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Tchaikovsky (1840-93) – Variations on a Rococo Theme for 'Cello and Orchestra (Original Version)

We have Wilhelm Fitzhagen, 'cellist in the premieres of Tchaikovsky's string quartets, to thank for commissioning the charming and graceful Rococo Variations, one of the composer's dalliances with past musical styles. Unfortunately, we also have Fitzhagen to thank for the ensuing acts of vandalism.

In late 1876, Tchaikovsky produced a "short-score" for Fitzhagen's consideration. They agreed some emendations to the solo part, and Fitzhagen performed it in this form late in 1877, while Tchaikovsky was abroad getting over his abortive marriage. Subsequently, Fitzhagen further altered his part, and substantially modified the whole. He also neglected to consult Tchaikovsky, in whose continuing absence he took his "edition" to the publisher Jurgenson, claiming the changes were "authorised". Jurgenson, clearly unconvinced, wrote to Tchaikovsky, saying, "Loathsome Fitzhagen! He is determined to 'cello-ise your piece."

Uncredibly, Jurgenson nevertheless published Fitzhagen's "edition". Tchaikovsky was not amused, noting several "errors", and not particularly mollified by Fitzhagen's reports of favourable comment from Liszt. Worse followed. The full score published in 1889 also was Fitzhagen's "edition"! Tchaikovsky was furious, finally snorting (though this may have lost something in translation), "The devil take it. Let it stand as it is!" And so it did, for over fifty years. Tchaikovsky's original score is still rarely heard.

Does it matter? Well, yes, it does. Unlike, say, Sibelius' Fifth Symphony, this is not a matter of "final" compared with "original" thoughts. In any "classical" piece, formal considerations are necessarily paramount, and Fitzhagen, a blinkered virtuoso, has ignored and substantially damaged the structure (see table). Basically, he repeated both halves of the theme, exchanged the Cadenza plus Variations 3 and 4 with Variation 7, and dropped Variation 8. I suspect this was an attempt to hog the limelight. Unlike Variation 3, in Variation 7 his harmonics are "challenged" by the violins. Placing the Cadenza and the two "showiest" variations later would suit someone mindful that his living depended on his reputation. That this left adjacent two similar variations was solved by omitting the "less impressive" number 8. The two cadenzas were simply left adjacent.

There is also the matter of the woodwind linking tune, first heard at the end of the Theme. This Tchaikovsky developed at the ends of variations 1 to 3, within Variation 5, and recapitulated in its original form including answering strings at the end of Variation 6. Having thus underlined a key structural point, it retires. Fitzhagen moved this recapitulation to the end of Variation 2, nonsensically preceding most of its "developments"!

Tchaikovsky, in Variations 1 and 2, establishes a pattern: each pair comprises a slower or more ornate variation and a livelier one. The work further divides into a pair of similarly structured halves. Thus the first half ends with the dynamic Variation 4, the second with Variation 8, less dynamic so that the coda is not upstaged. Variation 1's 'cello decorations are relected by Variation 5's stately baroque. Cadenzas divide each half into two parts; in the second half the cadenza is neatly telescoped into Variation 6. Both cadenzas are followed by a lyrical adagio, the latter of which (nodding to Romantic tradition) has the "big tune".

This might seem rather academic, particularly when Fitzhagen's version is such a popular success. However, that is entirely due to the individual appeal of Tchaikovsky's "jigsaw puzzle bits", whatever their order. The completed puzzle reveals his skilfully crafted picture, a whole far exceeding the sum of its parts.

© Paul Serotsky

Tchaikovsky (1840-93) – Variations on a Rococo Theme for 'Cello and Orchestra

Incredibly, Tchaikovsky’s Rococo Variations, perhaps the most charming, graceful and popular of all works for ’cello and orchestra, is virtually unknown. Daft, but true: the work you will hear is not Tchaikovsky’s – well, not entirely. Confused? Let me explain.

We have Wilhelm Fitzhagen, ’cellist in the premières of Tchaikovsky's string quartets, to thank for commissioning the Rococo Variations, one of the composer's sympathetic dalliances with past musical styles. Unfortunately, that’s not all we have to thank Fitzhagen (a little ungrammatically) for.

In late 1876 Fitzhagen, having agreed some emendations to the solo part of Tchaikovsky’s short-score, performed it late in 1877 while Tchaikovsky was abroad getting over his abortive marriage. Subsequently Fitzhagen further altered his part, and substantially modified the whole. However, he neglected to consult Tchaikovsky, in whose continuing absence he took his "edition" to the publisher Jurgenson, falsely claiming the changes were "authorised". Jurgenson, clearly unconvinced, wrote to Tchaikovsky exclaiming, "Loathsome Fitzhagen! He is determined to ’cello-ise your piece."

