Variations on a Rococo Theme - Revision history

Brett at 19:09, 10 September 2023

2023-09-10T19:09:36Z

← Older revision		Revision as of 21:09, 10 September 2023
Line 61:		Line 61:
	==Recordings==		==Recordings==
	{{reclink}}		{{reclink}}

			==Dedication==
			The score of the Variations carries the inscription: "à Mr. [[Wilhelm Fitzenhagen\|Guillame Fitzenhagen]]".

	==External Links==		==External Links==

Tony: /* Notes and References */

2023-01-21T11:15:33Z

Notes and References

← Older revision		Revision as of 13:15, 21 January 2023
Line 79:		Line 79:
	<ref name="note11">See letter from [[Pyotr Jurgenson]] to Tchaikovsky, 16/28 November 1878.</ref>		<ref name="note11">See letter from [[Pyotr Jurgenson]] to Tchaikovsky, 16/28 November 1878.</ref>
	<ref name="note12">Izrail Yampolsky, {{bib\|1945/39\|Неопубликованные рукописи Вариаций на тему рококо Чайковского}} (1945). See also Boris Dobrokhotov, {{bib\|1955/12\|Нотографические заметки. Варяций на тему рококо}} (1955).</ref>		<ref name="note12">Izrail Yampolsky, {{bib\|1945/39\|Неопубликованные рукописи Вариаций на тему рококо Чайковского}} (1945). See also Boris Dobrokhotov, {{bib\|1955/12\|Нотографические заметки. Варяций на тему рококо}} (1955).</ref>
	<ref name="note13">Previously, in 1954, the ''Variations'' had been issued by Muzgiz in an arrangement for cello and piano and full score, edited by Aleksandr Stogorsky (1910–1987). In this edition [[Wilhelm Fitzenhagen]]'s cello part was used with careful corrections by the editor; in places there are minor differences from the text of the collected works, which was based on the original autographs and other sources.</ref>		<ref name="note13">Previously, in 1954, the ''Variations'' had been issued by Muzgiz in an arrangement for cello and piano and full score, edited by Aleksandr Stogorsky (1910–1987). In this edition, [[Wilhelm Fitzenhagen]]'s cello part was used with careful corrections by the editor; in places there are minor differences from the text of the collected works, which was based on the original autographs and other sources.</ref>
	</references>		</references>
	[[Category:Concertante Pieces]]		[[Category:Concertante Pieces]]

Tony: /* Notes and References */

2023-01-21T11:12:45Z

Notes and References

← Older revision		Revision as of 13:12, 21 January 2023
Line 73:		Line 73:
	<ref name="note5">Letter from [[Nadezhda von Meck]] to Tchaikovsky, 18/30 November 1877 — [[Klin]] House-Museum Archive.</ref>		<ref name="note5">Letter from [[Nadezhda von Meck]] to Tchaikovsky, 18/30 November 1877 — [[Klin]] House-Museum Archive.</ref>
	<ref name="note6">Letter from [[Wilhelm Fitzenhagen]] to Tchaikovsky, 8/20 June 1879.</ref>		<ref name="note6">Letter from [[Wilhelm Fitzenhagen]] to Tchaikovsky, 8/20 June 1879.</ref>
	<ref name="note7">See [[Letter 677]] to [[Pyotr Jurgenson]], 5/17 December 1877. In his article {{bib\|2019/3}} (2019), Sergei Istomin ascertained that the publisher in question was actually Friedrich Luckhardt of [[Berlin]], rather than the similarly-named Franz Ernst Christophe Leuckart in [[Leipzig]], as had previously been believed: "It seems that Tchaikovsky himself had started the confusion about the name: in his letters, as well as in all musicological and biographical works about the composer, we find different varieties of the German publisher's name such as Leukhardt, Lukhardt, Leuckardt".</ref>		<ref name="note7">See [[Letter 677]] to [[Pyotr Jurgenson]], 5/17 December 1877. In his article {{bib\|2019/3}} (2019), Sergei Istomin ascertained that the publisher in question was actually Friedrich Luckhardt of [[Berlin]], rather than the similarly named Franz Ernst Christophe Leuckart in [[Leipzig]], as had previously been believed: "It seems that Tchaikovsky himself had started the confusion about the name: in his letters, as well as in all musicological and biographical works about the composer, we find different varieties of the German publisher's name such as Leukhardt, Lukhardt, Leuckardt".</ref>
	<ref name="note8">See letters [[Letter 739\|739]], [[Letter 772\|772]] and [[Letter 800\|80]]0 to [[Pyotr Jurgenson]], 24 January/5 February, 27 February/11 March, 27 March/8 April 1878, and [[Letter 798]] to [[Nadezhda von Meck]], 24 March/5 April 1878.</ref>		<ref name="note8">See letters [[Letter 739\|739]], [[Letter 772\|772]] and [[Letter 800\|80]]0 to [[Pyotr Jurgenson]], 24 January/5 February, 27 February/11 March, 27 March/8 April 1878, and [[Letter 798]] to [[Nadezhda von Meck]], 24 March/5 April 1878.</ref>
	<ref name="note9">Letter from [[Pyotr Jurgenson]] to Tchaikovsky, 3/15 February 1878.</ref>		<ref name="note9">Letter from [[Pyotr Jurgenson]] to Tchaikovsky, 3/15 February 1878.</ref>

