In a nutshell:• Pierre Rode (1774-1830) was Viotti's favorite pupil and a central figure of the French violin school, straddling classicism and Romanticism.• These are classic studies of violin technique and artistry, full of busy figurations of 16ths & 32nds, graceful lines, and stylish double-stopping.• Each caprice follows a slow-fast structure, giving the violinist ample opportunities to showcase their singing tone and digital dexterity.• If you want to hear these caprices played with jaw-dropping alacrity and technical splendor, Shumsky is the real deal.• Other violinists have since recorded the caprices (Strauss, Wallfisch, and Brewster), but Shumsky's interpretations are peerless.• Fine acoustics and recorded sound.Long before the Suzuki method and five years before Paganini's caprices, two sets of studies were the cornerstones of violin pedagogy: Kreutzer's 40 etudes and Rode's 24 Caprices in the Form of Etudes (1815). The latter were intended for students of the Paris Conservatoire, where Rode served on the faculty. Since Shumsky's enterprising recording, several violinists have followed up with their own renditions: Axel Strauss (Naxos), Elisabeth Wallfisch (CPO), and H. Lee Brewster. Strauss and Wallfisch approach the caprices cautiously, playing slower with an aim to exploit their musical value. Shumsky, on the other hand, performs these etudes with confident speed and technical perfection.The caprices generally adhere to a slow-fast structure and sometimes the slow section amounts to a simple introduction. For example, No. 4 begins with melancholy double-stops of expressive beauty before an onslaught of intense 16ths in the "Allegro" section. A slow-fast form is well-delineated in No. 6, where tender lines on the G string—played with expressive vibrato by Shumsky—precede a "Moderato" section of brilliant scales and dizzying runs. For the most part, these are highly active and digitally demanding studies. Repeated patterns are particularly common, as in No. 2 with its zesty bariolage and string crossings; and the Bachian No. 10 has repeated figures and arpeggios in perpetual motion. No. 5 juxtaposes low and high notes together in a sprightly rhythm propelled by melodic drive. Paganini comes to mind in No. 7's festive staccato bowings interspersed with long legato lines. It is worth recalling that Paganini's own caprices appeared a mere five years after Rode's. One wonders if Paganini heard No. 23, a marvelous stand-out piece involving double-stopped trills and unusual colors. No. 12 is another fast study in perpetual motion with torrents of arpeggios—difficult to play in a smooth legato, but rendered effortlessly by Shumsky. Per its "Agitato e con fuoco" marking, No. 24 exudes suspense via stormy figures capped by double-stops and trills.Other caprices make their greatest impact in the initial slow section. For example, No. 1 grabs the listener with an unadorned vocal line of beauty before a joyful invigorated 12/8 section takes over. Singing arpeggiated lines in No. 14 have weighty grandeur, even if the real show is about to begin in the toe-tapping "Appassionato" section. In spite of their pedagogical nature, there is no deficiency of melody in these studies. No. 17 has a charming melody in staccato and short bow strokes, deftly executed by Shumsky. No. 19 revels in an "Arioso" section of dynamic vocal inflections and noble Mozartian phrases, while No. 20 marked "Grave e sostenuto" is the most emotionally profound of the set. It opens with serious pathos generated by pensive double-stops and pedal points. Naturally, it shifts to high energy, particularly buzzing 32nds on the G string. Shumsky's ability to mesh long sustains with the rapidity of those 32nds is impressive. In my opinion, No. 16 has the force and quality of Beethoven, owing to its expressive trills and impassioned double-stops. I couldn't help but hear in the trilling figures and rhythmic profile a resemblance to the thematic material of Brahms's Piano Concerto No. 1 (1st movement).When you listen to Oscar Shumsky, you're hearing a master. Some have criticized him for handling these caprices strictly like technical exercises. I disagree. His execution is appropriately brisk and faster than anyone else currently on disc. Speed is a virtue here. Note that Wallfisch had to spread out her recording across two CDs because of her slower tempo. Beyond velocity, Shumsky's playing is characterized by finesse, elegant phrasing, and a robust tone. He thus establishes benchmark performances of the caprices: swift, fluid, and polished.