SOLO violin recitals are, by definition, a high-wire act. The player in the spotlight is armed with an instrument that is at its best and most natural playing a single line of music but must instead wrest both melody and accompaniment from the fiddle -- and sometimes, depending on the repertory, even the illusion of independent contrapuntal lines.Augustin Hadelich seems to enjoy going it alone. After a debut recording of all the Haydn violin concertos for Naxos, he turned to Telemann's 12 unaccompanied fantasias, also on Naxos. Now he has moved to the Avie label and offers ''Flying Solo,'' an appealingly idiosyncratic collection that frames three Paganini showpieces (the Caprices Nos. 4, 9 and 21) and two of Ysae's short sonatas with more grandly scaled, harmonically thorny scores by Bartok and Bernd Alois Zimmermann.Actually the Bartok and Zimmermann sonatas have more in common than modernist angst. Bach's spirit hovers over Bartok's Sonata for Solo Violin (1944). Opening with a Tempo di Ciaccona that evokes the Chaconne of Bach's Partita No. 2, it then follows a Baroque formal design, with a fugue, an adagio and a presto. And though Bartok quickly breaks free of Bach's orbit, distant flickers of his influence return throughout the work. Zimmermann's Sonata (1951), written in tribute to Bartok, makes occasional Baroque allusions as well, though filtered through an assertive angularity. Mr. Hadelich plays both with an exacting focus, an unerring dramatic sense and a rich, beautiful tone. He does as much for the Paganini and Ysae works. The hunting calls that open Paganini's Caprice No. 9 have a playful deftness that gives way to an easygoing but winning virtuosity. And Mr. Hadelich makes the most of the dark introspection in Ysae's Sonatas Nos. 3 and 5. --The New York Times, Allan Kozinn, December 13, 2009