JOUSKA
"Jouska" is a Contemporary music work for euphonium, tuba and piano. composed by Ana Beyron.It was rehearsed on July 2023, at Saint Nicholas Church, Plasencia Extremadura. Euphonium: Marta Garrido Tuba and voice: Daniel Pampliega Piano: Clara Mechón Special thanks to Pedro Astasio and Eugenio Mateos. According to the dictionary, Jouska means a hypothetical conversation that one plays compulsively in one's head. In this work, there is a fictitious dialogue between the person playing the tuba and the person playing the euphonium that turns out to be the inner voice (his conscience) while the piano reflects the state of mind (which starts from rational and ends in madness).Thus, it is a work that mixes the dramatic interaction of the performers with the music they play. The work can be related to Magical Realism (Borges, Julio Cortázar) and Absurd Theater, Beckett's "Waiting for Godot", Ionesco's "The Bald Singer"...etc. On the other hand, for me it was interesting to stage and construct the music from the abstract meaning of a sensation, something that cannot be shown with images. The person playing the tuba also has to recite some words trying to sound as natural as possible. Therefore, the work can be divided into three parts: In the first part, the tuba player starts listening to the voice. In the second part, he meets the voice. This part ends when he reveals his secret to his inner voice. It is expressed through the use of music so that each listener imagines in his mind what that secret is. In the third part, the performer and his voice become angry because of the meaning of the secret. The idea is that the listener does not know what that secret consists of, generating expectation. This part ends when the tuba player is so angry that he decides not to speak to his inner voice until it says "forgive me".To highlight the relationship between these characters, the motives express different meanings of the words, establishing a coded language between the listener and the performers. An example of this would be the following: "What is your name?", in which the answer is a small motif imitated in canon by the tuba player when he calls her name. "Can I tell you a secret?", in which the answer is a motive cell referring to the word "yes". As a possible suggestion for interpretation one could add the placement of a mirror on one side that viewers observe adding another layer of subtext. The spectators observe themselves reflected while the music plays as if they too were in dialogue with their conscience ("the other self", "doppelgänger"). Furthermore, in this recording we did some changes because of the type of piano was available: * Glissandi inside is substituted by ordinary glissandi on white keys. *Fingernails scrapes are substited by percussion sounds of the knocking of the hand. © Copyright Ana Beyron
"Jouska" is a Contemporary music work for euphonium, tuba and piano. composed by Ana Beyron.It was rehearsed on July 2023, at Saint Nicholas Church, Plasencia Extremadura. Euphonium: Marta Garrido Tuba and voice: Daniel Pampliega Piano: Clara Mechón Special thanks to Pedro Astasio and Eugenio Mateos. According to the dictionary, Jouska means a hypothetical conversation that one plays compulsively in one's head. In this work, there is a fictitious dialogue between the person playing the tuba and the person playing the euphonium that turns out to be the inner voice (his conscience) while the piano reflects the state of mind (which starts from rational and ends in madness).Thus, it is a work that mixes the dramatic interaction of the performers with the music they play. The work can be related to Magical Realism (Borges, Julio Cortázar) and Absurd Theater, Beckett's "Waiting for Godot", Ionesco's "The Bald Singer"...etc. On the other hand, for me it was interesting to stage and construct the music from the abstract meaning of a sensation, something that cannot be shown with images. The person playing the tuba also has to recite some words trying to sound as natural as possible. Therefore, the work can be divided into three parts: In the first part, the tuba player starts listening to the voice. In the second part, he meets the voice. This part ends when he reveals his secret to his inner voice. It is expressed through the use of music so that each listener imagines in his mind what that secret is. In the third part, the performer and his voice become angry because of the meaning of the secret. The idea is that the listener does not know what that secret consists of, generating expectation. This part ends when the tuba player is so angry that he decides not to speak to his inner voice until it says "forgive me".To highlight the relationship between these characters, the motives express different meanings of the words, establishing a coded language between the listener and the performers. An example of this would be the following: "What is your name?", in which the answer is a small motif imitated in canon by the tuba player when he calls her name. "Can I tell you a secret?", in which the answer is a motive cell referring to the word "yes". As a possible suggestion for interpretation one could add the placement of a mirror on one side that viewers observe adding another layer of subtext. The spectators observe themselves reflected while the music plays as if they too were in dialogue with their conscience ("the other self", "doppelgänger"). Furthermore, in this recording we did some changes because of the type of piano was available: * Glissandi inside is substituted by ordinary glissandi on white keys. *Fingernails scrapes are substited by percussion sounds of the knocking of the hand. © Copyright Ana Beyron