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became involved in music by playing concerts in their homes and later as court musicians. 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. The lute and the harpsichord by their nature were sufficient unto themselves or could serve to support the player's own voice. Playing bowed string instruments was less appealing as a pastime because of the unladylike position required for playing the larger bowed string instruments. Because of this, many eighteenth century women took up the smallest member of the viol family, the
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measures, not counting repeats. The lyrics were based on moral lessons or classical allusions. Eighteenth-century concert programmes usually did not have consecutive pieces in the same genre. The forty minutes of music may also have been too short in length for an entire concert. Interrupting the music for the performance of songs or keyboard pieces may therefore have been a good solution. The word
126:. Her mother may have been a tutor to the nobility but it is not certain. Elisabetta was the third of four children. She was the only sibling to survive to maturity. It is possible that her name has appeared several other ways, Elizabeth Gambarini, Elisabetta de Gambarini, Elisabetta Gambarini and Elisabetta Gamberini.
142:, Westminster, on 14 February. Her mother's will reveals that Elisabetta had a daughter, Giovanna Georgiana Chazal. Elisabetta may have died in or as a result of childbirth but it is not known for certain. This was common during this time. There is no additional information known of either her husband or her daughter.
324:
evince many of the characteristics of vocal writing; a textual basis, compact range, strophic style, abbreviated length, and the absence of multi-movement structure. Like other pieces of this genre, her songs could be performed in a variety of ways: by voice, flute, keyboard, voice and flute together
161:
There was increased participation of women in music-making in the eighteenth century. It is known that French women undertook music instruction at a young age, under the guidance of a music master before marriage and family responsibilities intervened. Many women involved in music were noblewomen or
165:
Music was considered a social accomplishment for women, which reflected on the gentility of one's family, filled leisure time and drove away ennui, and in the case of a young women, it was an asset in procuring a husband. Amateur musicians as well as trained professionals were playing. Young ladies
262:
As the eighteenth century progressed, the social class of the women who composed music and what they chose to compose changed. 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
97:
and
Classical music. She achieved distinction as an all-around musician, performing on, and composing for a variety of instruments as well as voice. Her compositions were known to reflect that of vocal work instead of instrumental patterns. She was the first female composer in Britain to publish a
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are pleasant two-voice compositions (except for the March in Sonata IV, which is in three voices). In 1759 she published three sets of songs and harpsichord pieces written between 1748 and 1750. (Songs 1–4 are
English, 5 is French, 6–12 are Italian.) They are short pieces, the longest being 53
279:. We do know that many women were achieving musically during this time period. 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.
282:
Significant and far reaching developments in music are also credited to the invention of the piano and its concomitant solo and chamber literature- which also played a decisive role in creating a musical climate conducive to a greater involvement of women as composers. The
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were from families of other musicians. 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.
821:
138:. 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. She was buried at
250:, Soho. Later in her career she gave several benefit concerts, appearing as composer, harpsichordist, organist, and singer. During one of her benefit concerts, she borrowed Francesco Geminiani's score
219:. She sang and played her own compositions with the organ. She also issued her first two volumes of music. She was the first female composer in Britain to publish a collection of keyboard music,
291:
and as such fit comfortably in a domestic environment, a setting in which women had long been accepted as performers, in clear contrast to the public area, whose large scale operas,
254:, for this reason there are those that believe she could have been one of his students. There is also information that she may have sought a court appointment during this time.
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and
Orchestral music had been off limits to women. It is unclear if Elisabetta de Gambarini composed lied music; however, we do know that other female composers such as
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by
Elisabetta De Gambarini; Six Lessons by Elizabeth Harden. Edited by Barbara Harbach. Piano & Keyboard, January/February 1996, 51. Accessed *3 May 2016.
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150:
There is no specific information regarding
Elisabetta de Gambarini's formal musical education, however there is speculation that she may have studied with
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886:
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A Contextual Study of the Life and
Published Keyboard Works of Elisabetta de Gambarini, Together with a Recording, Facsimile of the Music, and Commentary
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223:, published in her teens, dedicated to Viscountess Howe of the Kingdom of Ireland. Her music had many subscribers, among them were famous musicians,
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also attracted many female composers, resulting in many fine pieces of music written by women. From its inception the lied constituted a type of
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18th
Century Women Composers – Music for Solo Harpsichord, Vol. 1. Barbara Harbach, harpsichord. Gasparo Records GSCD-272 (1995)
991:
951:
1006:
941:
677:
Rasch, Rudolph (April 2016). "The Thirty-Three Works of
Francesco Geminiani, Work Twenty, The Inchanted Forest (1754/1761)".
