Posted: 11/10/2014 9:13:23 PM EDT
| which I always find is really the saddest of all keys, really, I don't know why. It makes people weep instantly. |
|
Personally I would categorize D-minor as "Dark", but not necessarily "Sad". As examples I would cite Piano Concerto No 20 by Mozart as a typical D-minor composition, while it's tonality drifts and modulates, the overall "Dark", almost longing qualities are typical of what I think of as classic D-minor in sound.
Also see Bach's tacotta & fugue in said key, as well as Mozart's Requiem for the darkness inherent in the key. |
|
That renditiojn, like nearly every one I have heard, is rushed. The whole notes are supposed to have time to rattle the pews and scare the peasants.
E. Power Biggs version is best version. |
|
Quoted:
Personally I would categorize D-minor as "Dark", but not necessarily "Sad". As examples I would cite Piano Concerto No 20 by Mozart as a typical D-minor composition, while it's tonality drifts and modulates, the overall "Dark", almost longing qualities are typical of what I think of as classic D-minor in sound. Also see Bach's tacotta & fugue in said key, as well as Mozart's Requiem for the darkness inherent in the key. Ken, you know a lot about this. Keys do indeed have colors. Some people see a color when they hear a certain tone. Beethoven's Symphony No. 9 Mahler's Sym 3 I'm sure "tacotta" was a typo. . . . . you meant Toccata. But of course this whole thread is a riff on "This one goes to ELEVEN." "Helloooooo Cleveland!" |