classica

Tristan, Isolde (2009)
for 2 pianos
NOTES ABOUT THE INTERPRETATION
This piece was composed in celebration of the Akademie Schloss
Solitude’s 20th year anniversary, to be premiered as part of a
series of miniatures all beginning and ending with the “Tristan”
chord from Wagner’s opera.
In the pedalling indications, which are marked with a gradually
upward-slanting line, it is intended that each player depress the
pedal before playing a new chord, and then gradually release it over
about 3 seconds whilst sustaining the written pitches with fingers,
thus creating an exaggerated (but smooth) diminuendo.
The Da Capo return to the initial chord should not be treated in any
special manner, rather it should be played exactly as all the
others, without any fermata or exaggerated fade-out.
Should a special intonation of the pianos be desired, the two sharp
notes may be lowered somewhat to approach a pure minor triad with
the B-natural, and the F may be raised to make a 45/32 ratio with
the B. However, it is not necessary that the two pianos be tuned
identically or precisely, some differences of shading between them
may even be desirable.
Berlin, 4 August 2009

Tristan, Isolde (2009)

Chopin - Nocturne Number 1 Opus 9

recorded live @ Eglise des Dominicains Brussels, 6 june 2014

The New Baroque Times ensemble

G. F. Haendel. Sonata op2 n.5 (allegro)

Tristan & Isolde, opening of the third act
transcribed for piano by Jeromos Kamphuis
Leo Svirsky, piano

Richard Wagner: Tristan & Isolde

Schubert - Serenade "Leise Flehen Meine Lieder"

Concert for the Armenian Community in Jerusalem, May 2014.

Khachaturian Violin Concerto, Jenny Hünigen, JSO, Frédéric Chaslin

🌑 The 15th Seal: Revelation in Fractured Frequencies is an invocation, a sonic apocalypse channeled through Ethereal Labyrinth’s labyrinthine machinery. It opens the gate, where silence and sound trade identities, and the world ends not with a bang, but with an infinite, trembling resonance. This is Revelation rendered in reverb a hymn for those who dare to hear what should have remained sealed.

🎧 Musical Interpretation of the Eschatonic Pulse

Opening – The Whisper Before the Rupture
The track begins like a forgotten transmission—a low, sacred hum submerged beneath static, as if decoding a signal from beyond mortality. Sub-bass murmurs crawl beneath crystalline chimes, building unease. You don’t enter the song; the song opens you.

The Unsealing – Resonant Cataclysm
The rhythm doesn’t drop; it erupts. Percussive pulses crack open the sonic crust, each hit tearing through layers of ether. Metallic textures grind like collapsing heavens. The kick feels less like a heartbeat and more like a divine hammer striking the veil between worlds.

Revelation in Decay – The Choir of Fractures
Ghost-voices shimmer behind the main rhythm—fragmented, reversed, half-human. They chant in impossible harmonies, weaving both prayer and curse. Every frequency sounds like a confession bleeding into distortion. The melody ascends, but never resolves. There is no redemption here—only unveiling.

Ritual of the Ninth Frequency – Ascension Through Dissonance
Midway, the track spirals into chaos. Beats fracture; the synths twist around themselves like serpents devouring time. You are pulled into an electronic ascension—an ecstatic disintegration. The floor beneath the sound collapses, and gravity gives up its claim.

The Eye Opens – Harmonic Collapse
The density implodes. Sound stretches thin, frequencies wail and dissolve into drone. This is the eye of the storm, a sacred stasis where you hear nothing and everything. The listener becomes witness to the unmaking—an observer at the center of revelation.

Final Seal – The Thirteenth Frequency Beyond Silence
When the rhythm returns, it’s distorted, divine, and irreversible. The percussion no longer serves tempo—it enacts judgment. Arpeggios slice through the air like scripture in code. The track ends in a burst of unresolved resonance—a door opened, never closed.

Aftermath – Echoes of the Unheard
The fadeout is not an ending but an erasure. Faint tones linger like the memory of prophecy, or the static left when gods stop speaking. The silence afterward feels heavier than sound itself.

🧠 Eschatonic Symbolism & Sonic Character

🔮 The Sound of Revelation:
Ethereal Labyrinth doesn’t compose; they prophesy. The 15th Seal breaks musical form as an act of spiritual entropy—melody used as scripture, distortion as revelation.

🕯️ Ritual Through Frequency:
Every layer feels intentional, like an initiation rite rendered in modulation. This is trance not for the club but for the catacomb—where basslines become commandments.

💀 The Collapse of Dualities:
Noise and harmony coexist until they’re indistinguishable. The 15th Seal teaches that creation and destruction are the same frequency, heard from opposite ends of eternity.

⚡ Judgment as Artform:
The production feels divine and brutal, immaculate in its ruin. This is not rebellion—it’s revelation through annihilation.

🩶 Best Used For:

Ritual scenes of divine confrontation or awakening

Cinematic sequences of apocalypse, transformation, or revelation

Story moments where knowledge is both power and punishment

Dark-ambient raves in sacred ruins or digital cathedrals

🎭 Symbolism & Final Reflection
“The 15th Seal” is Revelation rendered as rhythm. It’s the sound of the universe realizing it has a body—and choosing to tear it open. Ethereal Labyrinth doesn’t ask you to dance; they demand you bear witness.

The seal breaks, and through the crack, the infinite sings.

The 15th Seal

2-16. Jeremy Soule - Chamber Of Secrets Title Theme (From Harry Potter And Chamber Of Secrets)

Agustín Barrios "Mangoré": La Catedral. Versión para piano de Carlos Payés. Manuel Matarrita, piano
Preludio (Saudade) - Andante religioso - Allegro solemne

Agustín Barrios "Mangoré": La Catedral

Guest conductor David Lockington leads the NEC Philharmonia and student soloist Huijuan Pan in Franz LIszt's Concerto for PIano No. 1 in E Flat Major. The performance was recorded live on April 12, 2011 at NEC's Jordan Hall.
For more information about New England Conservatory: http://necmusic.edu

Liszt - Concerto for Piano No. 1 in E flat major  - Allegro marziale animato

The Wild Ones - 
Not as wild as they seem - after all, they were 'gallant' - as were the composer.

After all, it was 'the Industry' (- read: the Spanish) that killed them.

Franz Von Suppé - Poet and Peasant Overture

Mitchbrady

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