Bercemuse: restored and rare classic music
Cesare Pugni — Gazelda:
Polka-Mazourka. A Smile in Three Beats
Polka-Mazourka. A Smile in Three Beats
Hear the Gazelda Polka-Mazourka: 3/4 with a springy second beat, chordal repeats,
sequenced Trio and Dal Segno return—a compact engine of joy.
sequenced Trio and Dal Segno return—a compact engine of joy.
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
A mid-19th-century salon hybrid: danced in 3/4, it blends the polka’s quick hop with the mazurka’s inner-beat spring. On stage it signals playfulness and sheen—a brief scene that lifts the energy at once.
From the outset this is 3/4 with elastic drive, not waltz softness. The bass places supports on every beat; above it short motives and repeating chordal strokes sketch the profile. The inner push is felt on beat two—the mazurka center that makes the figure want to go on. The opening eight bars form a clear period: a mid-phrase half cadence and a tidy authentic cadence at the close.
The same material then arrives larger and more embossed. The register rises a touch; accents are more pointed (the little > marks); texture thickens into a quasi-orchestral grid. Harmony stays bright and direct (I–V–I) with secondary dominants for local lifts. First/second endings at phrase joints help the ear memorize the square and anticipate the landing.
The Trio changes tint and diction. It starts f, soon settles to p/mf: a cantabile upper line under slurs, the same triple underpinning below but with a gentler breath. Color leans to the subdominant side; motives move by sequence, so you hear eight-bar terraces—a small rise, a hold, another rise. Near the close the texture firms briefly, and at the double bar comes Polka Dal Segno: the return to the sign closes the arch.
The reprise is recognition rather than repetition. After the Trio the main theme sounds even more gathered: the same three-beat pendulum with its springy second beat, the same concise cadences, the same returning “smile” at exactly the right moment. This is Pugni’s craft: meter, texture, the eight-bar grid, and clean cadences working as a compact joy-engine. Simple means, living theater.
From the outset this is 3/4 with elastic drive, not waltz softness. The bass places supports on every beat; above it short motives and repeating chordal strokes sketch the profile. The inner push is felt on beat two—the mazurka center that makes the figure want to go on. The opening eight bars form a clear period: a mid-phrase half cadence and a tidy authentic cadence at the close.
The same material then arrives larger and more embossed. The register rises a touch; accents are more pointed (the little > marks); texture thickens into a quasi-orchestral grid. Harmony stays bright and direct (I–V–I) with secondary dominants for local lifts. First/second endings at phrase joints help the ear memorize the square and anticipate the landing.
The Trio changes tint and diction. It starts f, soon settles to p/mf: a cantabile upper line under slurs, the same triple underpinning below but with a gentler breath. Color leans to the subdominant side; motives move by sequence, so you hear eight-bar terraces—a small rise, a hold, another rise. Near the close the texture firms briefly, and at the double bar comes Polka Dal Segno: the return to the sign closes the arch.
The reprise is recognition rather than repetition. After the Trio the main theme sounds even more gathered: the same three-beat pendulum with its springy second beat, the same concise cadences, the same returning “smile” at exactly the right moment. This is Pugni’s craft: meter, texture, the eight-bar grid, and clean cadences working as a compact joy-engine. Simple means, living theater.
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