Elisabetta de Gambarini (7 September 1731 – 9 February 1765) was an English composer, singer, organist, harpsichordist, pianist, orchestral conductor and painter of the 18th century.

[5][6] Elisabetta de Gambarini was born 7 September 1731 in Holles Street, St Marylebone, Middlesex, England.

[7] She gave one concert as Mrs Chazal in May, but died at her home in Castle Court, Strand, in the parish of St Martin-in-the-Fields, Westminster, less than a year later, on 9 February 1765.

There is no specific information regarding Elisabetta de Gambarini's formal musical education, however there is speculation that she may have studied with Francesco Geminiani, composer of The Inchanted Forest.

It is known that during the Classical period the number of women involved in domestic music making increased significantly because of the popularity of singing and playing the piano, and also because the middle class was expanding.

They sang and played the lute or the harpsichord for their private amusement and occasionally retained small staffs of musicians -perhaps even including a composer – for their own entertainments.

Her music had many subscribers, among them were famous musicians, Handel and Francesco Geminiani as well as dukes, lawyers, barons, sirs, lords as well as captains.

Later that year she published Lessons for the Harpsichord Intermix'd with Italian and English Songs, dedicated to the Prince of Wales.

[1] Later she also published XII English & Italian Songs, for a German flute and Thorough Bass...Opera III in 1750 composed primarily for woodwind players and dedicated to the Duke of Marlborough.

[1] Throughout her career Elisabetta performed at the Haymarket Theatre and the great Concert Room in Dean Street, Soho.

[9]: 215  Whereas seventeenth century noble women wrote simple songs for their families and friends to perform, the daughters of musicians and composers gradually began composing in more ambitious genres: sacred and secular cantata and cantatille, opera, ballet, comic opera, and even oratorio.

The greater participation of women in music, traditionally associated exclusively with men, is largely attributable to political and social happenings across Europe in the early to mid-eighteenth century.

[9]: 85–88 Elisabetta's Six Sets of Lessons for the Harpsichord are pleasant two-voice compositions (except for the March in Sonata IV, which is in three voices).