The Variations on a Rococo theme for violoncello and orchestra in A major Op.33 by Pyotr Ilyich Tchaikovsky was one of the pieces he was satisfied with most after he wrote it, and is a challenging piece for both the solo cellist and the orchestra.

Written in 1876 for and with the help of the German cellist Wilhelm Fitzenhagen , it was actually somewhat revised and reordered by the dedicatee himself, but the composer allowed the changes to stand. Inspired by Mozart, Tchaikovsky's role model, it is a clear that Tchaikovsky admired the classical style very much, however one should note that the Thema is not Rococo in origin, but actually an original theme.

The variations are played without pause, except between the last slow movement and the finale, which is not actually set off by a thick double bar, but by a simple fermata over the last quarter rest. The difficulty of the piece lies in this seemingly innocent set-up. The soloist must learn eight totally different styles, and then play them all at once with no break, no time to stop and recollect himself.

The piece is scored for pairs of basic woodwind instruments, two French horns, and strings, and has a theme and seven variations.

1. Moderato assai quasi Andante - Thema: Moderato semplice
2. Var. I: Tempo della Thema
3. Var. II: Tempo della Thema
4. Var. III: Andante sostenuto
5. Var. IV: Andante grazioso
6. Var. V: Allegro moderato
7. Var. VI: Andante
8. Var. VII e Coda: Allegro vivo

Total Timing: Approx. 20:00

Moderato assai quasi Andante - Thema: Moderato semplice The orchestra comes in with an somewhat brief (though it looks long on paper) introduction, and the solo cello states the simple, elegant theme. This is repeated once, then there is a brief second theme, followed by a recapitulation, at which point the solo reverts back to the second theme, and then the recapitulation again. The orchestra then plays a brief interlude, at which point the cello plays a brief conjunctive passage, the same exact notes of which are used to link Vars. I and II. The same conjunction is played an octave lower to link Vars. II and III.

Var. I: Tempo della Thema The first variation is in triplets, through the midst of which the orchestra restates the theme.

Var. II: Tempo della Thema The second variation is a conversation between the orchestra and solo, with the theme nearly doubled in speed. Most players opt to play the 32nd note runs "as it comes", or back and forth with the bow, while daring players take it all in one bow stroke, a difficult upbow staccato stroke.

Var. III: Andante sostenuto In the third variation the theme has changed key to C major, and the theme is played at a more contemplative speed.

Var. IV: Andante grazioso The fourth variation is back in A major, and is a livelier version of the theme.

Var. V: Allegro moderato The fifth variation carries over trills from the end of the fourth variation, and after a grand "fall" by the solo cello onto a low E, the orchestra takes over gallantly. A cadenza follows, ending back in the trills from the beginning, and once again the melody is taken over by the full orchestra, at which point a second, much longer and more difficult cadenza follows. The second cadenza, which is brazen and filled with chords, steadfastly refuses to resolve its minor key.

Var. VI: Andante The sixth variation is a sad d minor restatement of the theme, which carries over from the cadenza.

Var. VII e Coda: Allegro vivo After a brief pause, the somewhat exhausted soloist launches into the most difficult and tiring variation yet, an Allegro vivo which rarely relents it's constant 32nd notes. Being able to handle the technicality of the last variation is the mark of a virtuoso soloist. The orchestra, too, has a difficult time keeping up with the blazing speed of the finale, the solo flute being one example.

The piece was well received at its first performances, and Fitzenhagen himself took the piece with him on a tour of Europe. Though not really a concerto, it was the closest Tchaikovsky ever got to a full-blown cello concerto, and it is just as difficult as any other concerto.