Bercemuse: restored and rare classic music
Cesare Pugni — Gazelda:
Waltz. Magic that makes you dance
Waltz. Magic that makes you dance
Hear Pugni’s Waltz: elastic 3/4, a cantabile Trio, clean cadences and da capo—
a simple design that triggers an irresistible dancing impulse.
a simple design that triggers an irresistible dancing impulse.
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
Waltz - from late-18th-century Ländler to the embrace that first scandalized polite society and then defined a city. The waltz’s spell is the breath of 3/4—support, spring, release. It binds attention with a long arc and makes the body count “one-two-three” without being asked.
From the first bars Pugni sets an inner body metronome. In this 3/4 the point is clarity of impulse: weight on one, a spring on two, release on three. The bass breathes 1 | 2–3; the treble speaks through brief approaches to pillar notes and long slur-arcs. The opening eight-bar period suspends in the middle (half cadence) and closes with a neat authentic cadence. Meter and diction fuse into motion that needs no explanation—you simply feel the urge to follow it.
The same material then returns in larger focus. Small crown-like top notes and a lifted register make the line magnetize the step. Harmony remains lucid (I–V–I) with quick secondary dominants nudging the landings; transitions are so logical that the body anticipates each inner half-step toward the next summit. That quiet inevitability is the spell.
The Trio opens another tint. Marked p, the treble turns cantabile under long slurs while the bass keeps the same triple stride, gentler. Color leans to the subdominant; motives move by sequence, answered at once. To the ear it becomes a chain of broad swells (cresc.—decresc.): the same simple speech heard from within. The magic is that feeling grows larger without changing the alphabet.
The da capo is recognition. After the Trio the initial periods sound more gathered; the inner “one-two-three” is almost physical—identical eight-bar cells, the same clean cadences, with a spark or two of sf/fz before the end. A clear authentic cadence seals the line; restraint, paradoxically, heightens charm.
Heard this way, the waltz’s beauty lives in meter, texture, register, and cadence bound into a perfectly simple design. With minimal means, Pugni generates an irresistible dancing impulse. The music doesn’t persuade—it becomes the step.
From the first bars Pugni sets an inner body metronome. In this 3/4 the point is clarity of impulse: weight on one, a spring on two, release on three. The bass breathes 1 | 2–3; the treble speaks through brief approaches to pillar notes and long slur-arcs. The opening eight-bar period suspends in the middle (half cadence) and closes with a neat authentic cadence. Meter and diction fuse into motion that needs no explanation—you simply feel the urge to follow it.
The same material then returns in larger focus. Small crown-like top notes and a lifted register make the line magnetize the step. Harmony remains lucid (I–V–I) with quick secondary dominants nudging the landings; transitions are so logical that the body anticipates each inner half-step toward the next summit. That quiet inevitability is the spell.
The Trio opens another tint. Marked p, the treble turns cantabile under long slurs while the bass keeps the same triple stride, gentler. Color leans to the subdominant; motives move by sequence, answered at once. To the ear it becomes a chain of broad swells (cresc.—decresc.): the same simple speech heard from within. The magic is that feeling grows larger without changing the alphabet.
The da capo is recognition. After the Trio the initial periods sound more gathered; the inner “one-two-three” is almost physical—identical eight-bar cells, the same clean cadences, with a spark or two of sf/fz before the end. A clear authentic cadence seals the line; restraint, paradoxically, heightens charm.
Heard this way, the waltz’s beauty lives in meter, texture, register, and cadence bound into a perfectly simple design. With minimal means, Pugni generates an irresistible dancing impulse. The music doesn’t persuade—it becomes the step.
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