# Tower - Fanfare
Composer Note:
Fanfare for the Uncommon Woman, No. 1 was inspired by Copland's Fanfare for the Common Man and employs, in fact, the same instrumentation. In addition, the original theme resembles the first theme in the Copland. It is dedicated to women who take risks and who are adventurous. Written under the Fanfare Project and commissioned by the Houston Symphony, the premiere performance was on January 10, 1987, with the Houston Symphony, Hans Vonk, conductor. This work is dedicated to the conductor Marin Alsop.
-- Joan Tower
## Program Notes by Dr. William E. Runyan
Joan Tower, of course, is one of America’s most recognized and honored composers, having contributed a wealth of significant compositions primarily for orchestra, including several solo concertos, and chamber ensembles. While the composer of an impressive number of significant works, ironically, perhaps the public thinks of her most for her six fanfares entitled _Fanfares for the Uncommon Woman_. The somewhat cheeky reference to Aaron Copland’s beloved composition is pellucidly clear. Four of her fanfares are scored for brass ensemble, some with percussion, and two are written for full orchestra. She composed the first in 1986 and the last in 2016 and they are collectively dedicated to “women who take risks and are adventurous.”
Each of the six fanfares is dedicated to one woman of merit, with the first fanfare recognizing the well-known conductor, Marin Alsop. The Houston Symphony commissioned the work and gave its première in 1987. The instrumentation of Tower’s work is the same as Copland’s, but adds additional percussion instruments. Like Copland’s fanfare, Tower’s begins with a monstrous percussion explosion, but eschewing his ponderous tempo, Tower’s work moves right out in a somewhat brisker tempo. Twittering motifs in the trumpets and gestures in the low brass that seem to evoke something of Copland yield to dense layers of distinct material in the various instruments. Driving rhythms seem to collapse into thick, dissonant tone clusters as the riotous texture grows. The “layers” of contrasting fanfare-like figures seem to cascade all over each other as they gallop along in growing intensity. An allusion to the opening “twitters” briefly surfaces before the smashing end.
Program Notes by [Dr. William E. Runyan,](https://runyanprogramnotes.com/) ©2022
# Tower: Made in America
_Made in America_ is composed in a single movement and has a duration of roughly 13 minutes. The main theme of the work is based on the song "[America the Beautiful](https://en.wikipedia.org/wiki/America_the_Beautiful "America the Beautiful")." Tower described the inspiration for the piece in the score program notes, writing:
"I crossed a fairly big bridge at the age of nine when my family moved to South America (La Paz, Bolivia), where we stayed for nine years. I had to learn a new language, a new culture, and how to live at 13,000 feet! It was a lively culture with many saints' days celebrated through music and dance, but the large Inca population in Bolivia was generally poor and there was little chance of moving up in class or work position. When I returned to the United States, I was proud to have free choices, upward mobility, and the chance to try to become who I wanted to be. I also enjoyed the basic luxuries of an American citizen that we so often take for granted: hot running water, blankets for the cold winters, floors that are not made of dirt, and easy modes of transportation, among many other things. So when I started composing this piece, the song "America the Beautiful" kept coming into my consciousness and eventually became the main theme for the work. The beauty of the song is undeniable and I loved working with it as a musical idea. One can never take for granted, however, the strength of a musical idea — as Beethoven (one of my strongest influences) knew so well. This theme is challenged by other more aggressive and dissonant ideas that keep interrupting, unsettling it, but "America the Beautiful" keeps resurfacing in different guises (some small and tender, others big and magnanimous), as if to say, "I'm still here, ever changing, but holding my own." A musical struggle is heard throughout the work. Perhaps it was my unconscious reacting to the challenge of how do we keep America beautiful.
