Tedi Papavrami invites us to compare two different approaches to the Paganini Caprices. His interpretation doesn’t change much between the studio recording and the live performance but with such a taxing opus one might expect the balance to be in favour of a carefully edited studio version. However, it doesn’t quite work out like that. It’s true there are some imperfections in the concert performance – little accidents where bow or fingers aren’t placed quite accurately and a few extraneous noises – but it’s only in one or two pieces – the tremolo study, No 6, is one – where Papavrami’s superior control in the studio makes for a better performance. On the other hand, there is a significant number of pieces (I noted Nos 4, 5, 11, 13, 18 and 23) where, in front of an audience, Papavrami plays with more freedom and transmits his feeling for the music with greater intensity. I noticed this especially in the final caprice where, for the live performance only, he adds (unmarked) repeats to the second halves of theme and variations, and achieves a thrilling peroration.

Papavrami’s interpretations are notable for their clarity, poise and transparency. There are some disappointments; the flute and horn imitations in No 9 miss the mark, the amoroso in No 21 is rather too fierce, the forte interjections in No 19 somewhat brutal. In all these cases, James Ehnes (Onyx, 1/10), with his inspiring confidence and dash, and Tanja Becker-Bender (Hyperion, 5/09), with her concern for quality of sound, are to be preferred. But Papavrami’s live account is still a splendid document, unique and individual.