It’s fascinating to compare Augustin Hadelich’s account of the 24 Caprices with the version by Sueye Park that I reviewed in the January issue. Hadelich is far more prone to push for maximum dynamic contrasts, in the Fourth Caprice for example, with its multiple-stops in thirds, where even within the first minute key linking phrases are projected with maximum emphasis whereas Park holds fast to an even line. In general, Hadelich plays these pieces not as studies but as tone poems, even rhapsodies. In reviewing Park’s BIS disc I drew attention to No 13, ‘the opening of [which] might have sounded more off-the-cuff’; well, here it does, Hadelich opting for a less legato approach, his attack at speed on the G string in No 19 fully the equal of Park, though in the mystical trilling of No 6 he captures more of the music’s poetic heart: his diminuendo as the music changes key towards the end of the piece is absolutely breathtaking.

In No 17 in E flat, with its playful runs on the E and A strings, Hadelich sounds as if he’s challenging his rivals to have as much fun as he is having: the only time I have heard this music sound a more mercurial note is in Liszt’s piano transcription of it, and then only in the hands of Horowitz. In No 18, with its high-position challenges on the G string, both Park and Hadelich opt for an ‘echo’ approach to what after all sounds like a variety of hunting call, though their manner of doing so points to their differences. Park labours the point more obviously, whereas Hadelich sounds leaner and more clean-cut, less choppy in the rapid central section in thirds.

Then there’s the kingpin of the set, the much-varied 24th Caprice, both performances full of character though Hadelich’s approach is perhaps marginally more streamlined. Given a choice, his expressive way with slides and vibrato (which is never used with predictable consistency), his rich multiple-stops and often thrilling passagework at speed tends to incline me in his direction, though if you’ve already invested in Park’s excellent CD, don’t swap until you’ve heard Hadelich first. Neither should you forget Perlman (Warner, 6/72), Zehetmair (ECM, 12/09), Shlomo Mintz (DG, 11/82) or of course the wonderful Michael Rabin (Warner, 9/93). If you can sample them all then try to do so but if you want to experience this music as music first and foremost, then Hadelich is a pretty good bet. As with Park’s CD, the sound is superb.