Great Violinists and Pianists

by George T. Ferris

DE BÉRIOT

De Bériot's High Place in the Art of the Violin and Violin Music.—The Scion of an Impoverished Noble Family.—Early Education and Musical Training.—He seeks the Advice of Viotti in Paris.—Becomes a Pupil of Kobrechts and Baillot successively.—De Bériot finishes and perfects his Style on his Own Model.—Great Success in England.—Artistic Travels in Europe.—Becomes Soloist to the King of the Netherlands.—He meets Malibran, the Great Cantatrice, in Paris.—Peculiar Circumstances which drew the Couple toward Each Other.—They form a Connection which only ends with Malibran's Life.—Sketch of Malibran and her Family.—The Various Artistic Journeys of Malibran and De Bériot.—Their Marriage and Mme. de Bériot's Death.—De Bériot becomes Professor in the Brussels Conservatoire.—His Later Life in Brussels.—His Son Charles Malibran de Bériot.—The Character of De Bériot as Composer and Player.

I.

Among the great players contemporary with Paganini, the name of Charles Auguste de Bériot shines in the musical horizon with the luster of a star of the first magnitude. His influence on music has been one of unmistakable import, for he has perpetuated his great talents through the number of gifted pupils who graduated from his teachings and gathered an inspiration from an artist-master, in whom were united splendid gifts as a player, an earnest musical spirit, depth and precision of science, the chivalry of high birth and breeding, and a width of intellectual culture which would have dignified the litterateur or scholar. De Bériot was for many years the chief of the violin department at the Brussels Conservatoire, where, even before the revolution of 1830, there was one of the finest schools of instruction for stringed instruments to be found in Europe. When in the full ripeness of his fame as a virtuoso and composer, De Bériot was called on to take charge of the violin section of this great institution, and his influence has thus been transmitted in the world of art in a degree by no means limited to his direct greatness as an executant.

De Bériot was born at Louvain, in 1802, of a noble family, which had been impoverished through the crash and turmoil of the French Revolution. Left an orphan at the age of nine years, without inheritance except that of a high spirit and family pride, he would have fared badly in these early years, had it not been for the kindness of M. Tiby, a professor of music, who perceived the child's latent talent, and he acquired skill in playing so rapidly that he was able to play one of Viotti's concertos at the age of nine. His hearers, many of whom were connoisseurs, were delighted, and prophesied for him the great career which made the name of De Bériot famous. Naturally of a contemplative and thoughtful mind, he lost no time in studying not only the art of violin-playing but also acquiring proficiency in general branches of knowledge. His theories of an art ideal even at that early age were far more lofty and earnest than that which generally guides the aspirations of musicians. De Bériot, in after years, attributed many of the elevated ideas which from this time guided his life to the influence of the well-known scholar and philosopher Jacotot, who, though a poor musician himself, had very clear ideas as to the aesthetic and moral foundations on which art success must be built. The text-book, Jacotot's "Method," fell early into the young musician's hand, and imbued him with the principles of self-reliance, earnestness, and patience which helped to model his life, and contributed to the remarkable proficiency in his art on which his fame rests. Two golden principles were impressed on De Bériot's mind from these teachings: "All obstacles yield to unwearied pursuit," and "We are not ordinarily willing to do all that we are really able to accomplish." In after years De Bériot met Jacotot, and had the pleasure of acknowledging the deep obligation under which he felt himself bound.

In 1821 young Charles de Bériot had attained the age of nineteen, and it was determined that he should leave his native town and go to Paris, where he could receive the teachings of the great masters of the violin. At this time he was a handsome youth with a strongly knit figure, somewhat above the middle height, with fine, dark eyes and hair, a florid complexion, and very gentlemanly appearance. Good blood and breeding displayed themselves in every movement, and ardent hope shone in his face. He resided for several months in Brussels, which was afterward to be his home, and associated with the scenes of his greatest usefulness, and then pursued his eager way to Paris with a letter of introduction to Viotti, then director of music at the Grand Opéra. De Bériot's ambition was to play before the veteran violinist of Europe, and to feed his own hopes on the great master's praise and encouragement.

"You have a fine style," said Viotti; "give yourself up to the business of perfecting it; hear all men of talent; profit by everything, but imitate nothing." There was at this time in Brussels a violinist named Robrechts, a former pupil of Viotti, and one of the last artists who derived instruction directly from the celebrated Italian. Andreas Robrechts was born at Brussels on the 18th of December, 1797, and made rapid progress as a musician under Planken, a professor, who, like the late M. Wéry, who succeeded him, formed many excellent pupils. He then entered himself at the Conservatoire of Paris in 1814, where he received some private lessons from Baillot, while the institution itself was closed during the occupation by the allied armies.

Viotti, hearing the young Robrechts play, was so struck with his magnificent tone and broad style that he undertook to give him finishing lessons, with the approbation of Baillot. This was soon arranged, and for many years the two violinists were inseparable. He even accompanied Viotti in his journey to London, where they were heard more than once in duets. The illustrious Italian had recognized in Robrechts the pupil who most closely adhered to his style of playing, and one of the few who were likely to diffuse it in after years.

In 1820 Robrechts returned to Brussels, where he was elected first violin solo to the king, Wil-helm I. It was shortly after this that De Bériot took lessons from him, and he it was who gave him the letter of introduction to Viotti. The same excellent professor also gave instructions to the young Artot. He died in 1860, the last direct representative of the great Viotti school.

It will now be seen where De Bériot acquired the first principles of that large, bold, and exquisitely charming style that in after life characterized both his performances and his compositions.