Pjotr Iljitsj Tchaikovsky:
Rococo Variations opus 33 - Moderato assai quasi Andante
Rococo Variations opus 33 - Thema, Moderato simplice
Rococo Variations opus 33 - Variation 1, Tempo della
Rococo Variations opus 33 - Variation 2, Tempo della Thema
Rococo Variations opus 33 - Cadenza
Rococo Variations opus 33 - Variation 3, Andante
Rococo Variations opus 33 - Variation 4, Allegro vivo
Rococo Variations opus 33 - Variation 5, Andante grazioso
Rococo Variations opus 33 - Variation 6, Allegro moderato
Rococo Variations opus 33 - Variation 7, Andante sostenuto
Rococo Variations opus 33 - Variation 8 and Coda, Allegro moderato con anima

Carl Philipp Emanuel Bach:
Concerto in A Major Wq 172 - Allegro
Concerto in A Major Wq 172 - Largo con sordini. Mesto
Concerto in A Major Wq 172 - Allegro Assai

Igor Stravinsky:
Suite Italienne - Introduzione, Allegro moderato
Suite Italienne - Serenata, Larghetto
Suite Italienne - Aria, Allegro alla breve
Suite Italienne - Tarantella, Vivace
Suite Italienne - Minutez
Suite Italienne - Finale, Molto vivace

In its narrowest sense, the label “Rococo” pertains to the exaggeration and the mannerisms of the post-baroque era, but on this record it can refer to any period or style in which old rules no longer apply, and new rules are not ready yet. From the crevices of music history, EPR Classic digs up three masterpieces, which take on fresh relevance in the hands of a virtuoso who delights in the foiling of conventions, and the conducting of formalities with a nod and a wink, while using new masks, colors, registers and gestures.

Nothing is what it seems on this recording. The only piece which is strictly Rococo – CPE Bach’s Cello Concerto in A – sounds Romantic on account of its spicy charm and almost improper energy. Tchaikovsky’s Rococo Variations (1877) firmly belong to the Romantic catalogue, but borrow gestures from bygone ages to express how homeless their composer felt in his own times. Strawinsky’s Suite Italienne (1932) – performed here in the version for cello and orchestra – also recycles baroque inspiration, but not for any nostalgic purpose: for Strawinsky, the Suite heralds the new order of neo-classicism which was to determine his work ever after.

Teaming up with the Winterthur Chamber Orchestra, cello icon Pieter Wispelwey tackles these works with fitting playfulness and the unrestrained refinement and sensuality which have become his trademarks.