It is no easy task to comment upon a work of such vastness as the Intervalic Theory by Sydney d'Agvilo, the new paradigm in Music and in Physics for the next millenium. The Intervalic Theory is surprisingly original, profound and brilliant. Departing from the substitution of the note, as the element that keeps music in order, by the interval, he constructs Music again in such a way that the Tonal System is enclosed within a wider theory: the Intervalic Theory. It is without doubt the only coherent musical theory presented up to now, given that the countless composition methods that have appeared over this last century are only procedures to compose (or de-compose in some cases), but that can never be termed theories. The works recorded on this compact disc form part of a concert improvisation and are a good example of Sydney d'Agvilo's innate talent at improvisation which in his case could also be termed simultaneous composition and performance. Rhythmically we find several characteristics from the intervalic rhythm: absence of striking elements and firm rhythmic patterns, a fluid and oscillating tempo -always coming and going from a large and almost imperceptible accelerando or rallentando-, a personality that floats and is without weight and that paradoxically is at the same time espressivo and curved by the rubatos like Salvador Dalí's white clock faces, and the creation of movement through vibration that substitutes pulsation as the motor of traditional rhythm. The formal concept is entirely intervalic: the construction brick by brick of a structure which acquires its significance while it grows, a structure generated from the microform, even when as in this case the microform is not made up of strict intervalic elements but of a collection of elements amalgamated by common intervalic aesthetics. An open work, without and end, that finishes simply when its own self generating structure stops, far removed from formal and traditional molds. (Miguel Angel Coria)
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