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towards the end of 1876, just after he had completed the symphonic poem<br />
Francesca da Rimini. It is dedicated to Tchaikovsky’s friend and professor at<br />
the Moscow Conservatory, German cellist Wilhelm Fitzenhagen, who also<br />
gave the premiere performance. Fitzenhagen himself left an important mark<br />
on the variations, adding a number of virtuoso inserts to the solo part and,<br />
most importantly, modifying the very structure of the work: he omitted the<br />
eighth variation and changed the order of the individual variations. Tchaikovsky<br />
did not have any major objections, so it was Fitzenhagen’s ‘version’<br />
that was printed and that remains in use today.<br />
In view of Tchaikovsky’s title for the composition, we may well ask what<br />
connections the work establishes with the rococo style. The ‘old-fashioned’<br />
spirit can be felt to the greatest extent in the theme, which has a specifically<br />
periodic scheme, as well as in the transparent orchestration in which Tchaikovsky<br />
omitted trumpets and trombones. In the continuation, however, the<br />
variations are based ever more clearly on the typically romantic idiom: the<br />
individual variations are given specific character traits (the fourth variation<br />
is conceived as a dance, the sixth is an expressive romance with pizzicato accompaniment,<br />
the last variation brings a decisively march-like pulse), while<br />
the solo line gains an obviously virtuoso character. Tchaikovsky no doubt<br />
admired Mozart, but not so much that he would sacrifice his own personal<br />
musical expression.<br />
Gregor Pompe<br />
Prevod / Translation: Neville Hall<br />
PROGRAM / PROGRAM<br />
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