In the world of equal temperament, the extra-musical meaning associated with a key is an hommage to a composer, isn’t it?
(Pianist friends, please educate me if you have thoughts on this)
I have always been drawn to “sweet” music, and slowly over time, I have realized that quite a few of my favorite pieces are in the key of D-flat major. Is D-flat major supposed to be sweet?
After organizing these sweet D-flat major pieces in chronological order, it seems like this trend was started by Chopin. Liszt and Chopin were friends, Debussy studied with a student of Chopin, and Nazareth worshipped Chopin. I can’t help but think that after Chopin, all D-flat major pieces are an hommage to him. Yes, it’s just my simple-minded speculation. You can challenge it.
“Raindrop”, from Prelude, Op. 28 (composed between 1835-39) by Chopin
Nocturne, Op. 27, #2 (composed 1836, published 1837) by Chopin
Funeral March, 3rd Movement from Sonata No.2 (published 1840) by Chopin
Berceuse, Op. 57 (published 1844) by Chopin
“Un Sospiro”, from Three Concert Etudes S.144 (composed 1845-49) by Liszt
Minuet Waltz (composed in 1847) by Chopin
Nocturne (1892) by Debussy
Largo, 2nd movement from the New World Symphony (composed 1893) by Dvorak
Dora (ca. 1900) by Ernesto Nazareth
Clair de Lune, from the 3rd movement Suite bergamasque (1905) by Debussy
Fidalga (ca. 1914) by Ernesto Nazareth
(what Villa-Lobos pieces are in D-flat?)