Biography
Born to wealthy merchants in 1602, Chiara took from the example of several aunts and sisters and joined the S. Radegonda Benedictine convent, taking her final vows in 1620. Her first known publication was in 1640, and for the following 20 years she composed many religious pieces in unique styles not insulated to the convent. She is well-respected especially for her dialogue in her compositions, the mixing of biblical text and musical motifs to tell stories effectively and emotionally.
Her compositions ceased in part due to her added responsibilities as abbess and later prioress. A greater factor, perhaps, was the rise of Archbishop Alfonso Litta and his crusade against nun's music; to publish under the leadership of one so wholeheartedly opposed to female composition would likely have been unwise. Despite this unfortunate situation, she is regarded as one of the most influential Milanese composers of the seventeenth century: not only among women, but of everyone composing in Milan at this time.
Like Marianna, Chiara was born just in a time when she could compose without too much backlash. Had she been born just 50 years later, after Litta had been well-established in power, she likely would not have been able to compose as successfully as she did.¹ ³