{"title":"Out This Week [CDs]","description":null,"products":[{"product_id":"pre-order-david-oistrakh-great-violin-concertos-by-oistrakh-cd","title":"David Oistrakh - Great Violin Concertos By Oistrakh [CD]","description":"\u003cp\u003e\"For many, Oistrakh remains the violinistic ideal. His winning combination of tonal sumptuousness, clear interpretative focus, musical humility and effortless technical poise across a broad repertoire remains unmatched to this day. When Oistrakh played, one felt there was nothing coming between the composer and the listener... He combined fingers of steel with a heart of gold.\" The Strad magazine\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 61: I. Allegro Ma Non Troppo (Cadenza By Kreisler)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 61: II. Larghetto (Cadenza By Kreisler)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 61: III. Rondo. Allegro (Cadenza By Kreisler)\u003c\/li\u003e\n\u003cli\u003eTriple Concerto in C Major, Op. 56: I. Allegro\u003c\/li\u003e\n\u003cli\u003eTriple Concerto in C Major, Op. 56: II. Largo\u003c\/li\u003e\n\u003cli\u003eTriple Concerto in C Major, Op. 56: III. Rondo Alla Polacca\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 77: I. Allegro Non Troppo (Cadenza By J. Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 77: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 77: III. Allegro Giocoso, Ma Non Troppo Vivace\u003c\/li\u003e\n\u003cli\u003eDouble Concerto for Violin and Cello in a Minor, Op. 102: I. Allegro\u003c\/li\u003e\n\u003cli\u003eDouble Concerto for Violin and Cello in a Minor, Op. 102: II. Andante\u003c\/li\u003e\n\u003cli\u003eDouble Concerto for Violin and Cello in a Minor, Op. 102: III. Vivace Non Troppo\u003c\/li\u003e\n\u003cli\u003eAdagio for Violin and Orchestra in E Major, K. 261\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D minor, Op. 47: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D minor, Op. 47: II. Adagio Di Molto\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D minor, Op. 47: III. Allegro Ma Non Tanto\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: I. Allegro Ma Non Troppo\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: II. Scherzando\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: III. Intermezzo\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: IV. Andante\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: V. Rondo\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in D Major, K. 211: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in D Major, K. 211: II. Andante\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in D Major, K. 211: III. Rondeau. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in G minor, Op. 26: I. Vorspiel. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in G minor, Op. 26: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in G minor, Op. 26: III. Finale. Allegro Energico\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in B-Flat Major, K. 207: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in B-Flat Major, K. 207: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in B-Flat Major, K. 207: III. Presto\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Violin and Viola in E-Flat Major, K. 364: I. Allegro Maestoso\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Violin and Viola in E-Flat Major, K. 364: II. Andante\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Violin and Viola in E-Flat Major, K. 364: III. Presto\u003c\/li\u003e\n\u003cli\u003eRondo for Violin and Orchestra in B-Flat Major, K. 269\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 3 in G Major, K. 216: I. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 3 in G Major, K. 216: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 3 in G Major, K. 216: III. Rondeau. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: I. Allegro (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: II. Andante Cantabile (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: III. Rondeau - Andantino Grazioso - Allegro Ma Non Troppo (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": I. Allegro Aperto (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": II. Adagio (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": III. Rondeau. Tempo Di Menuetto - Allegro (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eRondo for Violin and Orchestra in C Major, K. 373\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in D Major, Op. 19: I. Andantino\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in D Major, Op. 19: II. Scherzo. Vivacissimo\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in D Major, Op. 19: III. Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in G minor, Op. 63: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in G minor, Op. 63: II. Andante Assai\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in G minor, Op. 63: III. Allegro Ben Marcato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in a Minor, Op. 99: I. Nocturne. Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in a Minor, Op. 99: II. Scherzo. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in a Minor, Op. 99: III. Passacaglia. Andante - Cadenza\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in a Minor, Op. 99: IV. Burlesque. 