Bercemuse: restored and rare classic music
Cesare Pugni — Gazelda:
Menuet Bohemien. Sheen and Spring in Three
Menuet Bohemien. Sheen and Spring in Three
Hear the Menuet Bohemien: Allegro moderato 3/4 with slur-arches and anacrusis,
sequenced phrases, an eight-bar grid and clean cadences—stylized minuet that leads the step.
sequenced phrases, an eight-bar grid and clean cadences—stylized minuet that leads the step.
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 minuet—a courtly 3/4—survives in the 19th century as stylized memory: poised bows, arching lines, clear cadences. The label Bohemien in period prints is a fashionable tint rather than ethnography: a livelier tempo and a salon sparkle. On stage it draws a ritual of gestures where every turn is weighed.
From bar one: Allegro moderato assai, 3/4. The bass anchors each downbeat with a light reply on two–three; the treble shapes slurred arches and a brief anacrusis so the phrase seems to fly into the bar. The opening eight bars make a classic period—half cadence mid-way, neat authentic cadence at the close. This minuet is a living step-and-turn: support, glide, gentle landing on the next support.
The idea returns larger and brighter. The right hand acquires running figures and slurred filigree; at places tripletsshimmer above the steady pulse, not blurring but buoying it. Harmony stays transparent—I–V–I with discreet secondary dominants at phrase joints; printed cresc.–decresc. hairpins shape the breath. The ear rides the eight-bar grid and feels where the turn will be.
The middle span unfolds as a chain of sequences and neighboring hues: a familiar cell shifts to new levels, changing height more than character. The effect is a ceremonial procession in mirrors—the same figure viewed from fresh angles. The bass keeps law and order: downbeat weight with a soft nod on two–three.
Toward the end the texture firms up—fuller verticals, tighter peaks—and a clean cadence seals the arc. This is Pugni’s craft: meter, texture, the eight-bar plan, and exact cadences working as a compact stage mechanism. The music doesn’t instruct; it makes you step, and that is its Bohemian magic.
From bar one: Allegro moderato assai, 3/4. The bass anchors each downbeat with a light reply on two–three; the treble shapes slurred arches and a brief anacrusis so the phrase seems to fly into the bar. The opening eight bars make a classic period—half cadence mid-way, neat authentic cadence at the close. This minuet is a living step-and-turn: support, glide, gentle landing on the next support.
The idea returns larger and brighter. The right hand acquires running figures and slurred filigree; at places tripletsshimmer above the steady pulse, not blurring but buoying it. Harmony stays transparent—I–V–I with discreet secondary dominants at phrase joints; printed cresc.–decresc. hairpins shape the breath. The ear rides the eight-bar grid and feels where the turn will be.
The middle span unfolds as a chain of sequences and neighboring hues: a familiar cell shifts to new levels, changing height more than character. The effect is a ceremonial procession in mirrors—the same figure viewed from fresh angles. The bass keeps law and order: downbeat weight with a soft nod on two–three.
Toward the end the texture firms up—fuller verticals, tighter peaks—and a clean cadence seals the arc. This is Pugni’s craft: meter, texture, the eight-bar plan, and exact cadences working as a compact stage mechanism. The music doesn’t instruct; it makes you step, and that is its Bohemian magic.
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