A duet (Italian: duo) is a musical composition for two performers in which the performers have equal importance to the piece, often a composition involving two singers or two pianists. It differs from a harmony, as the performers take turns performing a solo section rather than performing simultaneously. A piece performed by two pianists performing together on the same piano is a "piano duet" or "piano four hands".[1] A piece for two pianists performing together on separate pianos is a "piano duo".
When Mozart was young, he and his sister Marianne played a duet of his composition at a London concert in 1765. The four-hand, described as a duet, was in many of his compositions which included five sonatas; a set of variations, two performers and one instrument, and a sonata for two pianos. The first published sonata or duet was in 1777.[2]
In Renaissance music, a duet specifically intended as a teaching tool, to be performed by teacher and student, was called a bicinium (see Étude).
In opera
Duets have always been a part of the structure of operas. Early 16th-century operas such as L'Orfeo and L'incoronazione di Poppea involve duets throughout the performance. In 17th-century Italy duets were often used in comic scenes within serious operas. In Baroque France the duet was popular in tragedies, such as songs of vengeance and confrontation. The love duet was characterized by singing in close harmonies of 3rds and 6ths, symbolizing unity after conflict.[3]
Famous operatic duets
"Abends will ich schlafen gehn" (Hänsel, Gretel) from Humperdinck's Hänsel und Gretel
"Ah guarda, sorella" (Fiordiligi, Dorabella) , "Il core vi dono" (Guglielmo, Dorabella) , and "Prenderò quel brunettino" (Dorabella, Fiordiligi) from Mozart's Così fan tutte
"Ah, perdona al primo affetto" (Annio, Servilia) form Mozart's La clemenza di Tito
"All'idea di quel metallo" (Figaro, Conte) and "Dunque io son" (Rosina, Figaro) from Rossini's The Barber of Seville
"A te, o cara" (Artuo, Elvira) , "Suoni la tromba" (Riccardo, Giorgio) and "Vieni fra queste braccia" (Arturo, Elvira) from Bellini's I puritani
"Bimba dagli occhi pieni di malia" (Pinkerton, Butterfly) , "Il cannone del porto!" (aka "Duetto dei fiori" or the "Flower duet") (Suzuki Butterfly) , and "Vogliatemi bene" (Butterfly, Pinkerton) from Puccini's Madama Butterfly
"C'est toi! – C'est moi!" (Carmen, José) and "Parle-moi de ma mère" (José, Micaëla) from Bizet's Carmen
In addition to traditional duets performed live—either in front of an audience or recorded in a studio—a so-called virtual duet can be created by having a singer (or musician) perform over the top of a pre-existing recording. Such a duet is a form of overdubbing. A virtual duet is sometimes done when the singer (or musician) of the original recording is deceased; for example, a live performance by Paul McCartney on "I've Got a Feeling" with an isolated vocal recording of John Lennon from The Beatles' famous rooftop performance,[6] or a recording of Judy Garland being dubbed over by her daughter Lorna Luft on "Have Yourself A Merry Little Christmas".[7] It can also be done with an earlier version of oneself (such as Yusuf / Cat Stevens on "Father And Son");[8][9] incidentally, Ronan Keating did his own virtual duet with Yusuf on the same song.[10] Virtual duets may also be done live via video link (such as Shaun Escoffery duetting with the late Eva Cassidy's videotaped performance of "Over the Rainbow" in honour of the late Sir Terry Wogan)[11] or be constructed manually from two pre-existing recordings, generally where each singer/musician can have their own isolated audio channel in the form of a stem.
Entire albums of virtual duets have been created, including albums by Frank Sinatra (Duets and Duets II).
Theoretically, a duet could be constructed from any two pre-recorded singers or musicians so long as there are isolated audio channels from each artist. With the advent of audio deepfake technology, it is now possible to create virtual duets using an AI facsimile of a singer (or singers) who never sang the song in the first place. A famous example of this is "Heart on My Sleeve" by ghostwriter977, who wrote and produced an original song using voice models of Drake and The Weeknd.
References
↑ Christensen, T. (1999). "Four-Hand Piano". Journal of the American Musicological Society, 52(2) 255–298
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