Bercemuse: restored and rare classic music
Cesare Pugni — Gazelda:
Ländler. A Warm Circle in Three
Ländler. A Warm Circle in Three
Hear Pugni’s Ländler: Moderato 3/4 with a grounded downbeat, long slur-arcs,
a chain of eight-bar periods and clean cadences—simple design that makes movement.
a chain of eight-bar periods and clean cadences—simple design that makes movement.
PREMIER!
"GAZELDA"
"GAZELDA"
For the first time, the restored music of Cesare Pugni dances to the rhythm of crackling campfire sparks, the rustle of necklaces, the swirl of skirts, and the passions of hearts devoted to love.
The release is already available on music streaming services!
- More than a century later, the beloved melodies of generations past come alive once more. Is that not magic?
- They say only in Gazelda do the Ballet Reprises answer the heart’s deepest questions—this is not just music, but the breath of art’s magic, woven from nature’s very fabric.
- Let the legend of Gazelda into your heart — and perhaps, she will look upon you.
READ MORE
PREMIER!
"GAZELDA"
"GAZELDA"
For the first time, the restored music of Cesare Pugni dances to the rhythm of crackling campfire sparks, the rustle of necklaces, the swirl of skirts, and the passions of hearts devoted to love.
The release is already available on music streaming services!
- More than a century later, the beloved melodies of generations past come alive once more. Is that not magic?
- They say only in Gazelda do the Ballet Reprises answer the heart’s deepest questions—this is not just music, but the breath of art’s magic, woven from nature’s very fabric.
- Let the legend of Gazelda into your heart — and perhaps, she will look upon you.
READ MORE
The Ländler is the Austro-German ancestor of the waltz: a rural 3/4 couple dance, slower and heavier on beat one—step and turn. In the 19th century it moved from countryside to city (Schubert, Lanner, the Strausses) and on stage it signals plain warmth and trust.
From the first bar we hear Moderato, 3/4. The bass plants a firm downbeat support with light chords on beats two and three; the treble traces long slur-arcs with brief approaches to pillar notes. The opening eight-bar period breathes with a mid-phrase half cadence and closes in a clean authentic cadence. This is not dizzy swirl but a step with a turn: weight on one, release across two–three, a natural landing on the next support.
The next span is the same utterance in larger focus. The register rises slightly; printed cresc.–decresc. hairpins shape the breath—Pugni builds intensity through dynamic speech rather than ornament. Harmony stays bright and readable—I–V–I with discreet secondary dominants that prime the cadences—so the ear easily holds the eight-bar “square.” First/second endings act as hinges: small joints that send the line forward.
There is no contrasting Trio: the number unfolds as a chain of periods, each one widening the previous one’s breath. The treble gains gentle repeated summits, a shimmer above the steady step below. The bass alternates drone-like fifth/third supports with simple chordal props—the ground on which the dance rests.
Toward the close the texture firms briefly to confirm the height, then a tidy cadence seals the outline. The music pulls the circle together almost by itself. That is Pugni’s gift here—meter, texture, the eight-bar grid, and exact cadences fused into a soft yet irresistible dancing impulse. Simple means, living theater.
From the first bar we hear Moderato, 3/4. The bass plants a firm downbeat support with light chords on beats two and three; the treble traces long slur-arcs with brief approaches to pillar notes. The opening eight-bar period breathes with a mid-phrase half cadence and closes in a clean authentic cadence. This is not dizzy swirl but a step with a turn: weight on one, release across two–three, a natural landing on the next support.
The next span is the same utterance in larger focus. The register rises slightly; printed cresc.–decresc. hairpins shape the breath—Pugni builds intensity through dynamic speech rather than ornament. Harmony stays bright and readable—I–V–I with discreet secondary dominants that prime the cadences—so the ear easily holds the eight-bar “square.” First/second endings act as hinges: small joints that send the line forward.
There is no contrasting Trio: the number unfolds as a chain of periods, each one widening the previous one’s breath. The treble gains gentle repeated summits, a shimmer above the steady step below. The bass alternates drone-like fifth/third supports with simple chordal props—the ground on which the dance rests.
Toward the close the texture firms briefly to confirm the height, then a tidy cadence seals the outline. The music pulls the circle together almost by itself. That is Pugni’s gift here—meter, texture, the eight-bar grid, and exact cadences fused into a soft yet irresistible dancing impulse. Simple means, living theater.
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