"One should never miss the opportunity to play piano duets,” wrote Robert Schumann. The very size of the modern piano—88 keys—was brought about, in part, by the popularity of piano duets. Long before the 20th century brought instant access to music and entertainment, the easiest—and often the only—way to enjoy music was to either make it yourself or attend social gatherings where others were performing. In the 19th century, the relative abundance of amateur pianists, the joy of making music with another person, and the common practice of transcribing symphonies for four-handed piano all fueled the popularity of the piano duet. This popularity, in turn, encouraged the expansion of the piano’s range to a size that was comfortable for two simultaneous players.
Many of the best piano duet players have been siblings, friends, and even lovers—a natural consequence of the intimacy and mutual familiarity required to synchronize all aspects of a performance. Mozart and his sister played duets—often composed by Mozart himself—and Mendelssohn played many of his own duet arrangements with his sister. Liszt and Chopin (friends) played duets together, as did Robert and Clara Schumann (lovers).
As duets became more popular, increasingly elaborate arrangements of pianists and parts proliferated. Liszt would sometimes finish his recitals with six-handed works (played on one piano), or eight-handed works (played on two pianos). While it was uncommon for a private home to have two pianos, public concerts could accommodate works for multiple pianos. The 19th-century American virtuoso Louis Moreau Gottschalk, for instance, was famous for staging concerts of gigantic proportions. He arranged Rossini’s William Tell Overture for 20 players at 10 pianos, and would sometimes cram hundreds of singers and pianists on one stage for his so-called “monster” concerts.
While Gottschalk was certainly an extreme example, many 19th-century composers wrote or transcribed music for piano duets. Brahms arranged all of his symphonies and numerous chamber works for four-handed piano, and Schubert’s vast number of piano duets (including the masterwork Fantasie in F Minor) was exceeded only by his output of songs.
While both four-hand and two-piano duets lost some popularity in the early part of the 20th century, the duet repertoire now attracts some of the world’s finest pianists.
Many of the best piano duet players have been siblings, friends, and even lovers—a natural consequence of the intimacy and mutual familiarity required to synchronize all aspects of a performance. Mozart and his sister played duets—often composed by Mozart himself—and Mendelssohn played many of his own duet arrangements with his sister. Liszt and Chopin (friends) played duets together, as did Robert and Clara Schumann (lovers).
As duets became more popular, increasingly elaborate arrangements of pianists and parts proliferated. Liszt would sometimes finish his recitals with six-handed works (played on one piano), or eight-handed works (played on two pianos). While it was uncommon for a private home to have two pianos, public concerts could accommodate works for multiple pianos. The 19th-century American virtuoso Louis Moreau Gottschalk, for instance, was famous for staging concerts of gigantic proportions. He arranged Rossini’s William Tell Overture for 20 players at 10 pianos, and would sometimes cram hundreds of singers and pianists on one stage for his so-called “monster” concerts.
While Gottschalk was certainly an extreme example, many 19th-century composers wrote or transcribed music for piano duets. Brahms arranged all of his symphonies and numerous chamber works for four-handed piano, and Schubert’s vast number of piano duets (including the masterwork Fantasie in F Minor) was exceeded only by his output of songs.
While both four-hand and two-piano duets lost some popularity in the early part of the 20th century, the duet repertoire now attracts some of the world’s finest pianists.
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