Tony: /* Publication */ Text correction - "sugestion" to "suggestion"

2023-01-20T20:24:41Z

Publication: Text correction - "sugestion" to "suggestion"

← Older revision		Revision as of 22:24, 20 January 2023
Line 38:		Line 38:

	==Publication==		==Publication==
	At the ~~sugestion~~ of [[Wilhelm Fitzenhagen]], Tchaikovsky gave this composition, together with the ''[[Valse-Scherzo, Op. 34\|Valse-Scherzo]]'' for violin, to the [[Berlin]] publishers Luckhardt <ref name="note7"/>. It is not known when the manuscripts were sent, but it could not have been later than the early summer of 1877, since in August that year [[Iosif Kotek]] asked Tchaikovsky whether the ''[[Valse-Scherzo, Op. 34\|Valse]]'' had been printed yet.		At the suggestion of [[Wilhelm Fitzenhagen]], Tchaikovsky gave this composition, together with the ''[[Valse-Scherzo, Op. 34\|Valse-Scherzo]]'' for violin, to the [[Berlin]] publishers Luckhardt <ref name="note7"/>. It is not known when the manuscripts were sent, but it could not have been later than the early summer of 1877, since in August that year [[Iosif Kotek]] asked Tchaikovsky whether the ''[[Valse-Scherzo, Op. 34\|Valse]]'' had been printed yet.

	However, publication of the ''Variations'' was delayed, and early in 1878 Tchaikovsky asked [[Iosif Kotek]] to retrieve the manuscript from Luckhardt, and deliver it to his principal publisher [[Pyotr Jurgenson]] <ref name="note8"/>. In March 1878, [[Jurgenson]] began engraving the ''Variations'', but it seems that this work was held up by [[Wilhelm Fitzenhagen]], who took it upon himself to edit the work, on the pretext of making further improvements to the cello part, without consulting the composer.		However, publication of the ''Variations'' was delayed, and early in 1878 Tchaikovsky asked [[Iosif Kotek]] to retrieve the manuscript from Luckhardt, and deliver it to his principal publisher [[Pyotr Jurgenson]] <ref name="note8"/>. In March 1878, [[Jurgenson]] began engraving the ''Variations'', but it seems that this work was held up by [[Wilhelm Fitzenhagen]], who took it upon himself to edit the work, on the pretext of making further improvements to the cello part, without consulting the composer.

	[[Pyotr Jurgenson]] protested against this, and in a letter to Tchaikovsky of 3/15 February 1878 he wrote: "Loathsome [[Fitzenhagen]]! He is most insistent on making changes to your cello piece, and he says that you have given him full authority to do so. Heavens! Tchaikovsky ''revu et corrigé par''[[Fitzenhagen]]!!!" <ref name="note9"/>.		[[Pyotr Jurgenson]] protested against this, and in a letter to Tchaikovsky of 3/15 February 1878 he wrote: "Loathsome [[Fitzenhagen]]! He is most insistent on making changes to your cello piece, and he says that you have given him full authority to do so. Heavens! Tchaikovsky ''revu et corrigé par'' [[Fitzenhagen]]!!!" <ref name="note9"/>.

