo with the soloist having the last word with a very demanding coda.
Concerto No 5 dates from around 1848 and, like the other concerti, has a long orchestral passage with the soloist entering with a flourish. The soloist has center stage playing technically demanding but also lovely melodies that show off the virtuoso qualities of the instrument. The short Adagio is a beautifully lyrical movement and leads directly into the Finale that reused much of the music from the first movement.
Philippe Quint has the skill to meet the demands that Beriot sets for the soloist and he is ably supported by the Slovak Radio Symphony Orchestra under Kirk Trevor. If you enjoy the concerti of Paganini you will certainly enjoy these virtuosic marvels by Beriot.
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