The two-part composition has always been an essential stage in didactic treatises for teaching counterpoint; the Duo has been of fundamental importance, since the early decades of the sixteenth century, in the teaching of singing and in instrumental practice.

The interpretation and performance of Scarlatti’s Fughe a Due require on the one hand a correct and prompt interpretation of the chords which are the basis of the movement and the relationship between the two parts, and on the other an i...