Bercemuse: restored and rare classic music
Cesare Pugni — Gazelda:
March (with Trio, D.C.). Guide
March (with Trio, D.C.). Guide
Two-beat stride, eight-bar cells, a contrasting Trio and D.C. return:
how to hear the form and texture of Pugni’s GazeldaMarch.
how to hear the form and texture of Pugni’s GazeldaMarch.
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
March. Born in the ranks, long since adopted by theater. A march is stage architecture: it organizes entrances, processions, ceremony. Two-beat stride, terraced crescendi, clean cadences—instantly the audience hears the “space” where characters arrive, take position, and depart.
From the first bar the two-in-a-bar pulse is unmistakable. The bass lays arpeggiated supports, the treble answers with compact verticals and short approaches to the pillar notes. The opening eight bars read as a classic period: a mid-phrase half cadence that holds the breath, and at bar eight a tight authentic cadence. The sound world is firm rather than heavy; between the treble chords tiny runs keep the line mobile while the bass never loses the stride.
The next span repeats the material at a larger scale. A written 8va lifts the treble an octave; familiar figures become more embossed. Along the way sfz/fz marks act as pinpoint accents before structural supports; immediately after them the energy settles so the next terrace can start. Harmony remains legible—tonic and dominant with quick secondary dominants to prepare cadences—so the march moves as one unit rather than breaking into episodes.
By the end of the first page the sense of eight-bar terraces is clear: a brief rise, a fixation, then another push. The form clicks into place because cadences occur exactly at these joints; the ear remembers the grid.
The Trio opens at p with a more “spoken” texture. The bass keeps the same two-beat footing but gentler; above it the line turns cantabile under slurs and the chordal relief thins. Color shifts to the subdominant side, warming the tone. The score literally spells cresc. in small waves—that is the dramaturgy here: stepwise growth built from several short swells. Motives often move by sequence—a shift to a neighboring degree answered immediately—so the flow is smooth yet directed. Near the end brief fortified supports (ff) confirm the height without disturbing diction; cadences stay concise.
The D.C. returns us to the opening. After the broader, more sustained middle, the initial march is heard with added authority: the same rhythmic profile now feels like assembled architecture—identical eight-bar blocks, identical cadential points, but with a reinforced internal spring. The close is economical: a pointed accent, a clean cadence, and silence that seals the outline.
Heard this way, the March is a plan you can follow by ear: two-beat stride as the load-bearing frame, a contrasting Triothat widens the inflection, and a da capo that confirms the design. Pugni’s strength here is not harmonic puzzles but rhythm, texture, register, and cadence—a language that leads the listener with clarity and dignity.
From the first bar the two-in-a-bar pulse is unmistakable. The bass lays arpeggiated supports, the treble answers with compact verticals and short approaches to the pillar notes. The opening eight bars read as a classic period: a mid-phrase half cadence that holds the breath, and at bar eight a tight authentic cadence. The sound world is firm rather than heavy; between the treble chords tiny runs keep the line mobile while the bass never loses the stride.
The next span repeats the material at a larger scale. A written 8va lifts the treble an octave; familiar figures become more embossed. Along the way sfz/fz marks act as pinpoint accents before structural supports; immediately after them the energy settles so the next terrace can start. Harmony remains legible—tonic and dominant with quick secondary dominants to prepare cadences—so the march moves as one unit rather than breaking into episodes.
By the end of the first page the sense of eight-bar terraces is clear: a brief rise, a fixation, then another push. The form clicks into place because cadences occur exactly at these joints; the ear remembers the grid.
The Trio opens at p with a more “spoken” texture. The bass keeps the same two-beat footing but gentler; above it the line turns cantabile under slurs and the chordal relief thins. Color shifts to the subdominant side, warming the tone. The score literally spells cresc. in small waves—that is the dramaturgy here: stepwise growth built from several short swells. Motives often move by sequence—a shift to a neighboring degree answered immediately—so the flow is smooth yet directed. Near the end brief fortified supports (ff) confirm the height without disturbing diction; cadences stay concise.
The D.C. returns us to the opening. After the broader, more sustained middle, the initial march is heard with added authority: the same rhythmic profile now feels like assembled architecture—identical eight-bar blocks, identical cadential points, but with a reinforced internal spring. The close is economical: a pointed accent, a clean cadence, and silence that seals the outline.
Heard this way, the March is a plan you can follow by ear: two-beat stride as the load-bearing frame, a contrasting Triothat widens the inflection, and a da capo that confirms the design. Pugni’s strength here is not harmonic puzzles but rhythm, texture, register, and cadence—a language that leads the listener with clarity and dignity.
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