Thomas Zehetmair’s manually overwhelming and thought-provoking ECM recording of the complete sonatas for unaccompanied violin by Eugène Ysaÿe – released in 2004 to great critical acclaim – offered ample proof that alleged virtuoso pyrotechnics can be surprinsingly multi-faceted and complex when approached by a musician with a rare awareness of stylistic layers and expressive traditions. His (long deleted) Teldec version of the Capricci dating from the early nineties quickly won the status of a new benchmark recording. In 2007 he went to the Austrian monastery of St. Gerold to record a second – even more ambitious – interpretation. In an interview with English journalist Ivan Hewett Zehetmair recently explained his ever-growing interest in this particular repertoire: "Every violinist grows up with these pieces, because they are such fantastic technical studies. Paganini sometimes had these showman's tricks, like playing on only one or two strings. But you know, all the great musicians who heard him, like Schumann, took him totally seriously. These Caprices aren't just studies, or showpieces. They're improvised character pieces, so full of poetry and fantasy."