Cellist Jan Vogler could have used the Pezzo Capriccioso, Op. 62, in this group of pieces by Tchaikovsky; unlike the two short pieces here. There are also a fragmentary Tchaikovsky Cello Concerto and a Gaspar Cassadó "Tchaikovsky cello concerto" from 1940, arranged from piano pieces. But rather than try to collect every last scrap of Tchaikovsky's cello music, Vogler pursues a course that leads to a more coherent program: the use of the cello in a variety of works that explore the lighter, Mozartian side of Tchaikovsky's ...
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Cellist Jan Vogler could have used the Pezzo Capriccioso, Op. 62, in this group of pieces by Tchaikovsky; unlike the two short pieces here. There are also a fragmentary Tchaikovsky Cello Concerto and a Gaspar Cassadó "Tchaikovsky cello concerto" from 1940, arranged from piano pieces. But rather than try to collect every last scrap of Tchaikovsky's cello music, Vogler pursues a course that leads to a more coherent program: the use of the cello in a variety of works that explore the lighter, Mozartian side of Tchaikovsky's output. At the center of the program are the Variations on a Rococo Theme, Op. 33, Tchaikovsky's largest work for cello and orchestra. Vogler plays a hybrid between Tchaikovsky's original and the commonly played version by cellist William Fitzenhagen; he reintroduces Tchaikovsky's original finale in the middle of the work (sample track 7). This might not be an ideal solution in all cases, but it lightens the piece and fits with the rest of the program. The unusual item on a solo cello...
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