Beethoven’s fifth piano concerto known as the Emperor Concerto is in a majestic E-flat major. Well, it is the most people. Today Rodney Trudgeon played the finale on his morning programme on Fine Music Radio. It sounded instantly in E major, my usual semitone auditory transposition. This was okay because for me E major also has a majestic streak though where E flat major would be a royal blue, E major would be more like the golden threads in a royal cloak. As happens when I’m driving with music playing, my mind wandered. When I returned to the Beethoven, we were in the development section where he travels through three keys – C major, A flat major and then E major before modulating back to the main key. I tuned in as the C major section began – in C major. C major being one of the stronger keys that is less likely to move, I was not surprised. I was interested to see what would happen as we went through three key sequence. And everything sounded as it should with each key’s aural palette intact, even to the point where the Rondo structure of the movement brings back the main theme. It came back E flat major, not E major as at the start. However I was soon aware that the E-flat major tonality was shifting and, by the time Wilhelm Kempff on the piano re-entered, we were back in E major and stayed there all the way through to the end. In truth, we were not all in E major: Mr Kempff and the Berlin Philharmonic Orchestra were playing in the E flat major that Beethoven had written his Concerto to be played in.