792:
Similarity indices for 500 classical music composers: Inferences from personal musical influences and ‘ecological’ measures
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alternating segments. Her writing style was simple with uncomplicated keyboard writing, many being spirited and attractive.
811:
771:
Gambarini (married name Chazal), Elizabeth (Elisabetta de
Gambarini) (1730–1765), composer, keyboard player, and singer
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A Biography Dictionary of Actor, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London 1660–1800
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An annotated catalogue of available intermediate-level keyboard music by women composers born before 1900
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93:, pianist, orchestral conductor and painter of the 18th century. Elisabetta's music is considered late
827:
Harbach, B. "Six Sonatas for Harpsichord or Piano." Vivace. Barbara Harbach, 2007. Web. 26 April 2016.
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as well as dukes, lawyers, barons, sirs, lords as well as captains. Later that year she published
228:
184:
151:
801:. Grove Music Online (2001): Accessed 30 March 2016. doi: 10.1093/gmo/9781561592630.article.10600
188:(1746–1747). She also performed as the First Israelite Woman at the first performance and sang in
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The Thirty-Three Works of Francesco Geminiani, Work Twenty, The Inchanted Forest (1754/1761)
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in 1750 composed primarily for woodwind players and dedicated to the Duke of Marlborough.
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766:. PhD dissertation, University of Southampton (King Alfred’s College Winchester), 2000.
110:, Middlesex, England. She was born to Charles Gambarini (died 1754), Counsellor to the
90:
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Johnson, K. "Elisabetta Di Gambirini." All Music. All Music, 2016. Web. 26 April 2016.
875:
607:(Northeastern University Press ed.). Ann Arbor, Michigan: Edwards Brothers, Inc.
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94:
86:
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Yelloly, M. "Early Music." Project MUSE. Early Music, Feb. 2005. Web. 26 April 2016.
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Women in Music: An Anthology of Source Readings from the Middle Ages to the Present
553:
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and Joanna (Giovanna Paula) Stradiotti (died 1774). Her father was a nobleman from
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XII English & Italian Songs, for a German flute and Thorough Bass...Opera III
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XII English & Italian Songs, for a German flute and Thorough Bass...Opera III
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By 1748 Elisabetta's reputation allowed her to promote and perform her own
773:. Oxford Dictionary of National Biography (2004): Accessed 30 March 2016.
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Mathiesen, Penelope (1992). "Elisabetta de Gambarini: The Vocal Option".
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745:. New York: The Feminist Press at The City University of New York, 1988.
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Opus 2: Lessons for the Harpsichord Intermix'd with Italian and English
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780:. Second ed. Bloomington : Indiana University Press, 1991, 2001.
622:. Urbana and Chicago: University of Illinois Press. pp. 191–223.
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Lessons for the Harpsichord Intermix'd with Italian and English Songs
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Lessons for the Harpsichord Intermix'd with Italian and English Songs
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Elisabetta de Gambarini was born 7 September 1731 in Holles Street,
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847:"Six Sonatas for Harpsichord or Piano By Elisabetta de Gambarini"
284:
736:
New Music for Performance: Six Sonatas for Harpsichord or Piano
85:(7 September 1731 – 9 February 1765) was an English composer,
235:, dedicated to the Prince of Wales. Later she also published
794:. Empirical Studies of the Arts 33, 1 (2015) : 61–94.
703:. Urbana and Chicago: University of Illinois Press, 1986
620:
Women Making Music, The Western Art Tradition, 1150–1950
701:
Women Making Music, The Western Art Tradition 1150–1950
710:. Music Library Association, Inc., 56, 4 (2000): 1014
134:
On 20 March 1764 Elisabetta married Etienne Chazal at
559:. Berkeley: University of California Press. pp.
200:(1747). Her name also appears in scores of Handel's
759:. Boston : Northeastern University Press, 1996.
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Elizabeth Gambarini: Complete Works for Harpsichord
64:
42:
23:
552:
506:
242:Throughout her career Elisabetta performed at the
731:. Berkeley: University of California Press, 1998.
729:The King's Midwife A History of Madame du Coudray
717:. D.M.A. dissertation, University of Miami, 1998.
