Key and Character

Let me remind you of the original post of this thread (from Brumas):

"I've never been able to spot any difference in the mood of a piece based upon the key it's played in. Of course I hear a difference in pitch, but the difference in character that some perceive escapes me completely. To my ears, it's major or minor etc that matters, not the key. Are there people here that do hear a connection between mood and key, and if so, how does this work for you?"

[My italics]

That's what I and others have been discussing. Your definitive proof will be forever elusive, if that's all you want. But don't deny that there are people, including some of the greatest composers, who can hear it, and in the latter case, respond to it.

Dear Eliza, since you believe none would notice any difference, why don't you record some famous Piano or Violin Sonatas (depending on which is your instrument) on different than their original keys (without mentioning it) and see if the general public would be fooled.

For your information, because I work also with musicians, there is a huge fuss for observing the original keys even in transcribing popular songs (and, by all means, they hear any difference when a musician moves to a "wrong" key). The other day, I witness how a popular song transformed to a (simple) aria, when from the original A major was transposed to D major (above the stave) and to an alienated stuff, when was transposed to F sharp major (a third below).

Another very interesting example is the second and last movements of Schubert's "Trout" Quintet. Both movements consist of two equally divided parts, the second repeating the first part entirely, but with some temporary transpositions along the way. Most of the audiences did not notice any difference, but, as our musicians claim, this is the magic of Schubert's transpositions: the public couldn't be bothered by the entire repeat of the first part! They enjoy the piece as there was no repeats! As a unified movement. Needless to say that the very competent ears of the musicians could notice and "enjoy" the differences and the ingenious character of each transposition.

Parla

However competent the ears of the musicians may have been, what leads you to believe that "most of the audiences did not notice any difference"?

Argh, the very nature of internet forums caught in one brief passage.

Couldn't resist this quote, too:

 

In Sinfonia Concertante in E-flat major for violin, viola and orchestra, Mozart used scordatura on the viola. The solo viola part was originally written in D, and while the key of the whole work is E-flat, the viola was to be tuned half-step up and played exactly what was written on the score, sounding in the key of E flat. The author suggested that Mozart had done so because of the characteristic color of key on viola: “ For E-flat sounds very characteristic on the violin and D major sounds very characteristic on the violin.” By re-tuning the instrument and having viola play in its D major, Mozart could obtain the characteristic sound of viola, which he loved. Also, it is only the viola soloist who employed scordatura. So that while the orchestral viola players were in key of E flat, the color of the solo viola stood out. By this means, Mozart successfully achieved the contrast of key colors between violin and viola as well as soloists and the orchestra.

I have to say that this is made me think again about the importance of instrumental colour/sonority when it comes to determining key choice. (Chris, you accused me under-appreciating this and I think you were probably right.)

 

So, Eliza, you may now start being done. Eventually, there are few things that the key choice can make a substantive difference (try to play the first movement of the Piano part from the "Trout" Quintet from A one third lower).

Parla

Glad you've returned Eliza, and thanks for your gracious reply.  I must say I find these controversial topics by far the most interesting for discussion, even if tempers become frayed from time to time!

The example of the Mozart Sinfonia Concertante is most interesting.  I had not heard that before. I wonder whether all viola players do as they are supposed to? But speaking of scordatura, do you know the Rosemary sonatas of Biber.  Fifteen sonatas, in the course of which the violin is tuned differently in each sonata. In one of them two strings are tuned in octaves.

Following the frivolous (I hope) comment about transposing Beethoven's Fifth into E minor, and now Parla on Schubert's Trout, I've been trying to think of some 'real' transpositions that we could compare. I've just been listening to the last three parts of Bach's Christmas Oratorio (the Cantatas from New Year to Epiphany), and a very full source suddenly dawned on me. It is to be found amongst Bach’s extensive borrowings. Many of his works re-used earlier compositions, some more-or-less intact, others changed in instrumentation and some transposed into different keys. Two arias from the Christmas Oratorio belong to the latter group.  The famous Lullaby in Part II was previously found in a Secular Cantata (BWV213). In the oratorio it is given to the alto, and is in G, accompanied by woodwind and strings. The original, in the secular cantata is sung by a soprano, in B flat, without woodwind.  The atmosphere is completely different, surely as Bach intended! Only a tone different!  It’s the other way round with the echo aria from Part IV. Here the oratorio has it for soprano (in C), in the same secular cantata the alto sings it (in A). Interestingly, both are accompanied by oboe, but whereas the soprano has an ‘normal’ oboe in C, the alto version has an oboe d’amore, which is tuned in A, so in both versions the oboes are playing in their home keys, but of course in different keys. Again the difference is clear to hear.

Then there is the Magnificat. Bach originally wrote it in E flat, but when he came to perform it again he revised it and transposed it down a semitone to D. He never went back to the E flat version and most commentators find the D major version preferable. I have recordings of both versions and certainly agree. Again to my ears the difference is very audible.

Finally there are the violin concerti, all of which later became harpsichord concerti, in each case transposed down a tone: E major to D major, A minor to G minor, and D minor (the double concerto) to C minor. Of course harpsichord is different from violin but the orchestral parts (strings only) are the same.  Do they sound different? I know what I think, but try them!!

 

One general comment before closing for now.  There is inevitably an imbalance between suggesting hypotheses and criticising them. It’s much easier to criticise an idea than to advance an idea. I will try shortly to do as you ask, Eliza, and put forward a suggestion that includes music played on equal temperament keyboard.  It is based on things I’ve already written in this thread but I’ll try to put them together more coherently. But be gentle folks, (and if possible constructive) with your criticism please!

 

Chris