The term piano duo can refer both to a genre of music, written for two pianists to play at either one or two pianos, or to the two pianists themselves.
This is a list of notable performers who appeared as piano duos in classical music. Most of these pianists performed works for piano four-hands (two pianists at one piano; also known as piano duet) as well as works for two pianos, often with orchestras or chamber ensembles. Some of these teams focussed exclusively or predominantly on this repertoire, but some also appeared separately as solo pianists.
Some piano duos appear under a single name (such as the Long Island Piano Duo), or a unified name (such as Nettle & Markham), but the majority simply use both their names (such as Katia and Marielle Labèque or Bracha Eden and Alexander Tamir).
The main entry is sorted by the pianist whose surname appears earlier in the alphabet, and the other pianist is cross-referenced in smaller type. Where their names are usually referred to in a different order, or they use a special name for their duo, that entry appears in the 2nd column.
Discography includes: Liszt's Hungarian Rhapsody No. 2, Fest-Polonaise, The Entrance of the Guests to the Wartburg, Benediction and Sermon, March and Cavatina and Fantasy and Fugue on the Chorale 'Ad nos, Ad Salutarem undam'.[6]
They have been the dedicatees of several compositions among them works written by German composers Birgitta Lutz and Mathias Christian Kosel and are currently collaborating on commissions with the Greek composer Andreas Foivos Apostolou as well as the award winning composer Gonzalo Grau.[7]
"Debussy, Clementi, Mozart, Busoni : Musique pour 2 pianos / vol.2 : En blanc et noir - Sonate / op. 12 n° 5 - Sonate / K. 448 - Fantasia contrappuntistica (recorded in France, REM)
They were a very prominent duo, founded in 1974; their three-disc set of the four-hand works of Schubert won a Grand Prix du Disque; many composers wrote works for them. They both died by suicide on 14 July 1994.[4][16]
Individually, Anna Fedorova-Latso from Russia, and Giorgi Latso from Tbilisi, Georgia, are piano virtuosos on the international classical music scene, who have performed in recitals,[45][46] chamber ensembles, and have performed with leading orchestras worldwide. They just released their first recording with Vienna Acoustics, works by Mozart and Schubert.[47]
In 1985 they gave the UK premiere of Bruch's Double Concerto. They were the first duo to give concert performances of The Planets in Holst's own two-piano version.
In 1924 they gave the American premiere of Leo Sowerby's Ballade for Two Pianos and Orchestra (King Estmere) with the Rochester Philharmonic Orchestra conducted by Albert Coates in New York. Sowerby also made a 2-piano version of the first of his two Paul Whiteman Orchestra commissions, Synconata, for the duo, as well as his Graingeresque Fisherman's Tune.
The twin-sister piano duo are graduates of the Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They are Steinway Artists and currently reside in New York City.[59] Christina and Michelle Naughton’s first album was released on the label ORFEO in 2012.[60]
William Bolcom wrote his Sonata in One Movement for them; they premiered Alban Berg's transcription of Arnold Schoenberg's Chamber Symphony, Op. 9; Dave Brubeck entrusted his original two-piano music to them and they premiered his "Points on Jazz".
Identical twins (born 1951, Istanbul), made their debut at the age of six. Recorded the four hand reduction of Stravinsky's The Rite of Spring for Deutsche Grammophon in 1980.
^Clavier: A Magazine for Pianists & Organists. Vol. 33. Instrumentalist Company. 1994. p. 46. Janine Reding of the Reding-Piette piano duo will present master classes in the Czech Republic;
^Stéphane, Villemin (2004). "Apôtres des deux pianos" [Apostles of the two pianos]. pianistes.ifrance.com. Archived from the original on 2005-10-17. Retrieved 2024-04-11. Janine Reding et Henry Piette sont une équipe prodigieuse, étoffant le tourbillon de notes dans le premier mouvement d'une manière assurément brillante, faisant chanter sans pour cela adoucir l'Adagio, et rivalisant de force et de vitalité avec l'orchestre dans le final rythmique. [Janine Reding and Henry Piette are a prodigious team, fleshing out the swirl of notes in the first movement in an assuredly brilliant way, making the Adagio sing without softening, and rivaling the orchestra in strength and vitality in the rhythmic finale.]