Elgar's Salut d'Amour
The original was in E major, but a lot of people, including Itzhak Perlman, play it in the possibly more tractable (depending on fingering) key of D major. Both versions are in IMSLP. But violin was Elgar's first instrument, barring piano, so is there not an argument for playing Salut in E major, as Elgar wished?
I think most people play the original in E major. The D major version did appear during Elgar's lifetime and is probably intended for the then large sheet music market for amateurs. I suspect if Elgar wasn't directly responsible for the D major version (which I assume he was), he would have at least sanctioned it.
But all this raises the question, Why does Perlman play it in D?
Perlman might have learned it originally in D major at the age of 2 or something. Or maybe he's trying to out-HIP the HIP-sters and tune his A down to 390 or whatever it would be.
Will you get a more resonant sound in D?
I think if the Mendelssohn E Flat Octet Op. 20 were transposed to D it might be a lot easier to play but it would sound much different and probably worse. I think Mendelssohn specifically chose E flat because the tonic is not a resonant note (but the third is!) and this gives the whole work a much more velvety texture.
Janes Ehnnes also plays it in D - why, I don't know. All things being equal, it has more elegance and sheen in the original E. Of course, Perlman and Ehnnes could make convincing cases playing it in Q flat. But still...
This discussion has been archived and is no longer accepting responses.