Here is another caprice that ends on a half-cadence: its resolution can be found at the beginning of Caprice no. 4. I find it curious that Camapagnoli ends a string of the first caprices on half-cadence question marks. My hypothesis is that he composed the first few works as a set, and played them back to back.
In any case, Caprice no. 3 was a fun change from numbers 1, 2, and 4 (I recorded this set together in October 2015). It's more joyous and carefree, and is a pure exercise in finger/ bow dexterity and position work. As I was practicing, I noticed that my shifts had to be extra clean with no hint of sliding, such as the shift to third position in the middle of m. 4. This lead to a very mechanical approach: lots of slow practice to focus on finger placement, even rhythms, and ever-shifting bow patterns (note the passage from mm. 9-16).
Aside from that, the only other thing to note is the bowing reversal that happens in the middle of m. 25 and takes effect all the way to the end. Here, he writes poussé (push), I interpreted that to mean that one should take a slower tempo from the marking and speed up until the next measure, since it would be virtually impossible to play at a faster tempo than my original. I also added a comma after the downbeat of m. 26, to re-establish the dominant beat.