SUOR BIANCA MARIA MEDA
Mottetti a 1- 4 Voci, 1691

One of the last Italian nuns to have published her works in the 17th century was Bianca Maria Meda (1661?-1732-3), a nun at the Benedictine convent of San Martino del Leano in Pavia. Virtually nothing is known about this composer, but her Mottetti a 1-4 voci (Bologna, 1691) are of considerable significance and beauty. The collection contains ten motets for 2, 3 and 4 voices, in addition to two works for solo voice accompanied by two violins.

This recording brings to life Meda’s remarkable compositions for the first time in over 3 centuries. The forces involved include 9 female voices, two violins and a full ensemble of basso continuo instruments. This CD is the ninth recording by Cappella Artemisia, and shines yet a brighter light on the vibrant world of music in Italian convents of the Seicento. In this task, we are delighted to be able to provide testimony to the excellence and uniqueness of the music of Donna Bianca Maria Meda, a singularly inventive and unjustly forgotten composer.

One of the great satisfactions of this recording is hearing women’s voices of different grain and timbre. […] All the soloists on this recording toss off the difficulties of the music with grace and ease. Notwithstanding the richness and variety of vocal timbres, the ensemble work is first-rate.” (Early Modern Women Journal)

[…]man hat hier ein schönes und sehr spezielles Beispiel für die Musik des italienischen Konvents um 1700, die mit einer gefälligen Mischung aus Flehen, Sehnen und Innigkeit Trost und Zuversicht vermittelte.   (OperaLounge.de)

La Cappella Artemisia interprète ces pièces sacrées avec une joie contagieuse. […] En écoutant ces oeuvres peu connues, on se met à imaginer une bande de nonnes joyeuses ayant un plaisir fou à chanter ces parties tout de même difficiles à exécuter.    ( leparnassemusical.com)

L’ampia escursione e la difficoltà delle parti vocali, così come l’estrema cura di quelle strumentali, dimostrano come sia le cantanti che le musiciste del convento del Leano fossero particolarmente dotate. Presupposti che non mancano di certo a Cappella Artemisia, gruppo affiatato e perfettamente in grado di padroneggiare questo repertorio con gusto e proprietà […]  (Andrea Milanesi, Avvenire)