Variations on a Rococo Theme, op. 33 Peter Ilyich Tchaikovsky
Peter Ilyich Tchaikovsky was born on May 7, 1840 in Votinsk, Russia and died on November 6, 1893 in Saint Petersburg. He remains one of the most popular composers of all time, beloved especially for his symphonies, ballets, and concertos. His Variations on a Rococo Theme was composed in December 1876 for cellist Wilhelm Fitzenhagen, to whom the work is dedicated. It received its first performance in Moscow on November 30, 1877 under the baton of Nicolai Rubinstein and with Fitzenhagen as soloist. It is scored for a small orchestra comprising 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings.
Composed in 1876, Tchaikovsky’s Variations on a Rococo Theme is the closest the composer came to writing a concerto for the cello. The term “Rococo” is most commonly used in reference to an architectural style of the mid-18th century that is notable for light, if fanciful, ornamentation. In music history it is applied to compositions from the same era that represent a transition from the Baroque style to the “Classicism” of the mature Haydn and Mozart. Tchaikovsky, who adored the music of Mozart, composed his theme as a reminiscence of the style and smaller orchestral forces associated with much music of the 18th century. The ornateness and virtuosity of the variations themselves are as much the work of Fitzenhagen as it is of Tchaikovsky. Indeed, Fitzenhagen’s role as co-composer went as far as reducing the number of variations from eight to seven, as well as changing their original order.
While sacrilege to Tchaikovsky aficionados, including the composer’s publisher, Jürgenson, the Fitzenhagen version was the one to be published in 1889 and is the one from which nearly all cellists learn the piece. When Jürgenson learned of the changes, he wrote to Tchaikovsky: “Horrible Fitzenhagen insists on changing your cello piece. He wants to ‘cello’ it up and claims you gave him permission. Good God!” When Tchaikovsky was asked several years later if he planned to restore his original concept, the composer responded “Oh, the hell with it! . . . Let it remain the way it is.” Lacking published performance materials, few cellists and conductors are willing to undergo the arduous task of restoring Tchaikovsky’s original design, even if those familiar with the work deem to be the superior version. Tonight’s performance will present the Fitzenhagen version. No need to fret, the work has continued to delight cellists and audiences for nearly 150 years, and there is no reason to believe that will ever change.
Program Note by David B. Levy, © 2025