Variations on a Rococo Theme

The Variations on a Rococo theme for violoncello and orchestra in A major Op.33 by Pyotr Ilyich Tchaikovsky is a concert-piece for solo cellist and orchestra. Though not really a concerto, it was the closest Tchaikovsky ever came to writing a full concerto for cello. The style is inspired by Mozart, Tchaikovsky's role model, and makes it clear that Tchaikovsky admired the Classical style very much. However, one should note that the Thema is not Rococo in origin, but actually an original theme.

The piece was written between December 1876 and March 1877, for and with the help of the German cellist Wilhelm Fitzenhagen (a professor at the Moscow Conservatory). Fitzenhagen gave the premiere in Moscow on December 30, 1877, with Nikolai Rubinstein conducting. This was perhaps the only hearing of the Variations as Tchaikovsky wrote the piece until 1941, when it was played in Moscow without Fitzenhaugen's by-then-standard emendations.

Fitzenhaugen intervened considerably in shaping what he considered "his" piece. Much of the detail in the solo part is his and was actually written by him into Tchaikovsky's autograph. More importantly, Fitzenhaugen dropped one entire variation and reshuffled the order of the others. This, in turn, necessitated further cuts and splices.

Tchaikovsky had in fact asked Fitzenhaugen to go through the Variations -- something the composer apparently neglected to inform his publisher, P. I. Jurgenson. Jurgenson wrote to Tchaikovsky, "Horrible Fitzenhaugen insists on changing your cello piece. He wants to 'cello' it up and claims you gave him permission. Good God! Tchaïkovski revu et corrigé par Fitzenhagen! Nevertheless, in one of his occasional fits of insecurity about his work, especially when it came to form, Tchaikovsky allowed the changes to stand. Eleven years later one of Fitzenhaugen's students, Anatoliy Brandukov, approached the composer about whether he would restore his original idea to the piece. Apparently irritated by the question, Tchaikovsky replied, "Oh, the hell with it! Let it stay the way it is."

The variations are played without pause, except between the last slow movement and the finale; even these are not set off by the thick double bar which traditionally indicates separate movements, but only by a fermata over the final rest. The difficulty of the piece lies in this seemingly innocent set-up of the eight differing sections, without the usual longer orchestral interludes for the soloist to catch his or her breath.

The piece is scored for a reduced orchestra consisting of pairs of basic woodwind instruments, two horns, and strings, and has a theme and seven variations (making up roughly twenty minutes of music).

Structure and overview

1. Moderato assai quasi Andante - Thema: Moderato semplice
2. Var. I: Tempo della Thema
3. Var. II: Tempo della Thema
4. Var. III: Andante sostenuto
5. Var. IV: Andante grazioso
6. Var. V: Allegro moderato
7. Var. VI: Andante
8. Var. VII e Coda: Allegro vivo

Moderato assai quasi Andante - Thema: Moderato semplice

The orchestra comes in with a somewhat brief (though it looks long on paper) introduction, and the solo cello states the simple, elegant theme. The theme is repeated a total of six times, then the cello plays a brief conjunctive passage, the same exact notes of which are used to link Vars. I and II. The same conjunction is played an octave lower to link Vars. II and III.

Var. I: Tempo della Thema

The first variation is in triplets, through the midst of which the orchestra restates the theme. The sound is very lively and graceful.

Var. II: Tempo della Thema

The second variation features a section of conversation between the orchestra and soloist, in which the theme is nearly doubled in speed.

Var. III: Andante sostenuto

In the third variation the theme has changed key to C major and is played at a more contemplative speed.

Var. IV: Andante grazioso

The fourth variation is back in A major and is a livelier version of the theme.

Var. V: Allegro moderato

The fifth variation carries over trills from the end of the fourth variation, and after a grand "fall" by the solo cello onto a low E, the orchestra takes over gallantly. A cadenza follows, ending back in the trills from the beginning, and once again the melody is taken over by the full orchestra, at which point a second, much longer and more difficult cadenza follows. The second cadenza, which is brazen and filled with chords, steadfastly refuses to resolve its minor key.

Var. VI: Andante

The sixth variation is a melancholy restatement of the theme in D minor, which carries over from the cadenza.

Var. VII e Coda: Allegro vivo

After a brief pause, the soloist launches into the most difficult variation, an Allegro vivo which rarely relents its constant 32nd notes. The orchestra, too, has a difficult time keeping up with the blazing speed of the finale, the solo flute being one example.

Adaptations

In 2000, trumpeter Sergei Nakariakov played a notable version of Variations on a Rococo Theme in a transcription for the flugelhorn.

Changes from original

The list below shows Tchaikovsky's original and Fitzenhaugen's revised running order:

• Introduction- Same
• Theme-Same
• Variation I-Same
• Variation II- Same
• Variation III- Now Variation VI
• Variations IV- Now Variations VII
• Variation V- Now Variation IV
• Variation VI- Now Variation V
• Variation VII- Now Variation III
• Variation VIII- CUT
• Coda- Same

See recording by Steven Isserlis and Julian Lloyd Webber

Related Links

• http://www.tchaikovsky-research.org/en/Works/Concertos/TH057/index.html
• Variations on a Rococo Theme was available at the International Music Score Library Project. Please note that the score is Tchaikovsky's original, and will differ considerably from most modern recordings.