Run Time: Approx. 7 minutes

Alborada del Gracioso began as a solo piano piece, the fourth of five in a set titled Miroirs, completed by Maurice Ravel in 1905. He later revisited Alborada, along with three other pieces from the set, reimagining them for orchestra in 1918.

Like many of Ravel’s works—concert-goers might recall similar discussions this season about Pavane for a Dead Princess and The Grave of Couperin—the title is somewhat intriguing. The direct translation of “alborada” from Spanish is “dawn,” but in music, it specifically refers to a “dawn song,” the Spanish equivalent of the French “aubade” and the German “Morgenlied.” These terms originate from a popular genre of medieval lyric poetry where a lookout, stationed outside the bedroom window of illicit lovers, serenades the couple to warn them that the night is coming to an end.

The gracioso was a comedic figure from the 16th-century Spanish court, similar to a jester. Consequently, the title is typically translated into English as Morning Song of the Clown, Dawn Song of the Buffoon, or The Jester’s Aubade. It remains unclear what exactly Ravel intended with this title, but if taken literally, one can imagine that the warning would be anything but subtle.

Ravel had a profound fascination with Spanish culture, particularly the lavish court life of the 16th century, as illustrated in the paintings of Diego Velásquez. Perhaps he imagined a bumbling court jester on the lookout for a philandering king, with the music offering a playful, exaggerated depiction of the resulting chaos. However, it’s more likely, considering his other evocatively named works, that Ravel aimed to whimsically capture the essence of the iconic Spanish era that so enchanted him.

Either way, the short piece is a jovial romp that lovingly evokes its Spanish musical inspiration. Plucked strings and harp conjure the sound of a strummed guitar, and quick successions of repeated notes in the brass suggest the tapping of dance heels. Whether Ravel truly imagined a bombastic and ham-handed intervention or was simply attempting a musical painting of a bygone era, the work is both a stunning addition to Ravel’s catalog of music celebrating Spain and a glittering showpiece for the orchestra.