Review: On ‘Le Chant des Muses’, Violinist Anna Urpina Puts Forgotten Female Composers in the Spotlight

By Greg Cahill | From the January/February 2026 issue of Strings

“The creation of this album has been a long and rewarding journey, spanning nearly three years of research and exploration in search of high-quality works by these largely unknown women composers,” says Spanish violinist Anna Urpina, describing the recording of Le Chant des Muses (Eudora), a collection of rare Baroque works by overlooked female composers. “The process of examining manuscripts, selecting the most compelling pieces, and transcribing them to assess their musical potential has been both challenging and inspiring. I would like to acknowledge the invaluable contribution of Nicola Brovelli, who meticulously transcribed the music from the original manuscripts, making this project possible.”

The album also features two world premiere recordings by contemporary composers Helena Cánovas Parés and Zulema de la Cruz Castillejo. Commissioned by Urpina, Cánovas Parés’ Largo once again (2024) is inspired by the composition style of Isabella Leonarda (1620–1704), whose Sonata for violin and basso continuo, Op. 16, No. 12, also appears on this album.

Urpina, who debuted at 15, is a competition winner who has performed at numerous major festivals and concert venues. Her introduction to Baroque violin was a fortuitous accident. “My journey began almost by chance, at a summer camp and festival in Spain,” she says. “Yet that experience changed me profoundly, awakening a deep urge to study the Baroque violin and early music seriously. Motivated by this newfound passion, I decided to continue my studies under the guidance of the distinguished maestro Enrico Onofri, both in the conservatories of Palermo and Pesaro.”

On this recording, she plays a copy of a Baroque violin made by Gibertoni & Nalin of Milan and uses a Baroque bow from Eduardo Angel Gorr of Cremona. She uses Toro gut strings on E and A and Pirastro Passione on the D and G strings. She tunes at 415Hz for Baroque pieces and 442Hz for contemporary pieces. 

Strings asked Urpina about Le Chant des Muses and her commitment to early music.

How did this project come to fruition?

The genesis of this project was to bring to life and share with the world the unknown music of forgotten female Baroque composers. Deep inside, I knew there was much more music from this period waiting to be discovered—and many more women whose voices had been silenced or simply forgotten. Why are we recovering so much music by women from the Classical and Romantic periods, yet so little from the Baroque era? I felt both the need and the urgency to undertake this research and revival, and, as my intuition told me, there are, indeed, so many Baroque women composers still to be discovered—and their music deserves to be heard. 

What drew you to these particular composers?

My research led me through numerous archives and libraries across Paris and Venice, where I gradually uncovered the works of forgotten female Baroque composers. The majority of the composers I have recorded were previously unknown to me, and the process of studying their music has been profoundly enriching, both artistically and intellectually. This project is not only about identifying new names, but also about revealing music of genuine artistic value—works that deserve to be heard and appreciated in today’s world. Among these discoveries, Mademoiselle Duval stands out as an exceptional example: a remarkable composer and musician who, for reasons that remain unclear, did not secure her place in the historical canon that has come down to us.

Tell me a bit about each piece and why you chose it.

Isabella Leonarda’s Sonata No. 12 is her only sonata for violin and basso continuo. While she wrote extensively for voice, her instrumental language is remarkably different and incredibly expressive. For this album, I wanted to include vocal pieces because, in that period, the voice held a central role—most compositions were written for vocal rather than instrumental performance. I discovered beautiful works by Francesca Caccini, Maddalena Casulana, and the little-known Mademoiselle Buttier, whose piece was written for soprano and basso continuo. I also fell in love with Mademoiselle Duval’s music and created an instrumental suite based on dances from her opera. Additionally, I wanted to feature two pieces by contemporary women composers to establish a dialogue between past and present. Zulema de la Cruz Castillejo’s Canciones de Amor are full of passion and emotion, while the world premiere by Helena Cánovas Parés is inspired by Isabella Leonarda’s sonatas. Élisabeth Jacquet de la Guerre’s previously unpublished Sonata in A minor, which I discovered in the Paris library, is a true gem. To conclude the album, the final song by the little-known Lady Mary Dering is a thrilling finale.

Why is it important to spotlight female composers from throughout the ages?

I believe this work is profoundly important, because these women existed, yet were never mentioned—at least not in my own education. During my studies at the conservatoire, I never encountered the music of a single woman composer from any historical period, except for a few contemporary figures. This silence, this collective act of forgetting, raises a difficult question: Why were women composers—many of whom were highly respected in their own time—excluded from our musical narratives? Fortunately, many musicians and scholars today are working to change this, conducting research to uncover and perform the music of these forgotten women. Perhaps through these efforts, we can begin to reshape the way music history is written and taught. 

How would you characterize their music?

It is impossible to use a single adjective to describe their music, because each of these composers is unique—each possesses her own character, signature, style, and national identity. For example, Leonarda’s music is strikingly wild and passionate, even though she was a nun. Mademoiselle Duval’s works are elegant and refined, while Jacquet de la Guerre writes with a distinctive and unmistakable voice. Marieta Morosina Priuli’s music, by contrast, is full of vitality—vivacious and alive. Yet what unites them all is the beauty and emotional depth of their creations—each of them has something personal and powerful to say. 

Were there innovative aspects that have been neglected or overlooked?

These women were remarkably modern for their time. You can feel it and see it in their compositions—their use of avant-garde techniques, bold harmonies, and innovative compositional ideas. They were also extraordinarily brave, as pursuing a musical career, or even gaining access to musical education, was extremely difficult for women in that historical context. The very act of publishing or premiering their music was already a significant achievement. And yet, despite their talent and courage, their names were forgotten and their works left unperformed for centuries—clear evidence of how profoundly they were neglected by history. 

What did you learn while recording these works?

Through this project, I have learned so much about the historical context of the Baroque period and the lives and stories of these remarkable women. Performing their music for the first time has allowed me to sense their personalities—to imagine who they might have been as human beings. Each composer reveals a distinct compositional voice and creative approach, and discovering these differences has been deeply inspiring. This journey has not only expanded my musical knowledge but has also helped me grow profoundly as an artist. 

Why is it important to preserve and be true to the Baroque instrumentation and experience?

It is of great importance to strive for the most accurate and detailed re-creation possible of how music was performed in its original period. Although we lack recordings from that time, we are fortunate to have a wealth of other sources, such as paintings, manuscripts, and historical treatises, that provide valuable insight into how this music was played and the contexts in which it was experienced. Performing with this historically informed perspective feels, to me, the most authentic and organic way to approach the repertoire. Interpreting Baroque music without historical awareness would be like serving a fine plate of pasta with ketchup—perhaps enjoyable, but far removed from the depth, subtlety, and true flavor of its origins.

What do you hope the listener will experience from this album?

I hope to open a new world to the listener, a world where sound becomes discovery and music reveals something beautiful and rare. Through their music, I wish to share stories of women whose voices echo through time, their struggles, their strength, their quiet revolutions. In their songs, one can feel the pulse of an era: its hopes, its constraints, its dreams. To bring this music to life for the first time is both a responsibility and a luminous reward, a chance to let forgotten voices breathe again through the art of sound.