If anyone is ever likely to convince you that there is more to Paganini's music than Rossini-in-technical overdrive melodramatics, it is Tanja Becker-Bender. …Becker-Bender gives the Italian's coruscating roulades more room to breathe, characterising each caprice as though it was microcosmic masterpiece of musical expression. Hers may not be the most viscerally exciting version ever recorded, but it is certainly the most satisfying.

Becker-Bender’s performance is noteworthy for the nonchalance with which she glosses over these difficulties with enough mental effort left over to convincingly hold the musical thought and line...She plays with intensity and maturity, is brilliant of tone in the higher registers, and full-bodiedly gutsy lower down. The performance is impressive on every level

After nearly 200 years, the Paganini Caprices still present a formidable challenge to violinists. The character of the music may persuade them to adopt a bold, theatrical approach (without minding too much about small imperfections of tuning or passages of rough tone); others may prefer a more careful, considered attitude, striving for accuracy and beauty. Tanja Becker- Bender belongs to the second camp. For a few minutes you might wonder if she is missing something of the virtuoso thrill transmitted, but soon you'll be won over.
Adopting generally slower speeds, she has time to turn the music gracefully, articulate cleanly, achieve remarkable purity of tuning, and use variations of tone-colour to open up the music's expressive potential. This results in a sparkling, cleaned-up version of Paganini, sounding the more amazing for its polish and clarity, and bringing into focus the poetic, romantic sensibility that enthralled the composer's contemporaries.
Rarely have the flute and horn imitations in the Ninth Caprice been more persuasively performed, and in No 21, marked amoroso, Becker-Bender manages to retain a tender, intimate tone where many of her rivals equate amorousness with crude intensity. The more brilliant pieces are just as successful. Paganini himself would surely have been impressed and delighted.

Adopting generally slower speeds than Rogliano, she has time to turn the music more gracefully, articulate more cleanly, achieve remarkable purity of tuning, and use variations of tone-colour to open up the music's expressive potential. This results in a sparkling, cleaned-up version of Paganini, sounding the more amazing for its polish and clarity, and bringing into focus the poetic, romantic sensibility that enthralled the composer's contemporaries.