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With his new solo album Between Here and Nowhere, which will be released on May 15, 2026, by Neue Meister and is now the eleventh album in his discography, Allhoff has created a musical homage to the cult Japanese author, whose books have long since become a soundscape in their own right.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 885470042930\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Neue Meister\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.13.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Neue Meister","offers":[{"title":"Default Title","offer_id":41158092456008,"sku":"885470042930","price":22.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0578\/6737\/0568\/files\/4498160-3540856.jpg?v=1781213174"},{"product_id":"pre-order-margaret-hermant-freedom-cd","title":"Margaret Hermant - Freedom [CD]","description":"\u003cp\u003eFreedom is a deeply atmospheric ambient harp album, exploring the instrument's natural resonance and spacious textures. It blends acoustic purity with subtle electronics, creating soundscapes of stillness, openness, and release. The album reflects on themes of inner peace, letting go, and the search for personal and artistic authenticity. Margaret Hermant, known from Echo Collective, brings her unique sensitivity for tone, layering, and emotion into a solo context.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 885470045566\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Neue Meister\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.13.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Neue Meister","offers":[{"title":"Default Title","offer_id":41158095142984,"sku":"885470045566","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0578\/6737\/0568\/files\/4495302-3533003.jpg?v=1781213217"},{"product_id":"pre-order-cultus-sanguine-tears-painted-sky-cd","title":"Cultus Sanguine - Tears Painted Sky [CD]","description":"\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTears Painted Sky\u003c\/li\u003e\n\u003cli\u003eInner Solitude\u003c\/li\u003e\n\u003cli\u003eWhen Silence Devours\u003c\/li\u003e\n\u003cli\u003eMy Wounds Are Eternal\u003c\/li\u003e\n\u003cli\u003ePale Presence\u003c\/li\u003e\n\u003cli\u003eGrey, Cold and Unforgiving\u003c\/li\u003e\n\u003cli\u003eFuneral Farewell\u003c\/li\u003e\n\u003cli\u003eTue Ossa Sono Fredde\u003c\/li\u003e\n\u003cli\u003eRise to Nowhere\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 8002624262293\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e My Kingdom Music\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.13.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"My Kingdom Music","offers":[{"title":"Default Title","offer_id":41158096977992,"sku":"8002624262293","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0578\/6737\/0568\/files\/4501099-3548744.jpg?v=1781213250"},{"product_id":"pre-order-herbert-karajan-von-mozart-syms-35-36-38-41-remastered-hybrid-sacd-cd","title":"Herbert Karajan  Von - Mozart Syms 35-36 38-41 (Remastered - Hybrid Sacd) [CD]","description":"\u003cp\u003eHerbert von Karajan, the emblematic conductor of the post-war years, did not record Mozart's final six symphonies as a group until September 1970 - in EMI sessions presided over by French producer Michel Glotz, a close friend and colleague. There are some subtle inflections to the Karajan-Berlin sound here: we hear the Philharmoniker's usual silken texture, wonderfully enveloping and accomplished, but here it is more luminous, less sombre and untamed than in the DG recordings. This is nonetheless a fully symphonic Mozart, not deprived of urgency, but with a serious-minded and dignified radiance. Supple and organic, the phrases are steeped in the legato for which Karajan was famed. His introductions are solemn and noble (Nos. 36 and 39), his Andantes and Adagios take a metaphysical turn, and his Menuettos are envisaged almost as interludes - to astonishing effect in Symphony No. 36 - but it is in the finales (the 'Haffner', G minor and 'Jupiter') that Karajan is at his most irresistible. These recordings have just been remastered in HD 192\/24 from the original tapes for the SACD release.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSymphony No. 35 in D Major, K. 385 \"Haffner\": I. Allegro con spirito\u003c\/li\u003e\n\u003cli\u003eSymphony No. 35 in D Major, K. 385 \"Haffner\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 35 in D Major, K. 385 \"Haffner\": III. Menuetto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 35 in D Major, K. 385 \"Haffner\": IV. Finale. Presto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": I. Adagio - Allegro spiritoso\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": III. Menuetto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": IV. Presto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": I. Allegro vivace\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": II. Andante cantabile\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": III. Menuetto. Allegretto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": IV. Molto allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 38 in D Major, K. 504 \"Prague\": I. Adagio - Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 38 in D Major, K. 504 \"Prague\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 38 in D Major, K. 504 \"Prague\": III. Finale. Presto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 39 in E-Flat Major, K. 543: I. Adagio - Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 39 in E-Flat Major, K. 543: II. Andante con moto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 39 in E-Flat Major, K. 543: III. Menuetto. Allegretto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 39 in E-Flat Major, K. 543: IV. Finale. Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 40 in G Minor, K. 550: I. Molto allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 40 in G Minor, K. 550: II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 40 in G Minor, K. 550: III. Menuetto. Allegretto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 40 in G Minor, K. 550: IV. 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Two Bruckner symphonies recorded in 1970 and 1971 show just how much the orchestra's musical signature had changed since the recordings of the 1950s. The pitch had historically always been a little higher in Berlin, but under Karajan's leadership the orchestra lightened it's palette, finding a balance in the medium high range that was absolutely foreign to the Germanic tradition. In Berlin, Karajan was drawing straight lines, unbending verticals, clear designs, smooth slopes - building his orchestra up layer by layer, developing the sound he was after, aided by the supreme legato playing of his string section. In addition, any soloistic leanings had been eliminated: the Philharmonic now played as a single instrument, and when the recordings of the 1970s were released more than one music-lover compared it to an organ. Absolute harmony was achieved in the above-mentioned Bruckner symphonies Nos. 4 and 7, the sheer perfection of whose sound is almost unearthly. Newly remastered in 192kHz\/24-bit from original tapes by Circé Studio\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": I. Bewegt, nicht zu schnell (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": II. Andante, quasi allegretto (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": III. Scherzo. Bewegt - Trio. Nicht zu schnell (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": IV. Finale. Bewegt, doch nicht zu schnell (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 7 in E Major, WAB 107: I. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eSymphony No. 7 in E Major, WAB 107: II. Adagio. Sehr feierlich und sehr langsam\u003c\/li\u003e\n\u003cli\u003eSymphony No. 7 in E Major, WAB 107: III. Scherzo. Sehr schnell - Trio. Etwas langsamer\u003c\/li\u003e\n\u003cli\u003eSymphony No. 7 in E Major, WAB 107: IV. Finale. 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Joyner's songs of quiet joy and heartache have impacted different generations of fellow artists, showing up as overt influence in acts like Bright Eyes or Kevin Morby, and as flickers of shared perspectives in the Lenkers, Oldhams, and Molinas that followed. Tough Love, Joyner's 19th studio album, continues this upward trend. While intrinsically linked to the personal grief of 2024's Coyote Butterfly, the autobiographical album Joyner made in the wake of his son's death, this new album explores the concept of tough love as a dichotomy applied to various fictional relationships including romantic, familial, and political. This balancing act comes through in vivid portrayals of everyday heartache and in the exploration of political rage and the betrayals of the American Dream.One of the marvels of Joyner's catalog is how his patterns don't repeat but transform. Knowing nods to Cohen, Dylan, and the Velvets have been part of his songwriting since the early lo-fi days, but the ways these touchstones get infused keep changing. While Joyner's ragged acoustic songs are in the spotlight, they're prodded by electric guitars and imbued with experimental tendencies. Rock songs split the difference between minimal grooves learned from Loaded-era Velvet Underground and the ecstatic rhythmic weirdness of Can. By the time we arrive at the penultimate track, \"Anniversary Song,\" the ghost vocals and scratches of microtonal synth have blurred the lines between Joyner's folk singer heart and his avant garde spirit. All of this leads to the 20-minute title track which closes Tough Love, an eviscerating plunge into a seemingly bottomless pit of regret, survivor's guilt, and unvarnished grief. Borrowing a repetitious structure from Lou Reed's narrated suite, \"Street Hassle,\" and combined with the full-side testimonial of Dylan's \"Sad-eyed Lady of the Lowlands,\" Joyner narrates from the perspective of his departed son speaking to his father and laying out his every failure and brutally highlighting how none of it can be undone. Soon, though, this agony opens up into something transcendent, in both it's elegant imagery and ethereal atmospherics. The final moments of the album grant permission for self-forgiveness and hopefully someday, understanding. 