In 1900, Maurice Ravel joined a group of young, like-minded musicians, artists and writer called Les Apaches. The group met regularly at the homes of Paul Sordes and Tristan Klingsor, and came to include such other prominent names as Igor Stravinsky and Manuel de Falla. Les Apaches, which obviously refers to the Native American tribe, also had the additional meaning of “hooligans” in French and was coined by Ricardo Viñes to describe the group as “artistic outcasts.” Viñes would premiere several of Ravel’s piano works, including his Miroirs, which the composer dedicated each of its five movements to a member of Les Apaches.
Miroirs was composed during 1904-05 and given its premiere in 1906. Meaning “Reflections,” the work demonstrates the development of Ravel’s technique as a composer of piano music, which had first leapt into maturity in his 1901 piece, Jeux d’eau. Ravel’s treatment of the vast possibilities of the piano was simultaneously inspired by the florid style of Franz Liszt and the most profound advancement in piano technique since that great virtuoso’s time. This style came to be a cornerstone of French Impressionism and even influenced Ravel’s older contemporary, Claude Debussy.
“Alborada del Gracioso”(“The Jester’s Aubade”) is the fourth piece of Miroirs, which Ravel dedicated to the music critic Michel-Dimitri Calvocoressi. An “aubade,” as opposed to a serenade, was a morning love song, the parting of lovers at daybreak. This movement, in Ravel’s Spanish vein, is one of the most technically challenging of the suite, owing to its fast repeated notes and sweeping glissandi in thirds and fourths. It is also one of two (“Une barque sur l’océan” being the other) movements that Ravel later orchestrated. The outer sections are lively and energetic with an incessant dance-like motion paired with its Spanish-influenced melodies. The central episode, on the other hand, contrasts several different elements. A slow, lyrical melody, unaccompanied, begins the episode and is followed by a passage of long-sustained harmonies, while both are punctuated by brief occurrences of the dance-like rhythms heard earlier. From this mostly lethargic and static soundscape erupts a boisterous fortissimo melody, which nonetheless quickly fades away. An altered reprise of the opening completes the movement’s ternary form and the listener is carried on to its spirited and flamboyant conclusion. Joseph DuBose
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Alborada del Gracioso Maurice Ravel
In 1905, Ravel composed a set of five piano pieces under the title Miroirs (Mirrors). Three of the five individual works were all later orchestrated. The most successful of these re‑clothed pieces is certainly the Alborada del Gracioso, heard here transcribed for cello and piano.
Alborada means morning serenade. Generally it is sung by a friend watching out for the safety of two illicit lovers; as the night wanes, the friend sings outside the bedroom window that the dawn is approaching and that it is time for the lovers to part. It is the second part of Ravel's title that is uniquely elusive, for this is the morning song of the gracioso-a buffoon, a jester, a clown. So the style is less typical of a romantic interlude, and more of a vigorous Spanish dance, possibly somewhat comic in character, with typical Iberian rhythm and the frequent opposition of 6/8 and 3/4 meters. Wendy Law
Classical Music | Cello Music
Maurice Ravel
Alborada del Grazioso (arr. for cello)
PlayRecorded on 06/22/2005, uploaded on 02/18/2009
Musician's or Publisher's Notes
In 1900, Maurice Ravel joined a group of young, like-minded musicians, artists and writer called Les Apaches. The group met regularly at the homes of Paul Sordes and Tristan Klingsor, and came to include such other prominent names as Igor Stravinsky and Manuel de Falla. Les Apaches, which obviously refers to the Native American tribe, also had the additional meaning of “hooligans” in French and was coined by Ricardo Viñes to describe the group as “artistic outcasts.” Viñes would premiere several of Ravel’s piano works, including his Miroirs, which the composer dedicated each of its five movements to a member of Les Apaches.
Miroirs was composed during 1904-05 and given its premiere in 1906. Meaning “Reflections,” the work demonstrates the development of Ravel’s technique as a composer of piano music, which had first leapt into maturity in his 1901 piece, Jeux d’eau. Ravel’s treatment of the vast possibilities of the piano was simultaneously inspired by the florid style of Franz Liszt and the most profound advancement in piano technique since that great virtuoso’s time. This style came to be a cornerstone of French Impressionism and even influenced Ravel’s older contemporary, Claude Debussy.
“Alborada del Gracioso” (“The Jester’s Aubade”) is the fourth piece of Miroirs, which Ravel dedicated to the music critic Michel-Dimitri Calvocoressi. An “aubade,” as opposed to a serenade, was a morning love song, the parting of lovers at daybreak. This movement, in Ravel’s Spanish vein, is one of the most technically challenging of the suite, owing to its fast repeated notes and sweeping glissandi in thirds and fourths. It is also one of two (“Une barque sur l’océan” being the other) movements that Ravel later orchestrated. The outer sections are lively and energetic with an incessant dance-like motion paired with its Spanish-influenced melodies. The central episode, on the other hand, contrasts several different elements. A slow, lyrical melody, unaccompanied, begins the episode and is followed by a passage of long-sustained harmonies, while both are punctuated by brief occurrences of the dance-like rhythms heard earlier. From this mostly lethargic and static soundscape erupts a boisterous fortissimo melody, which nonetheless quickly fades away. An altered reprise of the opening completes the movement’s ternary form and the listener is carried on to its spirited and flamboyant conclusion. Joseph DuBose
________________________________________________
Alborada del Gracioso Maurice Ravel
In 1905, Ravel composed a set of five piano pieces under the title Miroirs (Mirrors). Three of the five individual works were all later orchestrated. The most successful of these re‑clothed pieces is certainly the Alborada del Gracioso, heard here transcribed for cello and piano.
Alborada means morning serenade. Generally it is sung by a friend watching out for the safety of two illicit lovers; as the night wanes, the friend sings outside the bedroom window that the dawn is approaching and that it is time for the lovers to part. It is the second part of Ravel's title that is uniquely elusive, for this is the morning song of the gracioso-a buffoon, a jester, a clown. So the style is less typical of a romantic interlude, and more of a vigorous Spanish dance, possibly somewhat comic in character, with typical Iberian rhythm and the frequent opposition of 6/8 and 3/4 meters. Wendy Law
More music by Maurice Ravel
La Valse
Berceuse sur le nom de Gabriel Faure
Noctuelles from Miroirs
Daphnis and Chloé, Suite No. 2
Une barque sur l'océan, from Miroirs
Pièce en Forme de Habanera
Alborada del Gracioso, from Miroirs
Cinq Mélodies Populaires Grecques
Rhapsodie espagnole
Concerto No. 2 in D Major for Piano and Orchestra
Performances by same musician(s)
Tango Etudes No. 3 & 4
Polonaise Brillante in C major Op.3 for Cello and Piano
Songs Without Words in D Major, Op. 109
Le Grand Tango for Cello and Piano
Omaramor
12 Variations on a theme from Mozart's "The Magic Flute"
Pohadka (Fairy Tale)
Requiebros in D Major
Adagio and Allegro, Op. 70
Suite Populaire Espagnole
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