_Made in America_ has received praise from music critics. [Allan Kozinn](https://en.wikipedia.org/wiki/Allan_Kozinn "Allan Kozinn") of _[The New York Times](https://en.wikipedia.org/wiki/The_New_York_Times "The New York Times")_ praised the work, remarking:
> The piece is a celebration of America, as the title suggests, with fragments of "America the Beautiful" as a leitmotif. The idea is charmingly antiquated, the kind of thing composers did regularly in the 1940s. That said, "Made in America" is not chest-thumping jingoism. Its triumphal moments are offset by dark, ominous stretches. The quotations from "America the Beautiful" peek through these tense sections as affirmations — often gentle ones — that the country's ideals will prevail. Yet the work ends ambiguously, with the future in question.[[3]](https://en.wikipedia.org/wiki/Made_in_America_\(Tower\)?utm_source=chatgpt.com#cite_note-3)
A recording of the work, performed by [Leonard Slatkin](https://en.wikipedia.org/wiki/Leonard_Slatkin "Leonard Slatkin") and the [Nashville Symphony](https://en.wikipedia.org/wiki/Nashville_Symphony "Nashville Symphony"), won the 2008 [Grammy Award](https://en.wikipedia.org/wiki/Grammy_Award "Grammy Award") for [Best Classical Contemporary Composition](https://en.wikipedia.org/wiki/Grammy_Award_for_Best_Classical_Contemporary_Composition "Grammy Award for Best Classical Contemporary Composition"), in addition to the Grammy Awards for [Best Classical Album](https://en.wikipedia.org/wiki/Grammy_Award_for_Best_Classical_Album "Grammy Award for Best Classical Album") and [Best Orchestral Performance](https://en.wikipedia.org/wiki/Grammy_Award_for_Best_Orchestral_Performance "Grammy Award for Best Orchestral Performance").[[4]](https://en.wikipedia.org/wiki/Made_in_America_\(Tower\)?utm_source=chatgpt.com#cite_note-4)
# Tchaikovsky
## BSO
For Tchaikovsky, Wolfgang Amade Mozart was “a sunny genius” whose music “moves me to tears.” From childhood, he studied Mozart’s scores and grew especially fond of _Don Giovanni_. As an adult, he turned to Mozartian themes and style for refuge from his turbulent personal life, finding equilibrium and peace in the world of late-18th-century Classicism. Tchaikovsky paid tribute to Mozart in several works: the Variations on a Rococo Theme_,_ the orchestral Suite No. 4 (_Mozartiana_), and the pastoral interlude in the opera _The Queen of Spades._
What the frequently melancholic Tchaikovsky admired in Mozart was his extroverted, optimistic spirit. “Perhaps it is precisely because as a man of my time I am broken, morally ill, that I so like to seek solace and consolation in Mozart’s music, which for the most part serves as an expression of life’s joys, experienced by a healthy, complete nature uncorroded by reflection.”
In Variations on a Rococo Theme, Tchaikovsky channels his inner Mozart in one of his sunniest works, a combination of what Russian musicologist Yury Keldysh calls “purely Russian melodiousness with Mozartian clarity and purity of design.” In Russia, the rococo style reached its peak during Mozart’s lifetime (1756-91), under the reigns of Empresses Elizabeth and Catherine II. Following the more restrained Baroque, the rococo style in architecture favored elaborate ornamentation, pastel colors, theatricality and frivolity. Some of the best examples can be found in and around the Russian capital of St. Petersburg, where Tchaikovsky spent much of his youth. The exuberant, exquisitely detailed, blue-and-white Catherine Palace at Tsarskoe Selo, built in the mid-1700s, is a particularly fine example.
When Tchaikovsky began composing the neoclassical Rococo Variations in late 1876, he was perhaps seeking an escape from the dark emotional world of the work he had just completed, the passionate symphonic fantasia _Francesca da Rimini_, based on Dante’s tale of doomed lovers. The origins of the composition of the Variations are somewhat obscure, but we know that the work’s dedicatee, cellist Wilhelm Fitzenhagen, Tchaikovsky’s colleague at Moscow Conservatory, was involved from an early stage. Eventually Fitzenhagen made numerous significant changes to Tchaikovsky’s original score to showcase the cello part, rearranging the order of Tchaikovsky’s original eight variations, eliminating the final one and altering transitions between the variations. Jurgenson published Fitzenhagen’s heavily edited version (with seven variations rather than Tchaikovsky’s eight) in a cello-piano version in 1878, and in full score in 1889.
Apparently Jurgenson and Tchaikovsky were both unhappy with Fitzenhagen’s changes, but allowed them to stand. Jurgenson complained to Tchaikovsky in 1878 that Fitzenhagen “is most importunate in wishing to alter your cello piece, to make it more suitable for the instrument, and he says you have given him full authority to do this. Good heavens! Tchaikovsky _revu et_ corrigé _par_ Fitzenhagen!” But when Tchaikovsky reviewed the full score before its 1889 publication, he allegedly told his cellist friend Anatoly Brandukov he would not take any further action: “The devil take it! Let it stand as it is!” And so the Fitzenhagen edition became the standard for performances. Soviet musicologist Viktor Kubatsky later resurrected Tchaikovsky’s original version, published by Muzgiz in Moscow in 1956. Some cellists have since adopted the original, but Fitzenhagen’s remains the version of choice for most.
Writing for a small Mozartian-era ensemble (with clarinets and oboes, not always found in Mozart’s scores), Tchaikovsky composed the main theme himself, imitating the style of Mozart’s era. After a short introduction ending with a thrice repeated plaintive three-note solo horn call, the theme unfolds with symmetrical precision in bright A major (the primary key throughout) in two mirroring eight-bar phrases, evoking the gentility, lightness, elegant proportions, and good humor of Mozart’s comic operas. A six-bar codetta for oboes, clarinets, and bassoons follows each reprise of the theme, a piquant chromatic drone-like complement to the theme’s sweetness.