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Passeggiata musicale nell'OrtoBotanico di Padova (Songs of the Enchanted Garden. A Musical Stroll through the Botanical Garden of Padua), featuring soprano Barbara Zanichelliand pianist Aldo Orvieto, stems from a personal itinerary where past and present, the physical and the metaphysical engage in dialogue, andwhere music and poetry confront history and microhistory.The foundation of the project is a fascination with the Botanical Garden of Padua-a jewel of shapes and colors, a Theater of wisdom and harmonymasterfully preserved over time, which became a UNESCO World Heritage Site in 1997. The CD brings together 6 Canzoni (Songs), eachrepresenting a step on a journey where music intertwines with the historical, human, and artistic adventure of an author (with texts by LudovicoAriosto, Jean-Jacques Rousseau, Johann Wolfgang von Goethe, Emily Dickinson, Fernando Pessoa, and Federico Garcia Lorca). 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His contribution was crucial in defining the dimensions, shape, design, and construction technique of the modern classical guitar. Thanks to his work, the instrument acquired the features that still distinguish it today. Torres' training most likely took place in Granada. This formative period coincided with what is known as the first era of his activity, which ended in 1869. During these years, the technical and artistic level achieved by the Spanish luthier was particularly high, confirming him as one of the greatest makers of his time. After a break of several years, Torres began in 1875 what is defined as the second era of his production. This phase, which continued until his death in 1892, was characterised by a perfect balance between shape, proportions, weight, and dimensions, elements that made his guitars models of reference for generations of luthiers. The more than one hundred known guitars built by Torres were admired and often imitated: over the years, many instruments were attributed to him, even if they were fakes, sometimes made by renowned and skilled luthiers. A representative example of Torres' work is the guitar preserved in the Carlo Alberto Carutti collection. Built in Almeria, the instrument features a label with the date 1884 and progressive number 59, placing it in the 'second period' of the luthier's creative activity. This era was characterised by the use of more economical woods such as cypress and mahogany, which Torres alternated with finer materials such as maple and Brazilian rosewood intended for top-end instruments. Different options that did not affect the sound quality of the guitars made by the Almeria luthier. Two elements give coherence and unity to the programme of this recording. First, all the selected pieces share the presence of a female name in their title; moreover, almost all the composers are of Spanish origin (with the exception of Claude Debussy) and lived during the period in which Antonio de Torres (Almeria, 1817-1892) built his guitars. It is known that Julian Arcas, Francisco Tarrega, Miguel Llobet, and Antonio Jimenez Manjon played instruments crafted by Torres. Of the other composers, fewer biographical details are known, but the aesthetics of their works perfectly match the timbre and sensitivity of the nineteenth-century guitar. The programme also includes two compositions by non-guitarist composers: La maja de Goya by Enrique Granados and La fille aux cheveux de lin by Claude Debussy. 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Savaskan's captivating Concerto Eleven Conditions of Responsibility, written for and performed by the Octandre Ensemble, under conductor Jonathan Hargreaves. Savaskan has had a long association with the ensemble, having served as their inaugural Composer-in-Residence.Conceived as part of the composer's ongoing epic cycle Many Stares through Semi-Nocturnal Zeiss-Blink, Eleven Conditions of Responsibility embodies Savaskan's radical approach to composition. His constructivist methodology means that all the parameters of his music are dependent on the formal architecture, itself based on the behaviour and properties of sound and it's circular, logarithmic characteristics, giving rise to intricate, evocative works.During the COVID period when everyday life was so different, Savaskan read works by Henri Bergson and emile Durkheim, scholars from the turn of the 19th century, altering the way he thought about the fourth dimension - 'duration' (rather than time), space, and our attitude to commitments, therefore responsibilities. Savaskan came up with eleven of his own responsibilities, and became aware of how we conceptualise and adopt them.This became the basis for eleven thematic segments spread across the 3 main sections of the Concerto, 'little icons, as it were, to meditate upon', which each have their own fundamental pitch and related pulse. Circular Functions, the particular harmonic\/structural method he has developed over the past 45 years, dictates how these segments are integrated into the three larger harmonic arcs. The three sections of 'Eleven Conditions of Responsibility' are modules 141, 148, and 11 of the cycle Many Stares through Semi-Nocturnal Zeiss-Blink, projected eventually to contain 360 pieces, reflecting the contemplation of a particular static object from different angles, covering 360 degrees. The pieces are assigned numbers which refer in some way to important dates in their conception.In December 2015, Savaskan's Many Stares through semi-nocturnal Zeiss-blink (Module 30), an Octandre commission, won a BASCA British Composer Award.Sinan C. Savaskan is based in London, as a composer, lecturer, and teacher of composition, and was Head of Academic Music at Westminster School for thirty-seven years. 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