It could also just have been that he started the piece in Gb before he got to the key change. To conclude, I believe the likely answer in this case is that Dvorak wanted to avoid a straight parallel minor key change, and was faced with the choice of Gb major to F# minor or F# major to Gb minor, and chose to go with not having a 9-flat key signature. A pianist might have their own conceptions that would influence their interpretation. For example, a sharp major key might have connotations of being bright, while a flat major key feels more introspective and deep. Some composers do have different things they associate keys with, however. Sure, some pianists prefer some keys to others, but there's no clear bias in the literature like there is for wind instruments and jazz musicians.
Pianists are pretty non-discriminatory when it comes to keys. That would've been a bit ridiculous for sure. Gb minor has 9 flats (b and e are double-flat). Key changes are intended to be a change in tonality, and he didn't want to be going from one kind of Gb to another (or one kind of F# to another), so he decided to go from a flat key signature to a sharp key signature.Īlso consider what it would have meant if he had done a true parallel minor key change and gone from Gb major to Gb minor. One possible answer is that he didn't want to be confusing by using a true parallel minor.
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