The ensuing variations vary in mood and complexity, but all are sparely scored, allowing the soloist to take center stage. The only variation in a minor key—D minor—is the sixth (third in Tchaikovsky’s original), a languid Andante that slows the theme down to a seductive serenade with the strings strumming pizzicato accompaniment to the cello’s soulful song. Fitzenhagen enjoyed particular success with this variation, which allegedly inspired Franz Liszt to praise him after an 1879 performance in Wiesbaden in 1879: “You carried me away! You played splendidly. Now there, at last, is real music!”
Other variations allow the soloist to display virtuosity, particularly the fifth (Tchaikovsky’s sixth), where the flute takes the theme against sixteenth-note runs in the cello, climaxing in an extended and highly dramatic cadenza. In the dancing triplets for the flute and clarinet in the third variation (Tchaikovsky’s seventh), one can hear echoes of the music for the ballet _Swan Lake,_ completed just months before the Rococo Variations_._ The allegro vivace (variation seven) that concludes the piece is a tour de force for the cellist, with explosive staccato runs, leaps, arpeggios, and double stops racing across the instrument’s range before a decisive concluding A-major cadence.
Given how brilliantly and idiomatically Tchaikovsky writes for the cello in the Rococo Variations_,_ it seems a shame he never composed a concerto or sonata for the instrument. Over the years the Rococo Variations has become one of the most popular vehicles for cellists all over the world. Mstislav Rostropovich adored the work, played it very often throughout his long career, and taught it to generations of students at Moscow Conservatory. When at Rostropovich’s insistence the cello was added to the violin and piano for the second Tchaikovsky Competition in Moscow in 1962, the Rococo Variations was a required work in the final round.
Harlow Robinson
## Tchaik Research.net
## Composition
On 15/27 December 1876 the composer wrote to [Anatoly Tchaikovsky](https://en.tchaikovsky-research.net/pages/Anatoly_Tchaikovsky "Anatoly Tchaikovsky"): "I'm writing variations for _cello solo_ with orchestra" [[1]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note1-1). Tchaikovsky declined an invitation from his sister, [Aleksandra Davydova](https://en.tchaikovsky-research.net/pages/Aleksandra_Davydova "Aleksandra Davydova"), to spend Christmas with her family at [Kamenka](https://en.tchaikovsky-research.net/pages/Kamenka "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" [[2]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note2-2). Tchaikovsky did not manage to realise this ambition: "Many people keep dropping in here unexpectedly—it seems that everyone in [Petersburg](https://en.tchaikovsky-research.net/pages/Petersburg "Petersburg") is holding me back, when I had stupidly imagined that it would be possible to take advantage of the holidays to work" [[3]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note3-3). Throughout his letters of January 1877, the composer mentioned that he still had "a great deal" to do [[4]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note4-4). 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](https://en.tchaikovsky-research.net/pages/Valse-Scherzo,_Op._34 "Valse-Scherzo, Op. 34")_ for violin, and in March–April he wrote his [Fourth Symphony](https://en.tchaikovsky-research.net/pages/Fourth_Symphony "Fourth Symphony"), and during this same period he completed some work commissioned by [Nadezhda von Meck](https://en.tchaikovsky-research.net/pages/Nadezhda_von_Meck "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](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "Wilhelm Fitzenhagen"). [Fitzenhagen](https://en.tchaikovsky-research.net/pages/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](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen"). It would therefore appear that Tchaikovsky orchestrated the work from the piano arrangement as amended by [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Jurgenson "Jurgenson") was drastically modified by [Wilhelm Fitzenhagen](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Moscow "Moscow"), conducted by [Nikolay Rubinstein](https://en.tchaikovsky-research.net/pages/Nikolay_Rubinstein "Nikolay Rubinstein"). [Nadezhda von Meck](https://en.tchaikovsky-research.net/pages/Nadezhda_von_Meck "Nadezhda von Meck") reported on this to Tchaikovsky: "At today's symphony concert, [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen") is playing your _Variations_" [[5]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note5-5). 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](https://en.tchaikovsky-research.net/pages/Wiesbaden "Wiesbaden") Music Festival on 27 May/8 June 1879, also by [Wilhelm Fitzenhagen](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "Wilhelm Fitzenhagen"). On 1/13 June, [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Liszt "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](https://en.tchaikovsky-research.net/pages/Liszt "Liszt")" [[6]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note6-6).
Other notable early performances included:
- [New York](https://en.tchaikovsky-research.net/pages/New_York "New York"), Chickering Hall, 28 November 1888, Victor Herbert (cello), conducted by Frank Van der Stucken.
- [Tiflis](https://en.tchaikovsky-research.net/pages/Tiflis "Tiflis"), 1st RMS symphony concert, 6 April 1891, Ivan Saradzhev (cello), conducted by [Mikhail Ippolitov-Ivanov](https://en.tchaikovsky-research.net/pages/Mikhail_Ippolitov-Ivanov "Mikhail Ippolitov-Ivanov").
