Abstract
The vocal duets of G. F. Handel are distinguished by a greater musical and dramaturgical diversity compared to the duets of his contemporaries, but this diversity has not yet been systematically examined in different contexts. This study investigates them in two genre traditions, that of the chamber duet and that of the so-called “dramatic duet”, a component of genres such as opera, cantata and serenata. It concentrates on London in the period 1706-1724 in order to explore to which extent Handel's treatment of duets differs from the contributions by his Italian contemporaries, who were either active in London at the time (e. g. G. Bononcini) or whose works were performed parallel to his.
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