	Tchaikovsky did not prevent [[Wilhelm Fitzenhagen]] from making changes, although [[Anatoly Brandukov]] recalled that the composer viewed them unfavourably:		Tchaikovsky did not prevent [[Wilhelm Fitzenhagen]] from making changes, although [[Anatoly Brandukov]] recalled that the composer viewed them unfavourably:
	{{quote\|"On one of my visits to Pyotr Ilyich [in 1889] I found him very upset, looking as though he was ill. When I asked: "What's the matter with you?" — Pyotr Ilyich, pointing to the writing desk, said: "[[Fitzenhagen]]'s been here. Look what he's done with my composition — everything's been changed!". When I asked what action he was going to take concerning this composition, Pyotr Ilyich replied: "The Devil take it! Let it stand as it is" <ref name="note10"/>.}}		{{quote\|"On one of my visits to Pyotr Ilyich [in 1889] I found him very upset, looking as though he was ill. When I asked: "What's the matter with you?" — Pyotr Ilyich, pointing to the writing desk, said: "[[Fitzenhagen]]'s been here. Look what he's done with my composition — everything's been changed!". When I asked what action he was going to take concerning this composition, Pyotr Ilyich replied: "The Devil take it! Let it stand as it is" <ref name="note10"/>.}}

	In October or November 1878 the arrangement for cello and piano appeared in print in [[Fitzenhagen]]'s new version, which was quite unlike Tchaikovsky's original <ref name="note11"/>. The editor completely changed the sequence of ''variations'' and altered their structures (not to mention all the changes to the cello part), and excised the whole of the original eighth variation. According to Izrail Yampolsky:		In October or November 1878, the arrangement for cello and piano appeared in print in [[Fitzenhagen]]'s new version, which was quite unlike Tchaikovsky's original <ref name="note11"/>. The editor completely changed the sequence of ''variations'' and altered their structures (not to mention all the changes to the cello part), and excised the whole of the original eighth variation. According to Izrail Yampolsky:
	{{quote\|[[Fitzenhagen]] not only violated the sequence of the variations, but one of them (the eighth and last) was omitted completely. In this form, [[Fitzenhagen]]'s version of the ''Variations on a Rococo Theme'' comprised an introduction, theme and ''seven'' variations. Tchaikovsky's third variation (the D-minor ''Andante'') came sixth in [[Fitzenhagen]]'s version, and the cadenza which preceded it was transferred accordingly. Tchaikovsky's seventh variation (the C major ''Andante'') was moved to third place by [[Fitzenhagen]]. The fourth variation (''Allegro vivo'') was used by [[Fitzenhagen]] to conclude the work. With the cuts, inserted passages and tempo changes in [[Fitzenhagen]]'s work, this could be called a distortion of the careful and clear construction of the former ''Variations''" <ref name="note12"/>.}}		{{quote\|[[Fitzenhagen]] not only violated the sequence of the variations, but one of them (the eighth and last) was omitted completely. In this form, [[Fitzenhagen]]'s version of the ''Variations on a Rococo Theme'' comprised an introduction, theme and ''seven'' variations. Tchaikovsky's third variation (the D-minor ''Andante'') came sixth in [[Fitzenhagen]]'s version, and the cadenza which preceded it was transferred accordingly. Tchaikovsky's seventh variation (the C major ''Andante'') was moved to third place by [[Fitzenhagen]]. The fourth variation (''Allegro vivo'') was used by [[Fitzenhagen]] to conclude the work. With the cuts, inserted passages and tempo changes in [[Fitzenhagen]]'s work, this could be called a distortion of the careful and clear construction of the former ''Variations''" <ref name="note12"/>.}}

Tony: /* Performances */

2023-01-20T20:20:25Z

Performances

← Older revision		Revision as of 22:20, 20 January 2023
Line 27:		Line 27:
	On 18/30 November 1877, the first performance of the ''Variations on a Rococo Theme'' took place at the third symphony concert of the Russian Musical Society in [[Moscow]], conducted by [[Nikolay Rubinstein]]. [[Nadezhda von Meck]] reported on this to Tchaikovsky: "At today's symphony concert, [[Fitzenhagen]] is playing your ''Variations''" <ref name="note5"/>. Press comment was very favourable. Tchaikovsky missed the performance of the ''Variations'', as he was abroad at the time.		On 18/30 November 1877, the first performance of the ''Variations on a Rococo Theme'' took place at the third symphony concert of the Russian Musical Society in [[Moscow]], conducted by [[Nikolay Rubinstein]]. [[Nadezhda von Meck]] reported on this to Tchaikovsky: "At today's symphony concert, [[Fitzenhagen]] is playing your ''Variations''" <ref name="note5"/>. Press comment was very favourable. Tchaikovsky missed the performance of the ''Variations'', as he was abroad at the time.

