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Not until 50 years after Tchaikovsky’s death did the composer’s ‘original’ version come to be heard in the concert hall, its first modern performance documented as being by Daniil Shafran in 1941. The Soviet-published edition of 1956, the composer’s ‘original’ score, obviously still retains much of Fitzenhagen’s initial and, indeed, subsequent revisions to the cello part, but the variations are restored to Tchaikovsky’s original plan.
The Rococo Variations reflects Tchaikovsky’s adoration of the music of Mozart, a composer he revered above all and referred to as the ‘Christ of music’. The poise and order of the music of Mozart and his time appealed greatly to a composer we regard as representing of the heights of the so-called Romantic period. The work has a brief, almost subdued, orchestral introduction leading into the refined charm of the cello theme—not an 18th-century original, but rather Tchaikovsky’s idealised view of such a theme. Thereafter the cellist barely draws breath, the melody expanding into ever more expansive declarations, duets with the flute and the clarinet, cadenzas and a virtuoso package of classic cello cantabile, pizzicato, double-stopping, nostalgic waltzes, runs and trills until the coda brings us to an invigorating conclusion.
from notes by M Ross © 2015
|Glazunov, Prokofiev & Tchaikovsky: Music for cello & orchestra|
Star British cellist Jamie Walton returns to Signum with a programme of Russian repertoire by Glazunov, Prokofiev and Tchaikovsky. Joined by the Royal Philharmonic Orchestra under Okko Kamu, the album includes the original version of Tchaikovsky’s ...» More
|Fitzenhagen: Cello Concertos|
Alban Gerhardt fearlessly enters the mind of the cellist who (mis)guided Tchaikovsky.» More