Monika Leskovar - Martina Filjak - Rachmanioff - Sonata for cello and piano in G minor, Op. 19

Sergei Rachmaninoff
Sonata for cello and piano in G minor, Op. 19
Monika Leskovar, cello
Martina Filjak, piano
SAMOBOR MUSIC FESTIVAL 2024
video / audio
Marko Pletikosa

00:00 I. Lento - Allegro Moderato
It is the longest of the four, especially when the exposition repeat is observed. It begins with a slow introduction in which the piano presents a six-note theme that at first appears insignificant, but in fact plays a key role throughout. The tempo picks up and the cello presents a passionate, beautiful theme. A slower, somewhat more wistful melody follows, after which comes the stormy development section. The reprise ensues and the movement ends in typical Rachmaninovian fashion: the tempo speeds up as thematic morsels appear in a race to the finish, the piano crowning the coda with three resolute chords.

14:28 II. Allegro scherzando
The second movement begins with piano writing reminiscent of the faster and more sinister passages in the Rhapsody on a Theme of Paganini. The cello presents a rhythmic idea in the opening moments of marginal interest. Two other themes are also presented, the latter of which is quite beautiful and recalls the mood of much of the slow music in the Second and Third Piano Concertos, especially in the piano writing.

23: 11 III. Andante
The third movement is viewed by many as the strongest of the four. It begins on the piano with a lovely theme of intimate and passionate character. After the cello enters, the material expands much the way the melody does in the second movement of the Second Piano Concerto. A powerful climax is reached, and the third movement ends softly.

27:54 IV. Allegro mosso
The finale starts off with a robust theme on the cello that rather lacks the individual stamp of the composer. Still, the music is bright and vivacious and has strong appeal. There follows a second subject more in the Rachmaninovian vein, full of passion and beauty and seeming to soar to the heavens. The two themes reappear throughout, the composer deftly manipulating their interplay. In the beginning of the coda, the cello recalls the piano's opening (six-note) theme from the first movement, and then the work ends brilliantly.
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