Variations on a Rococo Theme, Op. 33
Peter Ilych Tchaikovsky (1840-93)
Introduction: Moderato assai quasi Andante; Theme: Moderato semplice; Variation 1: Tempo della Thema; Variation 2: Tempo della Thema; Variation 3: Andante sostenuto; Variation 4: Andante grazioso; Variation 5: Allegro moderato; Variation 6: Andante; Variation 7 & Coda: Allegro vivo.
Peter Ilych Tchaikovsky suffered from depression, and the year 1876 was an especially low moment for him. He lacked financial security (a rich patron was to appear soon afterwards) and he doubted his ability as a composer. Indeed, his other works written around this time reveal a wide breadth of influence, as though Tchaikovsky was searching for his real ‘voice’. Against this background, it is not surprising that he chose to write in a so-called rococo style. Historians suggest that ‘rococo’ music belongs to the period prior to that of W.A. Mozart and the mature Josef Haydn, but Tchaikovsky’s version is distinctly Mozartian in character. Having said that, the work borrows not a single note from the earlier period, so the title is misleading. The music should be regarded as homage to Mozart rather than theft from Mozart or, indeed, anyone else. In short, the theme is Tchaikovsky’s as is all that follows.
Tchaikovsky wrote the Variations for his friend Wilhelm Fitzenhagen, who was a fine cellist and something of a meddler besides. Fitzenhagen advised Tchaikovsky on the finer and more advanced aspects of cello technique. He also edited the piece heavily, even to the extent of changing the order of the variations and removing one of them altogether. It is Fitzenhagen’s version that is generally played today, although a ‘restored’ version of the original exists.
Tchaikovsky is said to have disliked variation form but he saw that a full-blown cello concerto might be too challenging. As it turns out, the music is a model of its kind. Each variation is individual in character yet clearly related to the original theme. A coda, which is not an extra variation, rounds off the piece in splendid style. The work is notorious because of its challenges for the soloist. Much of the solo part lies more in the range of the violin than the cello. Fitzenhagen must have been an excellent exponent because his promotion of the work brought fame and recognition to Tchaikovsky. However, Fitzenhagen was not slow in offering himself parallel and possibly exaggerated credit. After performing the work at the Wiesbaden Festival in 1879, he wrote to Tchaikovsky: ‘I produced a furore with your variations. I pleased so greatly that I was recalled three times, and after the Andante variation there was stormy applause. Liszt said to me: “You carried me away! You played splendidly”…’
Peter Ilych Tchaikovsky (1840-93)
Introduction: Moderato assai quasi Andante; Theme: Moderato semplice; Variation 1: Tempo della Thema; Variation 2: Tempo della Thema; Variation 3: Andante sostenuto; Variation 4: Andante grazioso; Variation 5: Allegro moderato; Variation 6: Andante; Variation 7 & Coda: Allegro vivo.
Peter Ilych Tchaikovsky suffered from depression, and the year 1876 was an especially low moment for him. He lacked financial security (a rich patron was to appear soon afterwards) and he doubted his ability as a composer. Indeed, his other works written around this time reveal a wide breadth of influence, as though Tchaikovsky was searching for his real ‘voice’. Against this background, it is not surprising that he chose to write in a so-called rococo style. Historians suggest that ‘rococo’ music belongs to the period prior to that of W.A. Mozart and the mature Josef Haydn, but Tchaikovsky’s version is distinctly Mozartian in character. Having said that, the work borrows not a single note from the earlier period, so the title is misleading. The music should be regarded as homage to Mozart rather than theft from Mozart or, indeed, anyone else. In short, the theme is Tchaikovsky’s as is all that follows.
Tchaikovsky wrote the Variations for his friend Wilhelm Fitzenhagen, who was a fine cellist and something of a meddler besides. Fitzenhagen advised Tchaikovsky on the finer and more advanced aspects of cello technique. He also edited the piece heavily, even to the extent of changing the order of the variations and removing one of them altogether. It is Fitzenhagen’s version that is generally played today, although a ‘restored’ version of the original exists.
Tchaikovsky is said to have disliked variation form but he saw that a full-blown cello concerto might be too challenging. As it turns out, the music is a model of its kind. Each variation is individual in character yet clearly related to the original theme. A coda, which is not an extra variation, rounds off the piece in splendid style. The work is notorious because of its challenges for the soloist. Much of the solo part lies more in the range of the violin than the cello. Fitzenhagen must have been an excellent exponent because his promotion of the work brought fame and recognition to Tchaikovsky. However, Fitzenhagen was not slow in offering himself parallel and possibly exaggerated credit. After performing the work at the Wiesbaden Festival in 1879, he wrote to Tchaikovsky: ‘I produced a furore with your variations. I pleased so greatly that I was recalled three times, and after the Andante variation there was stormy applause. Liszt said to me: “You carried me away! You played splendidly”…’