Bercemuse: restored and rare classic music
Cesare Pugni — Gazelda:
Varsovienne. A pendulum with a spark on three
Varsovienne. A pendulum with a spark on three
Hear Pugni’s Varsovienne: 3/4 with anacrusis, a gentle third-beat spark, triplet filigree, sequenced
Trio and a composed D.C. to a clear cadence—music that invites movement.
Trio and a composed D.C. to a clear cadence—music that invites 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 Varsovienne is a mid-19th-century Polish couple dance—part waltz smoothness, part mazurka spring. You hear it in 3/4 with a gentle anacrusis and a discreet stress on the third beat. Ballroom grace meets a buoyant folk accent.
From the first bar the 3/4 breathes with an inviting pickup. The bass lays steady pillars; above, short slurred figures glide into the strong beat. The opening eight bars form a clean period—half cadence in the middle, tidy authentic cadence at the close. The pulse is pendular, and each bar carries a small spark on beat three: a touch of tenuto, a brief appoggiatura, or a triplet sigh that keeps the step springy rather than floaty.
Pugni then enriches the texture. The treble gains ornamental runs and triplet filigree that brighten, not blur, the meter. Harmony stays lucid—I–V–I—with discreet secondary dominants at phrase joints, tiny peaks you can hear without seeing the page. This is music that organizes breathing: a pickup inhale, firm arrival, and that gentle accent on three.
The Trio changes color and distance: dynamics tilt to p, textures thin a shade, and a small cell begins to sequence forward—like the couple moving farther along the diagonal. Often the key shifts toward a brighter dominant area, yet the character remains: noble stride with a springing third beat.
Before the D.C. Pugni places musical commas—ten. markings and subtle cresc./dim. hairpins across a bar or two. Returning to the opening feels fuller, as if the dance had learned itself; a calm cadence seals the number. Pugni’s quiet magic is at work: meter, anacrusis, sequences, and exact cadences fused into sound that simply invites you to dance.
From the first bar the 3/4 breathes with an inviting pickup. The bass lays steady pillars; above, short slurred figures glide into the strong beat. The opening eight bars form a clean period—half cadence in the middle, tidy authentic cadence at the close. The pulse is pendular, and each bar carries a small spark on beat three: a touch of tenuto, a brief appoggiatura, or a triplet sigh that keeps the step springy rather than floaty.
Pugni then enriches the texture. The treble gains ornamental runs and triplet filigree that brighten, not blur, the meter. Harmony stays lucid—I–V–I—with discreet secondary dominants at phrase joints, tiny peaks you can hear without seeing the page. This is music that organizes breathing: a pickup inhale, firm arrival, and that gentle accent on three.
The Trio changes color and distance: dynamics tilt to p, textures thin a shade, and a small cell begins to sequence forward—like the couple moving farther along the diagonal. Often the key shifts toward a brighter dominant area, yet the character remains: noble stride with a springing third beat.
Before the D.C. Pugni places musical commas—ten. markings and subtle cresc./dim. hairpins across a bar or two. Returning to the opening feels fuller, as if the dance had learned itself; a calm cadence seals the number. Pugni’s quiet magic is at work: meter, anacrusis, sequences, and exact cadences fused into sound that simply invites you to dance.
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