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.