I've been watching "Grand Duo," in which Mr. Morris charts individual neurological impulses and brings them together into a choral war dance, since it was new in 1993, and I still find that this is a work that changes my breathing as I watch.
Dieudonné began his career, The New Yorker notes, as part of a comedic duo in which he and his Jewish counterpart exchanged racist jibes (Dieudonné's father was from Cameroon).
What they are, in fact, is superbly balanced duos, in which the piano happily dukes it out with the smaller but feisty violin.
Many of the acts were duos in which one member (often with a Jamaican-style name like Alberto Stylee or Ranking Stone) used the rough tone of Jamaican dancehall toasting and the other came on more smoothly or even sang.
In "Black Diamond" he has met the challenge of comparison with George Balanchine's 1972 "Duo Concertant" in which a man and a woman seem to embody the piano and violin of the score within a lyrical love duet.
If the jazz pianist Fred Hersch is a superb solo performer, that encomium can stretch to his duo performances, in which he both accompanies and makes a lot of his own rapturous, harmony-rich, dynamically calibrated sound-world as well.
Also on the all-Stravinsky-Balanchine program was "Monumentum Pro Gesualdo" and "Movements for Piano and Orchestra," both authoritatively headed by Charles Askegard and Rebecca Krohn; and "Duo Concertant," in which Nikolaj Hubbe, partnering Yvonne Borree, was a spirited delight.
Mind Train/Twisted Records plans to release an "Everyman" double-album on Sept. 28, which is to include perhaps the best "Everyman" of them all: a frenetic mix by the Miami-based production duo Murk, in which ONO's vocals are mainly submerged beneath synthesizer snarls and air-raid sirens.
One solution is to incorporate the display technology into the artwork, as in "Holiday Movies" by the French artist duo Kolkoz, in which 3-D films inspired by home-made vacation movies are installed in a replica of a TV set that acts as a viewing station.
Bach's Flute Sonatas in B minor (BWV 1030) and in E flat (BWV 1031) highlight the emergence of the duo sonata, in which the cello continuo of the Baroque trio was eliminated and replaced with a more equal partnership between flute and harpsichord.
After a towering first half of a duo recital, in which Gerhardt, full of refinement and grit, played Britten's solo Suite No 1 while Osborne performed the gargantuan Fourth Sonata by Tippett, they came together for Beethoven's C major Sonata Op 102 and Britten's Cello Sonata.