- [Odessa](https://en.tchaikovsky-research.net/pages/Odessa "Odessa"), 1st RMS symphony concert, 16 January 1893, Wladyslaw Alois (cello), conducted by Tchaikovsky.
- [London](https://en.tchaikovsky-research.net/pages/London "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](https://en.tchaikovsky-research.net/pages/Moscow "Moscow"), played by Danyl Shafran, conducted by Aleksandr Melik-Pashayev, and subsequently by Sergey Shirinsky.
## Publication
At the suggestion of [Wilhelm Fitzenhagen](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "Wilhelm Fitzenhagen"), Tchaikovsky gave this composition, together with the _[Valse-Scherzo](https://en.tchaikovsky-research.net/pages/Valse-Scherzo,_Op._34 "Valse-Scherzo, Op. 34")_ for violin, to the [Berlin](https://en.tchaikovsky-research.net/pages/Berlin "Berlin") publishers Luckhardt [[7]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note7-7). 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](https://en.tchaikovsky-research.net/pages/Iosif_Kotek "Iosif Kotek") asked Tchaikovsky whether the _[Valse](https://en.tchaikovsky-research.net/pages/Valse-Scherzo,_Op._34 "Valse-Scherzo, Op. 34")_ had been printed yet.
However, publication of the _Variations_ was delayed, and early in 1878 Tchaikovsky asked [Iosif Kotek](https://en.tchaikovsky-research.net/pages/Iosif_Kotek "Iosif Kotek") to retrieve the manuscript from Luckhardt, and deliver it to his principal publisher [Pyotr Jurgenson](https://en.tchaikovsky-research.net/pages/Pyotr_Jurgenson "Pyotr Jurgenson") [[8]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note8-8). In March 1878, [Jurgenson](https://en.tchaikovsky-research.net/pages/Jurgenson "Jurgenson") began engraving the _Variations_, but it seems that this work was held up by [Wilhelm Fitzenhagen](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Pyotr_Jurgenson "Pyotr Jurgenson") protested against this, and in a letter to Tchaikovsky of 3/15 February 1878 he wrote: "Loathsome [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen")!!!" [[9]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note9-9).
Tchaikovsky did not prevent [Wilhelm Fitzenhagen](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "Wilhelm Fitzenhagen") from making changes, although [Anatoly Brandukov](https://en.tchaikovsky-research.net/pages/Anatoly_Brandukov "Anatoly Brandukov") recalled that the composer viewed them unfavourably:
> "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](https://en.tchaikovsky-research.net/pages/Fitzenhagen "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" [[10]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note10-10).
In October or November 1878, the arrangement for cello and piano appeared in print in [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen")'s new version, which was quite unlike Tchaikovsky's original [[11]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note11-11). 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:
> [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen") not only violated the sequence of the variations, but one of them (the eighth and last) was omitted completely. In this form, [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen"). The fourth variation (_Allegro vivo_) was used by [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen") to conclude the work. With the cuts, inserted passages and tempo changes in [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen")'s work, this could be called a distortion of the careful and clear construction of the former _Variations_" [[12]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note12-12).
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](https://en.tchaikovsky-research.net/pages/Pyotr_Jurgenson "Pyotr Jurgenson"), in [Wilhelm Fitzenhagen](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "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](https://en.tchaikovsky-research.net/pages/Complete_Collected_Works "Complete Collected Works")_ under the editorship of Viktor Kubatsky [[13]](https://en.tchaikovsky-research.net/pages/Variations_on_a_Rococo_Theme?utm_source=chatgpt.com#cite_note-note13-13).
## Autographs
Tchaikovsky's manuscript full score is preserved in the Russian National Museum of Music in [Moscow](https://en.tchaikovsky-research.net/pages/Moscow "Moscow") (ф. 88, No. 96) [[view](https://www.culture.ru/catalog/tchaikovsky/ru/item/archiv/variacii-na-temu-rokoko-variations-sur-un-theme-rococo-dlya-violoncheli-s-orkestrom)]. 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](https://en.tchaikovsky-research.net/pages/Wilhelm_Fitzenhagen "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 (ф. 88, No. 342) [[view](https://www.culture.ru/catalog/tchaikovsky/ru/item/archiv/variacii-na-temu-rokoko-variations-sur-un-theme-rococo-dlya-violoncheli-s-orkestrom-2017-08-17)], with revisions by [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen"), and a later manuscript copy with the cello part entirely in [Fitzenhagen](https://en.tchaikovsky-research.net/pages/Fitzenhagen "Fitzenhagen")'s hand (ф. 88, No. 97), corresponding to the full score as published in 1889.
## KC Symphony