Sonata in G minor, Op. 19 Cover Image

Sonata in G minor, Op. 19: Viola, Solo with Piano, Solo and Piano

$14.95 USD
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Sonata in G minor, Op. 19 Cover Image
Sonata in G minor, Op. 19: Viola, Solo with Piano, Solo and Piano

Sonata in G minor, Op. 19: Viola, Solo with Piano, Solo and Piano

By Sergei Rachmaninoff, transc. Vadim Borisovsky

Item: 36-M122491
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Description
The SONATA in G minor, Op. 19, was written in 1901 for cello and piano, and it was Sergei Rachmaninoff's (1873-1943) final chamber work, finished right after the composer finished his famous PIANO CONCERTO No. 2, Op. 18. The public success of these two works helped Rachmaninoff recover from the depression and creative pause resulting from the failed 1897 premiere of his SYMPHONY No. 1. The SONATA premiered in Moscow on December 15, 1901, with Anatoly Brandukov, to whom the work was dedicated, playing the cello and the composer at the piano. Rachmaninoff considered the piano to be more than mere accompaniment in this work, but rather an equal to the cello, usually introducing the themes that the cello would then embellish and expand upon. This transcription for viola and piano was completed by Vadim Borisovsky. Reprint edition.

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Additional Details
Series: Master String Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563943-X
ISBN13: 979-8-89-563943-6
UPC: 660355030680
SKU: 36-M122491
Instrumentation: Viola and Piano

More about this title

About the Composer: Sergei Rachmaninoff

Sergei Rachmaninoff (1873-1943) was a Russian composer, pianist, and conductor whose music bridges the Romantic and modern eras. His technical mastery and emotional directness shaped his approach to composition across all genres, from large orchestral works to intimate chamber pieces. Rachmaninoff's career was marked by both triumph and struggle; after the devastating failure of his Symphony No. 1 in 1897, he withdrew from composition for several years. The creative resurgence that followed produced some of his most celebrated works, including the Piano Concerto No. 2 and this Sonata in G minor, both completed in 1901 and both instrumental in restoring his confidence as a composer.

As a pianist, Rachmaninoff understood the instrument's potential with rare sophistication, and this knowledge directly shaped how he wrote for both keyboard and strings. His chamber works reveal an especially refined ear for dialogue between players; rather than relegating the piano to a supporting role, he conceived it as an equal voice in conversation. This approach distinguishes his sonatas and makes them enduring favorites in the recital hall.

Why we love this

Rachmaninoff's harmonic language and long, singing lines translate beautifully to the viola, and this transcription preserves the original work's essential character while opening it to a new audience. The piano writing demands genuine artistry from the accompanist, making this a genuinely collaborative piece rather than a showcase for the soloist. Programmers value it for its substantial length, Romantic appeal, and the depth it brings to recitals alongside more contemporary viola repertoire.

What to expect

This sonata unfolds with the lyrical beauty and harmonic richness characteristic of Rachmaninoff's style, drawing the listener into an intimate musical conversation. The dark tonality of G minor, combined with sweeping melodic gestures and rich piano textures, creates an atmosphere that is both introspective and deeply expressive. From its opening gestures through to its passionate conclusion, the work balances Romantic grandeur with genuine chamber intimacy.

Who it's for

Advanced viola students and experienced amateurs who are ready for substantial Romantic-era chamber literature will find a rewarding challenge in this sonata. It suits recitalists seeking repertoire with genuine emotional weight and compositional sophistication. The piece is equally valuable for musicians studying Rachmaninoff's output or exploring how major works can be successfully adapted across string instruments.

How to get the most out of it

  • Shape the long melodic lines with the same vocal quality Rachmaninoff intended for the cello; resist the urge to fragment phrases at string changes, instead thinking across the entire arch from opening to cadence.
  • Coordinate dynamics with the pianist carefully, especially in passages where the piano introduces thematic material and the viola enters with countermelody; the two voices must balance without the viola disappearing.
  • Approach the slower middle section with particular attention to tone production; the viola's warmth is essential here, and excessive vibrato can muddy Rachmaninoff's chromatic harmony.
  • Allow the piano to breathe in its solo passages and introductions; these moments establish the harmonic context and deserve space before the viola enters.

How to use it

Feature this as a centerpiece of a Romantic-era solo viola recital, pairing it with works from different countries to highlight the international reach of the sonata tradition. Its length and emotional scope make it an excellent choice for a standalone concert item or as the substantial offering in a program that includes shorter character pieces or contemporary works. The work's historical significance as Rachmaninoff's final chamber composition makes it especially suitable for thematic concerts exploring the composer's creative output or the viola's role in early 20th-century European chamber music.

Skills your students will build

  • Sustaining long, lyrical lines across string changes while maintaining tonal consistency
  • Balancing with an equal partner (the piano) rather than dominating the texture
  • Navigating Rachmaninoff's chromatic harmony and understanding harmonic function through performance
  • Collaborating with a pianist through dynamic shaping, phrasing negotiation, and ensemble listening
  • Interpreting expressive notation and Romantic-era performance conventions specific to Russian compositional style

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