Ernő Dohnányi - Piano Quintet No. 2 in E-Flat minor Op. 26 [score + audio] 

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@Ahmed Vincent Instablaster =)

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@Ahmed Vincent glad I could help =)

(from left to right) dohnanyi, bartok, and kodaly posing for a funny picture c. 1900

What are you asking about, it's just the score.

It may remind you of Brahms, but Brahms it isn't. There must be hundreds of pieces written over a long period that remind you of Brahms, such was his influence. But always remember music is like a fingerprint. No two composers have the same :-)

it's like brahms for people who like brahms but are also getting a little tired of brahms

@@AdamMusicWorld hah

Key signatures are tools to make our jobs easier, not be-all-end-all rules of composition. In this case, the music very frequently ventures outside of the tonic key, so if you put the key signature as Eb minor you would spend more time slapping naturals on notes outside of key than you would actually reading in tonic Eb minor without alternations. So fewer marks in the key signature makes sense. Notice how much of the third movement has a neutral key signature, yet only about four bars are actually in C major or A minor.

@@JHouse4 I agree with you, but using the relative major key signature is going against exactly what you're saying, because Dohnányi is having to explicitly notate the three extra flats every time they come up - Schumann has the same problem in Manfred. Given that these two are clearly _not_ using the key signature for the purpose of ease of notation (because they still have to notate a lot of this stuff in), they're using it just in the basic sense of telling us it's 'in E-flat', which imo is an incorrect usage entirely.

@@klop4228 I think it's about the happy medium. It does sit in harmonies related to Eb a lot, so you get a considerable amount of mileage out of the three flats provided. Without those three flats, large sections at home in Eb would be littered with accidentals. But with all six flats, many passages would be littered with naturals. I think the in-between decision makes a lot of sense.

@@JHouse4 Perhaps, though to be honest I feel you could say exactly the same with regard to a number of other uses of key signature - including many instances of E-flat minor. I think, if you're bothering to use key signatures, it makes sense to use the one for the key you're obstensibly in. To be fair, in this case it's not the worst thing ever - in the Schumann I brought up, it really feels like he only used three flats because six flats is scary, given the number of accidentals (incidentally, he does something else I'd usually complain about - enharmonic modulation - but G-flat minor is ridiculous). I mean by the late romantic, key signatures were often kind of useless, given all the chromaticism, and it makes sense that people stopped using them.

Another example of this is the 4th movement of Schumann Symphony #3, where he uses 3 flats despite much of the music being in E-flat minor. Never understood why he made such a choice

I think u might b right

Why might I ask?

ok

yeah idk🤷‍♂️. I'm also a little annoyed with the high-pitched whine of the air conditioner in the background throughout the whole recording. a little unprofessional to keep the AC running during a recording session but this is still by far the best recording of this piece, I promise you that.