MuHL 570

Asst. Professor Leah Morrison.

Vladimir Khomyakov, DMA in Piano Performance.

Written Assignment #3:

Writing Program Notes.ThePiatigorsky Cello Festival. March 18^th 2pm concert:

1. PyotrTchaikovsky(1840 –1893)– The Variations on a Rococo Theme, Op. 33,

The Variations on a Rococo Theme, Op.33, were written with the help of Tchaikovsky’s friend, German cellist Wilhelm Fitzenhagen, who performed them for the first time in Moscow in 1877 under the baton of Nikolai Rubinstein, the director of Moscow Conservatory. Tchaikovsky wrote this piece shortly after his dramatic Symphonic Poem Francesca da Rimini. In comparison with the tragedy unfolding in the poem, the variations sound graceful and somewhat humoresque. It could be that Tchaikovsky, always critical of himself, thought of The Variations on a Rococo Theme as a weaker piece. In spite of Tchaikovsky’s indifference towards this piece, the “Rococo Variations,” as they often call them, became very popular with cello performers and the audience.

The Variations on a Rococo Theme in A Major for cello solo and orchestra were conceived by Peter Tchaikovsky as a cycle of eight variations on an original theme that is reminiscent of the rococo symphonic in concept. Similarly to the First Piano Concerto, Tchaikovsky did not purpose to create a piece of utmost technical difficulty, but a truly symphonic composition in the form of variations. In the “Rococo Variations” one can hear uniquely Russian melodies laced in Classical style. Such stylization became Tchaikovsky’s signature in the future compositions.

Though written as sectional variations, overall composition sounds like a cycle: the theme and the two first variations are tightly connected and form first part of the cycle; variation #3 sounds like contrasting lyrical second part; the following three variations bring in the lightness and agility of a Scherzo; the second Andante variation, #7, strongly contrasts the previous material with its sublime emotion; and finally, the last variation, perpetual and brilliant, concludes the cycle acting as its Finale.

The symphonic nature of the Variations on a Rococo Theme doesn’t exclude technical brilliance of the texture. Cello is in the spotlight all the time, like the soloist who leads all the main melodic lines, and for it Tchaikovsky assigned multiple cadenzas, some demonstrating virtuosity and some expressiveness of cantilena. The part of the orchestra interlaces cello with elegant transparency and generously complements thematic material designated to cello with polyphonic lines and colorful registers. The “Rococo Variations” express joyful light-heartedness and optimism, and they don’t cease to amaze audiences around the world with its stylistic elegance and deep expression.

2. Ottorino Respighi (1879-1936) – Adagio con Variazioni

Ottorino Respighi attracted attention in Italy with his operas and orchestral works. His music has been described as "new old music": he brought to the forms, techniques, and melodic lines of early Italian music his special gift for evoking poetic images, and his ability to, in his words, "reproduce by means of tone an impression of nature." In 1900he traveled to St. Petersburg, where he took composition lessons with Nikolai Rimsky-Korsakov, who influenced Respighi’s coloristic orchestration. Respighi himself played brilliantly violin, viola and piano, and understood the challenges of playing string instruments very well. His ability as both a violinist and a violist was so outstanding that he was offered aviolin engagement with the Imperial Theatre in St. Petersburg and the Bolshoi Theatre in Moscow. In 1920, he composedAdagio con Variazioni for cello and orchestra. Like Tchaikovsky’s Variations on a Rococo Theme, Respighi’s cello variations weremuch influenced by classical era of composition. However, Respighi treats his stylized musical material differently from Tchaikovsky: his strictly classical forms and tunes are interwoven with romantic treatment of harmony and textures. Adagio con Variazioniwaspremiered in 1930 in count’s palace on the day of St. Cecilia. The composition became an important part of cello repertoire ever since.

Date: 2015-02-16; view: 1076