Viviana Ramos

Part-object relationships are questioned (scores separated), which should be understood as generators and drivers of an address space. Requires sensitivity on the part of the viewer as a musician, both in the levels of the composition as well as in the interpretation. Calls made to approach the music with forms excerpted from the perception left by conventional means.

The piece addresses the processes of perception between audience and performer, as well as the perception of the musician on itself, its essence. So does it question whether, at the time of interpretation, there is an interpreter or a spectator? or public work itself? Since representation, which you cannot do without expected interpretation, needs this constant flux, this cycle to be.
Polyphony forges spaces in apparent sensory and perceptual confusion where the individual can be challenged before the expulsion of the unusual, the structural alteration left over by society, and the almost obsessive routine of giving each thing your name and location.

Appears in all time back, in a dark room, playing his instrument.

The piece deals with the time to attend a space that simply has found a musician who is studying a play you should play. It relates to human actions that seem insignificant,  inconsequential (as trials, repetitions, mechanical actions, or repetitive, such as studying for something, etc.), but they really are the essence of who we are and what we do. The process is, as a result, much richer and a live event in itself. The pursuit of perfection to achieve something, is the thing itself. The medium is the end.

The piece is conceived as a sound walk. It aims to move away from the virtuosity of western instrumental music written for this “classic” format and, on the occasion of continuing this tradition, proposes an intellectual break from the sonic complexities that characterize this format. For this, listening offers simple melodies and a walking time (walk, walk). The instruments express a simple, nostalgic, meditative language; proposing a more contemplative than analytical or excited state of mind. The classic trio offers the possibility of enjoying this type of experience also from classical music, remembering and visiting the work of John Cage, his famous Landscapes.

“Coricotus is the deity of dew, moisture, water in the afrocuban religion. Refreshes and cleanses the air with its breath of life for all beings on earth. Clean the surfaces and offer the possibility of a new beginning, another opportunity to start and continue. This piece, written for violin, cello, piano and electroacoustic music, is a reference to this deity and the possible sensations it may awaken in us’.

One piece by day – Homage to On Kawara arose in moments of confinement due to the Covid-19  pandemic during which for 11 days short pieces for saxophone quartet and their possible combinations were  created daily and expeditiously. The musical proposal  includes several languages, as well as work with recorded  sound coming from the instrumentalist’s body,  electroacoustic sound results, etc. The musical works of  this series (ranging from Nov. 11th to Nov. 25th 2021), were  written and thought to be represented (and interpreted)  only in VIDEO (this refers to their presentation and staging).

VIDEO as a medium, provides visual, conceptual and relationship elements with the art circuit and its audiences that are of vital importance to this project and the artistic ideas of its author. From the title of this series of works, a temporality, connection and referentiality is established with the work and life of the Japanese artist On Kawara and his perception of life and art. In general terms, this interdisciplinary and intermedial work could be defined as music for video (without being understood as a video-clip or any other type of promotional material). 

In this sense, it is about establishing those musical, visual and relational connections, which are interesting to work and approach together with the Rascher Saxophone Quartet, in their vast experience and work in contemporary music at an international level for saxophone quartet. For the total realization of this project “One piece by day” (Homage to On Kawara), a video will be made for each of these compositions created (which will incorporate the time of day they were created, this being the title of the video itself). These will consider as very important elements, 

the location of its realization, time and natural light of day, costumes, camera angles, shots, sounds and others. With these elements we will work on the general artistic concept that supports this proposal and its general aesthetics.

In these videos, the members of the Rascher Saxophone Quartet will always appear with their backs to the camera, performing these 11 scores mentioned above, one in each video. In this way and when presented to the public and in the social networks associated with this project, this project “One piece by day” (Homage to On Kawara), -series of 2021- and the artistic ideas that integrate it, in which is of utmost importance its form-content relationship and its link with the video medium and its audiences, would be realized in its entirety. 

With this project and as a consequence of the concept and study of temporality that it includes, the author intends to make during the production process of this project, a series of texts, annotations, photographs, and other materials that help the conformation of a literary material that summarizes the characteristics of this work in process, which the author understands is part of the work itself and its causality.