Francesca Pongiluppi

Paganini’s violin, the legendary ‘il Cannone’, made by Giuseppe Guarneri del Gesù in 1743, is one of the most important musical instruments in the history of Western music. Paganini was the greatest virtuoso of his time, acclaimed throughout Europe and an inspiration to performers and composers alike.

My Bach Partitas: I got to know Johann Sebastian Bach before I started playing, with the Motets on an LP disc that I wore out listening to, and with a short passage from the St Matthew Passion that I sang while my father accompanied me on the piano. Bach has always been present in my musical life and has been the safe harbour from which I have departed to discover other routes and then return regularly.

On her second PENTATONE album Maria & Maddalena, star soprano Francesca Aspromonte explores the Two Marys in oratorios by Lulier, Bononcini, Leopoldo I d’Asburgo, Caldara, Perti, Handel and Scarlatti, partly in new editions, documenting the extremely bloom of the genre in the years around 1700. She performs these works together with violinist Boris Begelman as well as the seasoned players of I Barocchisti under the baton of the eminent Diego Fasolis. Traditionally seen as two feminine opposites, with far-reaching moral implications, Aspromonte brings the Virgin Mary and Mary Magdalene together as two beautiful and strong women who turned their lives upside down by making the choice to dedicate themselves completely to an ideal. Her interpretation of these exceptional pieces explores all the emotions of the Two Marys, constituting a fascinating and profoundly moving portrait of what it means to be a woman.

The virtuoso violinist Francesca Dego joins forces with the legendary conductor and period performance pioneer Sir Roger Norrington for this recording of Mozart’s Third and Fourth Violin Concertos – the first time either soloist or conductor has recorded the works. The outstanding musicians of the Royal Scottish National Orchestra provide the accompaniment, with reduced numbers of strings and antiphonal violin seating to replicate the size and seating of the Salzburg court orchestra which gave the first performances of these works. Norrington’s attention to detail and style is enthusiastically embraced by soloist and orchestra, resulting in a beautifully fresh and captivating interpretation of these well-known works. Dego completes the album with the Violin Sonata in E minor, Op. 1 No. 4, with her regular recital partner, Francesca Leonardi.

Following her critically acclaimed recording with Sir Roger Norrington and the RSNO of violin concertos by Mozart, Francesca Dego turns to a selection of his violin sonatas with her long-term recital partner, Francesca Leonardi. Dego comments: ‘Francesca and I have been playing together for seventeen years, more than half my life and the totality of my career. To work as a duo on a regular basis means reaching common interpretative solutions, ones that sum up each player’s qualities, and creates a great sense of mutual responsibility. What you do together somehow feels naturally complete. We decided to build this album around our very favourite Sonata, KV 454 in B flat major, which we had been performing for many years and in which Mozart’s simplicity and flamboyance coexist in perfect harmony.’

Soprano Francesca Aspromonte and violinist Boris Begelman present an all-Handel programme exploring the vicissitudes of love, together with Arsenale Sonoro. On Un’alma innamorata, Aspromonte urges us to take ownership of our amorous infatuations, rather than blaming it on Cupid’s arrows. The programme consists of several worldly cantatas with violino concertante – including the famous Mi palpita il cor and a world premiere recording of S’un dì m’appaga la mia crudele – interspersed with instrumental sonatas. The overall chamber-musical approach of Un’alma innamorata increases the emotional impact of the tragic heroines depicted by Aspromonte.

Following their critically acclaimed first volume of Mozart’s violin concertos (CHAN 20234), Francesca Dego and Sir Roger Norrington complete the set, once again with outstanding support from a reduced Royal Scottish National Orchestra. This cycle not only represents the first time Sir Roger has recorded these concertos, but the present album is also his final recording project. All five concertos were written before Mozart was twenty; nevertheless, his rapid development as a composer is evident in the progression from the first to the fifth, which has an unusual Adagio section within the first movement, an extensive slow movement, and of course the extensive ‘Turkish’ episode in the final movement (probably based on Hungarian folk music). Whilst given on modern instruments with metal strings, these are performances immersed in Norrington’s lifetime of experience in period performance practise. As The Sunday Times noted of the first album: ‘Pairing the veteran Mozartian Norrington – a pioneer of historical performance practice – with the young Italian-American soloist Dego proves inspiring in what promises to be one of the freshest of recent cycles of the Mozart concertos.’