Ethel Bartlett (1896–1978) and Rae Robertson (1893–1956), popularly known as Bartlett and Robertson, were a husband-and-wife classical piano duo who were credited with popularising two-piano music in Europe and the United States in the 1930s and 1940s through their extensive touring, recordings, and radio performances.

Of English and Scottish background respectively, Bartlett and Robertson met during their studies at the Royal Academy of Music in London and married in 1921.

Although they initially pursued solo careers, they teamed up as duo-pianists in the late 1920s and conducted annual international tours for over two decades.

[1] In September 1914 he began studying under Tobias Matthay at the Royal Academy of Music, but was drafted in January 1915 into the English army for World War I.

The Times's critic wrote, "They have not fully understood yet that the point of playing on two pianos is not to get more sound but to work out intricate detail more clearly".

[1] After their two-piano recital on 15 August 1924, The Times applauded their performance for its "great zest, as though they really enjoyed every note of the contrapuntal figuration".

[1] In a 1935 interview, Bartlett explained that when she and Robertson began their duo-piano partnership, they were the first piano duo in England and consequently had to search extensively for appropriate music.

They commissioned five compositions from Sir Arnold Bax, the most famous being his Sonata for two pianos (1929) which they premiered in London on 10 December 1929.

[1] Benjamin Britten composed three pieces for them: Introduction and Rondo alla Burlesca (1940), Scottish Ballad, Op.

In 1930 they signed with His Master's Voice, for which they recorded Bach's Concerto in C for two keyboards, BWV1061; Saint-Saëns' Variations on the trio from the minuet; Beethoven's Sonata in E Flat, Op.

[12] A reviewer of their 1936 recital at the Orpheum Theatre in New York wrote: From their first notes they brought to the audience an impression of absolute synchronization and harmony of thought and concept.

The very feminine qualities of interpretation which Miss Bartlett possesses were fused with Mr. Robertson's conception of the music in a very fresh and charming manner.

[13]Regarded as "one of England's most beautiful women",[5] Bartlett was a favourite portrait subject for both Harold Knight and his wife, Dame Laura Knight, who painted her numerous times over a period of 20 years from the time she was a teenager, and showed her portraits in their exhibitions.

[6] The Bartlett and Robertson Collection, including press clippings, personal photographs, and letters, is housed at the Royal Academy of Music in London.