	Outside Russia, the ''Variations'' were performed for the first time at the [[Wiesbaden]] Music Festival on 27 May/8 June 1879, also by [[ Wilhelm Fitzenhagen]]. On 1/13 June, [[Fitzenhagen]] wrote to Tchaikovsky: "It gives me great pleasure to be able to report to you that I performed your ''Variations'' to a tremendous furore! I pleased them so much that I was called back three times, and even while performing the piece, there was a storm of applause after the Andante (D minor). [[Liszt]] told me: 'You played magnificently. This is truly music!', and it is a tremendous compliment that such a thing could be said by [[Liszt]]" <ref name="note6"/>.		Outside Russia, the ''Variations'' were performed for the first time at the [[Wiesbaden]] Music Festival on 27 May/8 June 1879, also by [[Wilhelm Fitzenhagen]]. On 1/13 June, [[Fitzenhagen]] wrote to Tchaikovsky: "It gives me great pleasure to be able to report to you that I performed your ''Variations'' to a tremendous furore! I pleased them so much that I was called back three times, and even while performing the piece, there was a storm of applause after the Andante (D minor). [[Liszt]] told me: 'You played magnificently. This is truly music!', and it is a tremendous compliment that such a thing could be said by [[Liszt]]" <ref name="note6"/>.

	Other notable early performances included:		Other notable early performances included:

Tony at 20:17, 20 January 2023

2023-01-20T20:17:20Z

← Older revision		Revision as of 22:17, 20 January 2023
Line 1:		Line 1:
	The '''''Variations on a Rococo Theme''''' in A major, [[Opus]] 33 ([[TH]] 57 ; [[ČW]] 59), was Tchaikovsky's first composition for cello and orchestra, written between December 1876 and January 1877 {{OS}}.		The '''''Variations on a Rococo Theme''''' in A major, [[Opus]] 33 ([[TH]] 57 ; [[ČW]] 59), was Tchaikovsky's first composition for cello and orchestra, written between December 1876 and January 1877 {{OS}}.

	For many years the Variations were known only in a version heavily edited by [[Wilhelm Fitzenhagen]], to whom the work was dedicated. Tchaikovsky's original version was reconstructed and published for the first time in the 1950s.		For many years, the Variations were known only in a version heavily edited by [[Wilhelm Fitzenhagen]], to whom the work was dedicated. Tchaikovsky's original version was reconstructed and published for the first time in the 1950s.

	==Instrumentation==		==Instrumentation==

Brett: 1 revision imported

2022-07-12T12:01:01Z

1 revision imported

← Older revision	Revision as of 14:01, 12 July 2022
(No difference)

Brett: /* Movements and Duration */

2021-03-27T21:33:30Z

Movements and Duration

New page

The '''''Variations on a Rococo Theme''''' in A major, [[Opus]] 33 ([[TH]] 57 ; [[ČW]] 59), was Tchaikovsky's first composition for cello and orchestra, written between December 1876 and January 1877 {{OS}}.

For many years the Variations were known only in a version heavily edited by [[Wilhelm Fitzenhagen]], to whom the work was dedicated. Tchaikovsky's original version was reconstructed and published for the first time in the 1950s.

==Instrumentation==
The work is scored for solo cello with an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets (in A), 2 bassoons + 2 horns (in F) + violins I, violins II, violas, cellos, and double basses.

