If two concert pianists are performing a work written for two grand pianos, there are two ways you can position the instruments. They can sit side by side, an arrangement known as ‘twin beds’. Or they can be slotted together so the performers face each other. That’s called a ‘69’.
When Martha Argerich and Stephen Kovacevich play together, they opt for twin beds. Appropriately, you might think, since they’re divorced — but really it’s because Kovacevich insists on sitting so low that Argerich can’t see his head if she’s opposite him. With everyone else she prefers a 69, as do most pianists: it’s easier to make eye contact.
And that’s crucial, because it’s no joke trying to synchronise with a duo partner when your own part is monstrously difficult. No wonder the two-piano repertoire is neglected.
Indeed, it might have disappeared by now if Martha Argerich hadn’t decided, more than 30 years ago, that she was too nervous to play solo in public.
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