Uncredibly, Jurgenson nevertheless published Fitzhagen's "edition". Tchaikovsky, noting numerous "errors", was neither amused nor perceptibly mollified by Fitzhagen's reports of favourable comment from Liszt. Bizarrely, the full score published in 1889 was also Fitzhagen's "edition"! This time, Tchaikovsky was livid, finally snorting, "The devil take it. Let it stand as it is!" (this may have lost something in translation). And so it stood, for over fifty years. Even today Tchaikovsky's original score is – for some inexplicable reason – still rarely heard.

So what were Fitzhagen’s sins? First, what did Tchaikovsky write? His layout,
Intro. – Theme – v1 – v2 – cadenza – v3 – v4 – v5 – v6 (inc. cadenza) – v7 – v8 – Coda.
formed a nest of interlocked patterns. The parallel halves incorporate pairs of balanced slower/livelier variations. Cadenzas subdivide each half, each cadenza introducing a lyrical adagio, the latter of which (nodding to Romantic tradition) furnished the climactic "big tune". The subsidiary tune linking Theme and v1 was progressively developed, its reprise following v6 providing an important structural beacon.

Fitzhagen’s ’cello-isation was purely to maximise his own exposure. He repeated both halves of the Theme and shovelled around variations and endings. Then, finding that he’d juxtaposed two similar variations, and the cadenzas, he omitted the "less impressive" v8 and simply left the cadenzas adjacent. Preposterously, the linking tune’s reprise now preceded its developments!

Does it matter? Yes. Unlike, say, Sibelius' Fifth Symphony, this isn’t a matter of "final" versus "original" thoughts. Tchaikovsky apparently intended his work as an affectionate tribute to the pure art of Mozart, a composer he idolised. So, quite properly for a classical work, he made formality a paramount consideration. Fitzhagen’s gratuitous shuffling obviously ignored this.

Nevertheless, the very popularity of Fitzhagen’s corrupt edition demonstrates a high “residual value”. Fortunately (unfortunately?) the dazzling invention invested in the individual variations, admittedly allied to largely enforced ignorance of the original, effectively (and ironically) blinded audiences to Fitzhagen’s vandalism. That the music not only survived such hacking, but actually flourished in spite of it, speaks volumes for Tchaikovsky’s genius. Try the original and decide for yourself, but for now just marvel at this “mere” miracle of music.

Introduction and Theme: Clipped phrases hint at the theme. Pizzicato strings and a brief horn cadenza preface the soloist’s exposition of the theme – a sprightly, slightly prim “drawing-room march”. A subsidiary tune, passing from woodwind to strings to ’cello, bridges to . . .

Variation 1: The soloist immediately launches a highly decorative elaboration, accompanied by the theme in the violins. The bridging tune returns . . .

Variation 2: The soloist’s free-running chains of shortened phrases are echoed by the orchestra. A variation of the bridging tune is drawn out by the soloist.

Variation 3: The “big tune”, as romantic as a candle-lit dinner for two. Tchaikovsky’s lyric genius transforms his (comparatively) dowdy caterpillar into a gorgeous butterfly while we mere mortals can only gape in wonderment. Strings take up the bridging tune, passing it to woodwind and ’cello – and thence into the stratosphere.

Variation 4: Now lilting, the theme acquires little tenuto cherries atop its icing. Having descended basement-wards, it emerges in agile acrobatics on a perky ’cello, the bridging tune being drawn in.

Variation 5 (including cadenza): Haloed by fanciful trills from the soloist, a flute plays the theme straight. Fulsome strings interject, while the soloist contributes a brief cadenza. A further variant of the bridging tune leads to . . .

Cadenza: A (dare I say?) predictable showcase of precipitous runs, trills, double-stopping, poised pizzicati, and some of the ’cello’s hallmark throbbing passion.

Variation 6: Over pizzicato strings the soloist, answered by woodwind, sings a lovely, leisurely variation. The bridging tune, appropriately soulful, ebbs away over a tenuto ’cello, which finally ascends to somewhere beyond the stratosphere.

Variation 7 and Coda: Chuntering bass strings provoke a runaway chitter-chatter of soloist and treble strings, with some really neat woodwind counterpoint. The music seamlessly spills into the coda, racing off to a thoroughly bracing conclusion.

© Paul Serotsky

Addendum – Comparison of Order of Movements

Note that, in the Fitzhagen version, endings of movements that precede relocated variations have also been moved – simply to maintain continuity with these subsequent variations. This continuity is indicated by ellipses.

Tchaikovsky's Original Fitzhagen's Version (as commonly performed)
Revised Order of Original Movements
Revised Variation Numbers
Introduction Introduction
Theme Theme
Variation 1 Variation 1
Variation 2 Variation 2, with ending from 6 ... (2)
Cadenza ... Variation 7 3
Variation 3 Variation 5 4
Variation 4 Variation 6, incorporating cadenza, with ending from 2 ... 5
Variation 5 ... Cadenza
Variation 6 – incorporating cadenza Variation 3 6
Variation 7 Variation 4 7
Variation 8 [Variation 8 omitted]
Coda Coda