[CAUT] Speaking of Chopin...

[Porritt, David]

In this discussion of key choices made by composers, we have never yet entertained the idea that some keys are chosen for the simple reason that a particular key falls under the fingers more comfortably than others.  Chopin said that he thought beginners should start playing in the key of B because it falls under the hands so much more comfortably than any other.  On this, I agree with him.  Take one of his pieces written in B and try to play it in B-flat.  It's very awkward.  This had to have some influence on a choice of key.

dave

David M. Porritt, RPT
dporritt at smu.edu


-----Original Message-----
From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Israel Stein
Sent: Tuesday, January 13, 2009 10:48 PM
To: caut at ptg.org
Subject: [CAUT] Speaking of Chopin...

Gang,

Speaking of Chopin, I have here a little excerpt from a rather scathing 
contemporary review of his music (out of a very fun little book that I 
highly recommend - "Lexicon of Musical Invective" by Nicholas Slonimsky. 
It's a collection of reviews panning some of the greatest composers - 
starting from Beethoven).
Anyway, L. Rellstab writes on August 2, 1833 for the Berlin publication 
"Iris" about the three Nocturnes opus 9: "Furthermore, Chopin has again 
not failed to choose the remotest keys, B flat minor, B major and, of 
course, E flat Major". In general his music is being panned for its 
wild, crude sound - often citing key choice. Now, if quasi-equal 
temperament is being used - what difference does key choice make? Would 
Herr Rellstab be so bent out of shape about having to listen to B flat 
minor if it didn't sound much different from D minor? Whatever tuning 
system Chopin used, those outer keys must have sounded quite wild for 
reviewers to object to them so vehemently...

Israel Stein