==Movements and Duration==
Tchaikovsky's original score comprised a theme with eight variations, but [[Fitzenhagen]]'s version omits one variation and changes the sequence of the remainder:
{|
| width="50%"|'''Tchaikovsky's original version''':
: ''Thema''. Moderato assai quasi Andante–Moderato semplice (45 bars) ''Var. I''. Tempo della Thema (24 bars) ''Var. II''. Tempo della Thema (37 bars) ''Var. III''. Andante (34 bars) ''Var. IV''. Allegro vivo (46 bars) ''Var. V''. Andante grazioso (58 bars) ''Var. VI''. Allegro moderato (46 bars) ''Var. VII''. Andante sostenuto (70 bars) ''Var. VIII e Coda''. Allegro moderato con anima (67 bars)
| width="50%" valign="top"| '''[[Fitzenhagen]]'s revised version''':
: ''Thema''. Moderato assai quasi Andante–Moderato semplice (61 bars) ''Var. I''. Tempo della Thema (24 bars) ''Var. II''. Tempo della Thema (33 bars) ''Var. III''. Andante sostenuto (70 bars) ''Var. IV''. Andante grazioso (58 bars) ''Var. V''. Allegro moderato (50 bars) ''Var. VI''. Andante (35 bars) ''Var. VII e Coda''. Allegro vivo (76 bars)
|}
Additional repeats in [[Fitzenhagen]]'s score mean that both versions last approximately 20 minutes in performance.

==Composition==
On 15/27 December 1876 the composer wrote to [[Anatoly Tchaikovsky]]: "I'm writing variations for ''cello solo'' with orchestra" <ref name="note1"/>. Tchaikovsky declined an invitation from his sister, [[Aleksandra Davydova]], to spend Christmas with her family at [[Kamenka]], on the grounds that he "had accumulated a great deal of work, some of which are paid commissions, that should be very straightforward to finish during the forthcoming holidays" <ref name="note2"/>. Tchaikovsky did not manage to realise this ambition: "Many people keep dropping in here unexpectedly—it seems that everyone in [[Petersburg]] is holding me back, when I had stupidly imagined that it would be possible to take advantage of the holidays to work" <ref name="note3"/>. Throughout his letters of January 1877, the composer mentioned that he still had "a great deal" to do <ref name="note4"/>. It is not possible to ascertain exactly what Tchaikovsky wrote during the first months of 1877. It is only known that in February–April he composed the ''[[Valse-Scherzo, Op. 34|Valse-Scherzo]]'' for violin, and in March–April he wrote his [[Fourth Symphony]], and during this same period he completed some work commissioned by [[Nadezhda von Meck]].

An examination of the manuscript sources of the ''Variations'' suggests that after completing the sketches, Tchaikovsky first made an arrangement for cello and piano, which he gave for checking to the cellist [[Wilhelm Fitzenhagen]]. [[Fitzenhagen]] made some changes, mainly to the cello part, inserting them on Tchaikovsky's manuscript, and pasting over parts of the original autograph. The full score is written wholly in the composer's hand, except for a large section of the cello part (from bar six of the first variation up to the end of the fourth, and from bar seven of the fifth variation up to the end of the work), which was written by [[Fitzenhagen]]. It would therefore appear that Tchaikovsky orchestrated the work from the piano arrangement as amended by [[Fitzenhagen]].

==Arrangements==
As noted above, Tchaikovsky's arrangement of the work for cello and piano was made in December 1876 or January 1877, and pre-dates the full score. The version eventually published by [[Jurgenson]] was drastically modified by [[Wilhelm Fitzenhagen]].

==Performances==
On 18/30 November 1877, the first performance of the ''Variations on a Rococo Theme'' took place at the third symphony concert of the Russian Musical Society in [[Moscow]], conducted by [[Nikolay Rubinstein]]. [[Nadezhda von Meck]] reported on this to Tchaikovsky: "At today's symphony concert, [[Fitzenhagen]] is playing your ''Variations''" <ref name="note5"/>. Press comment was very favourable. Tchaikovsky missed the performance of the ''Variations'', as he was abroad at the time.

Outside Russia, the ''Variations'' were performed for the first time at the [[Wiesbaden]] Music Festival on 27 May/8 June 1879, also by [[ Wilhelm Fitzenhagen]]. On 1/13 June, [[Fitzenhagen]] wrote to Tchaikovsky: "It gives me great pleasure to be able to report to you that I performed your ''Variations'' to a tremendous furore! I pleased them so much that I was called back three times, and even while performing the piece, there was a storm of applause after the Andante (D minor). [[Liszt]] told me: 'You played magnificently. This is truly music!', and it is a tremendous compliment that such a thing could be said by [[Liszt]]" <ref name="note6"/>.

