The classical music station in Boston once had a bumper sticker that said, "Soothe a savage breast today." The music adds a touch of beauty to those whose life may be temporarily devoid of it.
This finale is in 4/4, G Major, and is marked “allegro mosso”, which means you don’t want the moss to grow under your feet. It’s in sonata format, and the joy just leaps off the page.
At 0:55, the second subject appears in D Major with a “moderato” marking.
At 2:36, development begins. Sergei breaks the up the first subject into fragments with the piano ending each segment with block chromatic chords. The idea is to prevent any sense of a home key. At 3:56, he works the second subject. At 4:50 he brings back the first subject, but its chromatic chords lead to a G Major resolution at 5:27, and we’re at the recap!
The first subject is stated as before, and at 6:20, the second subject appears in G Major.
At 8:05, the coda begins with a slowing-down technique of block chords and pedal points on the piano while the cello releases the tension. He fools you into thinking that he’s going to end it quietly and slowly. Then at 8:55, he speeds it up for a leap at the heavens. Sergei knew how to write an ending.
Over the years, Harrell has taken some flack over his approach to the finale, which is over-the-top. Some believe a more restrained approach would be more appropriate. But I’ve come to disagree. This calls for a storming of the heavens, and Harrell delivers.
Rachmaninov: Cello Sonata in G minor, Op. 19, fourth movement
You are so right that it brings a touch of beauty.