Bercemuse: restored and rare classic music
Cesare Pugni — Gazelda:
Polka. A Two-Beat Smile
Polka. A Two-Beat Smile
Hear the Gazelda Polka: the 2/4 bounce, bass ostinato, eight-bar terraces in the Trio,
and the da capo return—simple design that lights up the stage.
and the da capo return—simple design that lights up the stage.
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
Bohemian by birth (2/4), the polka sparked true “polkamania” in 1840s Paris. The name likely comes from Czech půlka—a “half-step,” that quick hop on beat two. On stage it’s the instant reset of energy: sparkle, wit, and lift.
From the first bar the two-in-a-bar bounce is unmistakable: a brief support and a spring. The bass lays oom-pah ostinato—low note and light off-beat chords—while the treble shapes short motives that step toward their pillars. The opening eight bars form a clean period: a mid-phrase half cadence and a neat authentic cadence at the close. The step seems to rise straight out of the texture.
The contour returns on a larger scale: slightly higher peaks, more pointed accents (the small > marks), the left hand widening its register. At phrase joints the 1st/2nd endings act as markers, letting the ear memorize the square and anticipate the landing.
The Trio enters ff—a flash of brightness—then settles to mf/p. Texture shifts: the treble turns more cantabile under slurs, the bass keeps the two-beat support but gentler. Color leans toward a subdominant/neighbor area; motives move by sequence, so the polka becomes a chain of eight-bar terraces—a little rise, a hold, another rise. Near the end the texture firms briefly to confirm the height, and beyond the double bar the score reads Polka D.C.: a da capo that feels like a returning grin.
Back at the main theme the design locks: the same two-beat spring, the same clear cadences, and the sense that the whole stage has become lighter. That is Pugni’s “small mechanics” at work—meter, texture, the eight-bar grid, and concise cadences—turning simple means into a scene of quick joy.
From the first bar the two-in-a-bar bounce is unmistakable: a brief support and a spring. The bass lays oom-pah ostinato—low note and light off-beat chords—while the treble shapes short motives that step toward their pillars. The opening eight bars form a clean period: a mid-phrase half cadence and a neat authentic cadence at the close. The step seems to rise straight out of the texture.
The contour returns on a larger scale: slightly higher peaks, more pointed accents (the small > marks), the left hand widening its register. At phrase joints the 1st/2nd endings act as markers, letting the ear memorize the square and anticipate the landing.
The Trio enters ff—a flash of brightness—then settles to mf/p. Texture shifts: the treble turns more cantabile under slurs, the bass keeps the two-beat support but gentler. Color leans toward a subdominant/neighbor area; motives move by sequence, so the polka becomes a chain of eight-bar terraces—a little rise, a hold, another rise. Near the end the texture firms briefly to confirm the height, and beyond the double bar the score reads Polka D.C.: a da capo that feels like a returning grin.
Back at the main theme the design locks: the same two-beat spring, the same clear cadences, and the sense that the whole stage has become lighter. That is Pugni’s “small mechanics” at work—meter, texture, the eight-bar grid, and concise cadences—turning simple means into a scene of quick joy.
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