If it's in a major key I almost certainly won't like it. And many minor pieces shade into major keys partway through the piece.
Oftentimes sadness and despair seem to carry a greater weight than joy and happiness. I found that as a teenager I did not generally enjoy classical works in major keys. However I found it to be trapping as I was trying to find something within classical music rather than accepting what it was trying to do. Just as a soft piece can hit one as hard as the loudest I have come to find that works in a major key can go as deep as those in any somber scale. If one looks at the second movement of Beethovenís 8th piano sonata one can see a great sadness amidst the more apparent peace and tranquility.
Great example! I used to be very biased towards the darker sounding modes in classical, but something I realized by countless exposures was that often the perceived major/minor-ness is actually more of an interpretive construct based on the series of repetitions. An example of what I'm talking about is Beethoven's Sonata no. 23 mvmt. 3 (a very grim, headbanging piece, especially the last movement) where you have the main theme which starts on an f minor arpeggio (starting from the fifth, C) and then an alternating scale pattern (also f minor in first inclusion) which is recurrent in the piece. No one will deny that this is aeolian/minor/heavy sounding (for the uneducated) but something to watch out for as the piece re-iterates this theme is that as it traverses positions, it also changes in modality, to major. Now, in context it is no less powerful than the minor patterns, and in fact is necessary for Beethoven's true effect, which is the effortless mastery of making a single, simple idea diversified in many ways throughout an entire piece. It may be all well and evil to only play minor chords in black metal, but there is a huge void where the genius foresight of the masters would expand, modify, contort, and re contextualize. You won't find only one single type of chord in Beethoven's "atrociously happy" sonatas. From the superficially grim, to the majestic and downright jubilant, masters will utilize most, if not all of the basic triad modalities (major, minor, diminished, augmented) to re contextualize ideas.
I'm not attacking metal for its simplicity, and I'm not really criticizing the bias towards the darker sounds, I'm just talking about a different paradigm of heaviness perhaps, where it's not the sheer "minorness" that makes it epic, but the vast genius of utilizing multiple connotations of a single idea.
You wanna start talking about adhering to modality? Don't even get me started on Bach...