Unser neuer Gesamtkatalog

Armenian pianist Sona Shaboyan, who currently lives in Switzerland, already attracted attention with her program of Armenian piano music released on OehmsClassics. The CD was highly praised; reviewers expressed the desire to hear the pianist interpret standard works. On her new recording, in addition to Chopin’s Etudes op. 10, she now presents one of the most popular piano works of all time: the Sonata in B-flat Minor with the famous Marche funèbre.

Etudes, op. 10

The term “Etude”, borrowed from French, designates an instrumental piece in which various technical, but also rhythmic and expressive intricacies or problems related to overall performance must be overcome. There are essential differences between etudes and the simple “studies” used to promote finger dexterity (Czerny, Clementi, Cramer). Although early 19th century etudes were first written solely for didactic purposes, this form soon became a vehicle for demonstrating extreme virtuosity in the concert hall. Paganini’s Capricci (1818) were the embodiment of the etude, but the etude was also considered as a more in-depth, expressive piece tending towards the character piece. The most significant collections of piano etudes were all composed in the 1830s. These are still considered to be the first and unrivalled apex of the genre (Études d’exécution transcendante, Franz Liszt 1826, 1838, 1851; Symphonische Etüden op. 13, Robert Schumann 1834–1837 and Frédéric Chopins Études op. 10, 25 as well as his 3 Nouvelles Études o.op. 1832, 1836, 1839). The twelve pieces of opus 10, dedicated to Franz Liszt, are only partially related to each other through cyclical key relationships (major-minor parallels); it can be assumed that Chopin wanted to leave the choice and performance order up to the interpreter. Short remarks point out the technical and expressive idiosyncrasies of the pieces: No. 1 in C Major: development of smoothness and power (ff throughout) in the right hand. No. 2 in A Minor: legato playing by the weak 3rd, 4th and 5th fingers of the right hand. No. 3 in E Major: contrast between lyrical-elegiac cantilenas and a wildly moving middle section with intricate transitions. No. 4 in C-sharp Minor: raging chase with a dramatic coda. No. 5 in G-sharp Major: the right hand plays rhythmically intricate figuration on the black keys, with crystal-clear sound. No. 6 in E-flat Minor: independence of the contrapuntal melody and accompaniment. No. 7 in C Major: delicate finger exercise for the right hand in thirds and sixths over a syncopated melody in the left hand. No. 8 in F Major: brilliant feat of bravura, dazzling arpeggios in the right hand over rhythmically staggered leaps in the left. No. 9 in F Minor: expressive agitato; widely spanned accompanying figures in the left hand. No. 10 in A-flat Major: like a perpetuum mobile; facility and independence of both hands from each other. No. 11 in E-flat Major: exclusively arpeggiated chords in both hands, which accompany a poetic melodic line. No. 12 in C Minor: moving- dramatic expression (the name “Revolution Etude” comes from Franz Liszt), highly tense, furious hopelessness.

Sonata in B-flat Minor, op. 35
“Funeral March”

Chopin spent the summer of 1839 in Nohant, the estate of his companion George Sand (Aurore Lucile Dupin, 1804–1876, married until 1831 with Baron Dudevant). This is where he finished the previously begun sonata; he had written the funeral march in 1837. Chopin’s attempt to come to terms with cyclical forms resulted in four works (the others were the Piano Sonata No. 1 in C Minor, op. 4, 1828; Piano Sonata No. 3 in B Minor, op. 58, 1844; Sonata for Violoncello and Piano in G Minor, op. 65, 1847), although his use of the traditional form is highly personal. The inner connection between movements, although not easy to perceive, does exist. In the first movement of the Sonata in B-flat Minor, two subject areas are presented and developed. The beginning is motoric and unsettled; in the second section, sostenuto, holds a Bellini-like cantilena which is then followed by the stretto closing section. The second movement – in contrast to tradition – is a rhythmically accentuated scherzo in E-flat Minor, interrupted by a melancholic trio. The famous third movement, the Marche funèbre in B-flat Minor, pays homage to Beethoven’s Sonata op. 26. Its themes are clear and simple. The contrast between depression or mourning and the lyrical melody in the middle section is moving and emotional. The finale is exceptionally enigmatic: in breathless unison, both hands dart over the keyboard with complicated harmonies and monotonous rhythms; no melody is recognizable. It is as if the merciless composer wishes to drive the listener into the abyss with hopeless fear and furious disquiet.



Marie-Paule Rambeau: Chopin, l’enchanteur autoritaire. Paris: L’Harmattan, 2005. New standard publication on Chopin’s life and works.

Handbook article by Jean-Jacques Eigeldinger: Chopin, in Musik in Geschichte und Gegenwart, publ. by L. Finscher. Kassel [etc.]: Bärenreiter, 2000, columns 973–1010.

Jürgen Lotz: Frédéric Chopin, Rowohlts Monographie, Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag, 1995.