Apoyatura is part of a research project called Los paisajes ajenos. In this project I ask myself questions about the relationship between the idea of landscape, music and action. Apoyatura goes into this research proposing a choreographic, musical and visual relationship between my body, a piano and a fictitious sky. Inhabiting this space, I wonder what this relationship is, what potentialities and what new spaces it can open. And from this human-objectual-natural relationship a musical encounter is born: the waves of the encounter between my behavior and the physical nature of the piano and a sky that flies over a space in a certain time. This piece is a dialogue between my body and a piano where the way I play it varies between a more classical approach and moments where what happens is that I let my weight fall on the keys, allowing other musical aesthetics to emerge.

Apoyatura is proposed as a landscape that wants to suspend the idea of progress and advancement. It wants to suspend time to remain in a contemplative apnea. In this sense it is the body that, with its weight, allows to open spaces, to widen times, with the idea of reducing the acceleration of time, and to stop it until the supposed line of advance of time becomes a horizon. To convert the advance in width. Apoyatura is a corporal score that moves in semi-diffuse places that have to do with a corporal state that approaches to rest, allowing me to feel the need of weight. I am interested in inhabiting that space of ambiguity: a space similar to the place of being half awake, or half asleep, of a blurred attention that escapes from concreteness and enters into indeterminacy, a place between control and lack of control. I wonder what happens in that place so narrow and so delicate, that place that generates a constant but irregular tension between I am controlling the situation and I am not controlling the situation, between I am falling asleep or I am trying to stay awake. How does a body behave as it gradually relaxes, as it lets its weight fall and at the same time tries to control this lack of control, tries to fight against gravity? How does that intermediate point between the concrete and the scattered sound? How is that relationship of opposites capable of delaying the conclusion, or the answer? What is the music of that relationship? What state of perception provokes that way of inhabiting time and space? In what way does the sound condition the state of mind? In what way does the sound condition the physical state?