Fifty years ago only half a dozen or so fiddlers would have had the technical expertise to record the complete Caprices: today they seem to come two a penny. I use the word 'seem' advisedly, for, though there are about eight versions currently available, the Caprices still belong to the elite of violinists and brook no second-raters. In the wrong hands the music can sound excruciating.
The Austrian violinist Thomas Zehetmair, whilst not having the technique of Rabin, Mintz, Accardo, Perlman or Midori, does at least attempt to offer a personal view of these terrifically taxing works. for instance. For instance, in Nos. 11, 15, 20, 22 and 23 he adds his own ornamentation when observing repeats. His is a fairly spontaneous approach. He obviously wishes to give the impression that he has the technical hurdles well in hand, allowing him to concentrate on the musical content. All the wizardry on the upper strings is underpinned with a strong and vibrant sonority on the lower ones.
The intentions are, of course, commendable. Unfortunately, Zehetmair has neither a sufficiently comprehensive virtuoso equipment nor an adequately sure-footed sense of style to do justice to the music. The way he lunges at the main notes in the opening of No. 3 is ugly and laboured, and in No. 9 some episodes in harmonics are sketchy and should have been retaken. The producer has much to answer for in the inept editing of No. 21, which hardly shows the artist in a good light.
I don't want to give the impression that Zehetmair is a less than highly accomplished player. The presto sections, especially those in scales, arpeggios and broken chords, are often pretty phenomenal, and his energy certainly makes one sit up and listen. Given a few more years and a more stylistically aware approach to the music, I think he could well make a much better version.'