Charles de Bériot (1802-70), like every instrumental soloist of his time, wrote prolifically for his instrument, and his concertos and airs variés were extremely popular in his lifetime. The studies and caprices recorded here may relate to his career as a teacher (he numbered Henri Vieuxtemps among his pupils, and wrote an important violin method) yet we can hear that they are considerably more than technical exercises. The twelve Scènes ou Caprices, especially, each one with a picturesque title, are clearly concert pieces – showy and virtuoso in style, with a few tricks that recall Paganini, yet never pushing the technical boundaries uncomfortably far. In expression, too, Bériot is content to stick to an easy, melodious manner; the fugal opening to the last of the Nine Studies – “In imitation of the old masters” – doesn’t lead to any intense, Bachian polyphony. However, several pieces show real individuality; the Marche russe (the 10th Caprice) is an inspired invention, the ambitious Fourth Study has wide-ranging modulations that are surprising and effective, and everywhere Bériot writes imaginatively for his instrument, giving the most common formulas an original twist.

Bella Hristova, a young Bulgarian violinist now based in the USA, clearly enjoys playing these pieces. The brilliant passages come easily to her, and her playing throughout is neat and polished, with an elegance that perfectly suits the music. I did feel that some of the slower items needed a more soulful, sentimental approach, but, with this reservation, she’s an admirable advocate for Bériot.