Other notable early performances included:
* [[New York]], Chickering Hall, 28 November 1888, Victor Herbert (cello), conducted by Frank Van der Stucken.
* [[Tiflis]], 1st RMS symphony concert, 6 April 1891, Ivan Saradzhev (cello), conducted by [[Mikhail Ippolitov-Ivanov]].
* [[Odessa]], 1st RMS symphony concert, 16 January 1893, Wladyslaw Alois (cello), conducted by Tchaikovsky.
* [[London]], Philharmonic Society concert, 17 June 1897, Leo Stern (cello), conducted by Alexander Mackenzie.

Tchaikovsky's original version of the ''Variations'' was performed for the first time on 24 April 1941 in [[Moscow]], played by Danyl Shafran, conducted by Aleksandr Melik-Pashayev, and subsequently by Sergey Shirinsky.

==Publication==
At the sugestion of [[Wilhelm Fitzenhagen]], Tchaikovsky gave this composition, together with the ''[[Valse-Scherzo, Op. 34|Valse-Scherzo]]'' for violin, to the [[Berlin]] publishers Luckhardt <ref name="note7"/>. It is not known when the manuscripts were sent, but it could not have been later than the early summer of 1877, since in August that year [[Iosif Kotek]] asked Tchaikovsky whether the ''[[Valse-Scherzo, Op. 34|Valse]]'' had been printed yet.

However, publication of the ''Variations'' was delayed, and early in 1878 Tchaikovsky asked [[Iosif Kotek]] to retrieve the manuscript from Luckhardt, and deliver it to his principal publisher [[Pyotr Jurgenson]] <ref name="note8"/>. In March 1878, [[Jurgenson]] began engraving the ''Variations'', but it seems that this work was held up by [[Wilhelm Fitzenhagen]], who took it upon himself to edit the work, on the pretext of making further improvements to the cello part, without consulting the composer.

[[Pyotr Jurgenson]] protested against this, and in a letter to Tchaikovsky of 3/15 February 1878 he wrote: "Loathsome [[Fitzenhagen]]! He is most insistent on making changes to your cello piece, and he says that you have given him full authority to do so. Heavens! Tchaikovsky ''revu et corrigé par''[[Fitzenhagen]]!!!" <ref name="note9"/>.

Tchaikovsky did not prevent [[Wilhelm Fitzenhagen]] from making changes, although [[Anatoly Brandukov]] recalled that the composer viewed them unfavourably:
{{quote|"On one of my visits to Pyotr Ilyich [in 1889] I found him very upset, looking as though he was ill. When I asked: "What's the matter with you?" — Pyotr Ilyich, pointing to the writing desk, said: "[[Fitzenhagen]]'s been here. Look what he's done with my composition — everything's been changed!". When I asked what action he was going to take concerning this composition, Pyotr Ilyich replied: "The Devil take it! Let it stand as it is" <ref name="note10"/>.}}

In October or November 1878 the arrangement for cello and piano appeared in print in [[Fitzenhagen]]'s new version, which was quite unlike Tchaikovsky's original <ref name="note11"/>. The editor completely changed the sequence of ''variations'' and altered their structures (not to mention all the changes to the cello part), and excised the whole of the original eighth variation. According to Izrail Yampolsky:
{{quote|[[Fitzenhagen]] not only violated the sequence of the variations, but one of them (the eighth and last) was omitted completely. In this form, [[Fitzenhagen]]'s version of the ''Variations on a Rococo Theme'' comprised an introduction, theme and ''seven'' variations. Tchaikovsky's third variation (the D-minor ''Andante'') came sixth in [[Fitzenhagen]]'s version, and the cadenza which preceded it was transferred accordingly. Tchaikovsky's seventh variation (the C major ''Andante'') was moved to third place by [[Fitzenhagen]]. The fourth variation (''Allegro vivo'') was used by [[Fitzenhagen]] to conclude the work. With the cuts, inserted passages and tempo changes in [[Fitzenhagen]]'s work, this could be called a distortion of the careful and clear construction of the former ''Variations''" <ref name="note12"/>.}}

The full score (45 pages, plate 13791) and orchestral parts (plate 13792) of the ''Variations on a Rococo Theme'' were published in November 1889 by [[Pyotr Jurgenson]], in [[Wilhelm Fitzenhagen]]'s version.