555:The King's Midwife A History of Madame du Coudray
120:A Description of the Earl of Pembroke's Pictures
122:in 1731. Her mother was of similar status from
787:. My Work on the Internet, Vol 8 (April 2016)
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517:(online ed.). Oxford University Press.
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330:The Six Sets of Lessons for the Harpsichord
221:The Six Sets of Lessons for the Harpsichord
320:in the title of Elisabetta de Gambarini's
263:more ambitious genres: sacred and secular
31:
20:
816:International Music Score Library Project
790:Smith, Charles, & Georges, Patrick.
750:Elisabetta De Gambarini: The Vocal Option
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514:Oxford Dictionary of National Biography
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313:Six Sets of Lessons for the Harpsichord
212:; however the exact dates are unknown.
178:Elisabetta began her career singing in
812:Free scores by Elisabetta de Gambarini
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997:18th-century English women musicians
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752:. Continuo 16, no. 2 (2 April 1992).
722:Six sonatas for harpsichord or piano
618:Bowers, Jane; Tick, Judith (1986).
473:Continuo: The Magazine of Old Music
972:18th-century English women artists
882:English Classical-period composers
724:. Pullman, WA: Vivace Press, 1994.
438:. Herald Records HAVPCD 244 (2000)
14:
912:English people of Italian descent
887:British women classical composers
853:. Barbara Harbach. Archived from
699:Bowers, Jane & Tick, Judith.
386:Honour, Riches, Marriage-Blessing
371:Tho Mars, Still Friends to France
1002:British women conductors (music)
907:18th-century classical composers
967:18th-century Italian composers
957:18th-century English musicians
551:Gelbart, Nina Rattner (1998).
246:and the great Concert Room in
98:collection of keyboard music.
1:
977:18th-century English painters
982:18th-century English writers
902:18th-century English singers
538:UK public library membership
16:British musician (1731–1765)
1012:18th-century women painters
603:Neuls-Bates, Carol (1996).
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720:Gambarini, Elisabetta de.
406:Solos for piano and violin
112:Landgrave of Hessen-Kassel
37:Portrait by Nathaniel Hone
917:18th-century keyboardists
505:Noble, Anthony F (2004).
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799:Gambarini, Elisabetta de
727:Gelbart, Nina Rattner.
713:Dees, Pamela Youngdahl.
947:British women organists
932:English harpsichordists
679:My Work on the Internet
197:Joseph and his Brethren
136:St Martin-in-the-Fields
118:, Italy. He published
83:Elisabetta de Gambarini
25:Elisabetta de Gambarini
992:British women pianists
952:English women painters
523:10.1093/ref:odnb/61865
508:"Gambarini, Elizabeth"
301:Maria Theresia Paradis
1007:Composers from London
942:Women harpsichordists
748:Mathiesen, Penelope.
303:were lied composers.
755:Neuls-Bates, Carol.
252:The Inchanted Forest
156:The Inchanted Forest
822:Thesis on Gambarini
354:for voice and organ
229:Francesco Geminiani
185:Occasional Oratorio
152:Francesco Geminiani
937:Women keyboardists
857:on 17 October 2018
845:Barbara, Harbach.
769:Noble, Anthony F.
762:Noble, Anthony F.
706:Briscoe, James R.
414:Instruments played
927:English organists
824:by Anthony Noble.
778:Women & Music
734:Gowen, Bradford.
653:Missing or empty
634:The Musical Times
536:(Subscription or
376:The Friendly Wish
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987:British pianists
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420:Harpsichord
390:The Tempest
275:, and even
273:comic opera
248:Dean Street
194:(1747) and
876:Categories
540:required.)
443:References
426:Recordings
318:intermixed
307:Repertoire
271:, ballet,
140:St James's
49:1731-09-07
400:Overtures
347:War March
168:pardessus
146:Education
59:, England
685:: 30–32.
418:Violin,
277:oratorio
130:Marriage
124:Dalmatia
818:(IMSLP)
814:at the
366:timpani
352:Victory
265:cantata
209:Messiah
95:Baroque
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561:89–138
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225:Handel
203:Samson
180:Handel
174:Career
102:Family
57:London
861:3 May
528:5 May
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362:horns
269:opera
116:Lucca
863:2016
659:help
565:ISBN
530:2016
479:(2).
364:and
360:for
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