In the mid-20th century, the author's original text of the ''Variations'' was completely reconstructed, and published in 1956 in volume 30Б (full score) and volume 55 (cello-piano arrangement) of Tchaikovsky's ''[[Complete Collected Works]]'' under the editorship of Viktor Kubatsky <ref name="note13"/>.

==Autographs==
Tchaikovsky's manuscript full score is preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|variacii-na-temu-rokoko-variations-sur-un-theme-rococo-dlya-violoncheli-s-orkestrom|(ф. 88, No. 96)}}. The cello part from bar 6 of Variation I to the end of Variation IV, and from bar 7 of Variation V to the end, is written by [[Wilhelm Fitzenhagen]], who also made a number of annotations connected with his re-ordering of the variations.

The same archive also holds the autograph of Tchaikovsky's original arrangement of the work for cello and piano {{TOW2|variacii-na-temu-rokoko-variations-sur-un-theme-rococo-dlya-violoncheli-s-orkestrom-2017-08-17|(ф. 88, No. 342)}}, with revisions by [[Fitzenhagen]], and a later manuscript copy with the cello part entirely in [[Fitzenhagen]]'s hand (ф. 88, No. 97), corresponding to the full score as published in 1889.

==Recordings==
{{reclink}}

==External Links==
* {{imslpscore|Variations_on_a_Rococo_Theme,_Op.33_(Tchaikovsky,_Pyotr)|Variations on a Rococo Theme}}

==Notes and References==
<references>
<ref name="note1">[[Letter 522]] to [[Anatoly Tchaikovsky]], 15/27 December 1876.</ref>
<ref name="note2">[[Letter 523]] to [[Aleksandra Davydova]] and [[Lev Davydov]], 18/30 December 1876.</ref>
<ref name="note3">[[Letter 526]] to [[Aleksandra Davydova]], 23 December 1876/4 January 1877.</ref>
<ref name="note4">See [[Letter 536]] to [[Anatoly Tchaikovsky]], 12/24 January 1877, and [[Letter 543]] to [[Aleksandra Davydova]], 22 February/6 March 1877.</ref>
<ref name="note5">Letter from [[Nadezhda von Meck]] to Tchaikovsky, 18/30 November 1877 — [[Klin]] House-Museum Archive.</ref>
<ref name="note6">Letter from [[Wilhelm Fitzenhagen]] to Tchaikovsky, 8/20 June 1879.</ref>
<ref name="note7">See [[Letter 677]] to [[Pyotr Jurgenson]], 5/17 December 1877. In his article {{bib|2019/3}} (2019), Sergei Istomin ascertained that the publisher in question was actually Friedrich Luckhardt of [[Berlin]], rather than the similarly-named Franz Ernst Christophe Leuckart in [[Leipzig]], as had previously been believed: "It seems that Tchaikovsky himself had started the confusion about the name: in his letters, as well as in all musicological and biographical works about the composer, we find different varieties of the German publisher's name such as Leukhardt, Lukhardt, Leuckardt".</ref>
<ref name="note8">See letters [[Letter 739|739]], [[Letter 772|772]] and [[Letter 800|80]]0 to [[Pyotr Jurgenson]], 24 January/5 February, 27 February/11 March, 27 March/8 April 1878, and [[Letter 798]] to [[Nadezhda von Meck]], 24 March/5 April 1878.</ref>
<ref name="note9">Letter from [[Pyotr Jurgenson]] to Tchaikovsky, 3/15 February 1878.</ref>
<ref name="note10">Quoted in {{bib|1958/6}} (1958), p. 472.</ref>
<ref name="note11">See letter from [[Pyotr Jurgenson]] to Tchaikovsky, 16/28 November 1878.</ref>
<ref name="note12">Izrail Yampolsky, {{bib|1945/39|Неопубликованные рукописи Вариаций на тему рококо Чайковского}} (1945). See also Boris Dobrokhotov, {{bib|1955/12|Нотографические заметки. Варяций на тему рококо}} (1955).</ref>
<ref name="note13">Previously, in 1954, the ''Variations'' had been issued by Muzgiz in an arrangement for cello and piano and full score, edited by Aleksandr Stogorsky (1910–1987). In this edition [[Wilhelm Fitzenhagen]]'s cello part was used with careful corrections by the editor; in places there are minor differences from the text of the collected works, which was based on the original autographs and other sources.</ref>
</references>
[[Category:Concertante Pieces]]