Four years after Angelich's death, Erato finally puts out the Flagey tape. 2026-04-18（週六）· 唱片日當日 · 編輯部

Renaud Capuçon, Nicholas Angelich, Quatuor Ébène — Chausson: Poème, Op. 25 & Concert, Op. 21

The Concert — Chausson's strange double concerto for violin, piano, and string quartet — has always been awkward to program. It's too large for a chamber evening and too small for an orchestra date, and the slow movement asks the piano to hold the center while everyone else pulls outward. What you hear on this 2020 Flagey live tape is Angelich doing that work with the kind of patience that can only come from a pianist who has decided what the piece is about and is no longer worried about demonstrating his reading. He died two years later. The paired studio recording of the Poème — Capuçon with Stéphane Denève and the Brussels Philharmonic — is cleaner and more conventional; the live Concert is the reason to hear this. Chausson 的《Concert》Op. 21 是編制古怪的雙協奏曲：小提琴、鋼琴、絃樂四重奏，六個聲部。曲子 1891 年寫成，聽起來像 Franck 和印象派中間那個夾縫——厚重、半透明、永遠在推遲收束。第二樂章最難：鋼琴要在五個絃樂聲部之間撐住中心，其他人往外走。任何一個聲部稍微輕一點，整個結構就浮起來。

Alexandra Whittingham — Letters from Paris

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Deluxe Version

Eric Chasalow — ...arching, reaching, breathless

A thirty-year retrospective of Chasalow's string writing, assembled by New Focus — the Brooklyn-adjacent imprint that has quietly become the address for American academic composition that is not trying to crossover. Nine works, moving from a Wallace Stevens setting ("The Snow Man") that lives almost entirely in harmonics to a string sextet whose third movement would not embarrass Ligeti. A few pieces pair the strings with fixed media; the electronics don't announce themselves as electronics, which is the polite version of Chasalow's whole aesthetic. JACK Quartet personnel and Speculum Musicae players handle the performances. Brandeis 大學資深作曲家 Chasalow 的絃樂作品合輯，跨度 30 年。九首——從設 Wallace Stevens 詩〈The Snow Man〉的近似靜室冥想作，到把絃樂六重奏逼到密度近 Ligeti 的〈String Sextet〉。幾首配上 fixed media 電子，電子不宣告自己是電子——這就是 Chasalow 的一貫審美：電子和絃樂的接縫要平到聽不出來。

Adrian Younge — Younge

Younge has spent the past five years running Jazz Is Dead with Ali Shaheed Muhammad, recording living legends — Doug Carn, Gary Bartz, Azymuth — onto the same tape machines those legends used in 1973. This self-titled record is the thing the series was quietly preparing him to make: an all-analogue orchestral album, no vocals, built around the modular vocabulary of Lalo Schifrin, David Axelrod, and Ennio Morricone, but arranged by a producer who thinks in stems. The best tracks feel like cue cards from a film that nobody bothered to finish shooting. That is, in this genre, high praise. Younge 這些年的主業是和 Ali Shaheed Muhammad 一起做 Jazz Is Dead：把 Doug Carn、Gary Bartz、Azymuth 這些 70 年代老兵請到 Linear Labs，用他們當年用過的那批模擬設備錄新的歌。這張自作同名專輯是他把這五年攢下的聲譽一次攤開：全模擬、無人聲、純編曲主導，致敬 Lalo Schifrin、David Axelrod、Morricone、Galt MacDermot——70 年代電影配樂那一路 modular 動機的傳統。

Eaves Wilder — Little Miss Sunshine

Wilder was sixteen, home in lockdown, making bedroom recordings on a cheap interface; she is twenty-two now, and Secretly Canadian is releasing her proper debut. Little Miss Sunshine is ten songs that use weather and landscape — hurricanes, plains, daisy chains, rope burns — as a kind of emotional topography. The production splits the difference between late-nineties American alt-rock (Liz Phair, Breeders) and the more recent lineage of UK dream pop; the voice is close-mic'd and unfussy in a way that most debut records no longer bother with. 北倫敦 22 歲歌手 Eaves Wilder 的 debut。2020 年她 16 歲，在封城期間自己錄 demo 被發現。六年打磨，十首歌。專輯名和電影無關——她用自然物候做情緒地圖：颶風女孩、山那麼大、大平原、英國紅茶、繩燒傷、雛菊連鎖反應。歌名本身就有勁。

Dirk Powell — Wake

Powell is a multi-instrumentalist's multi-instrumentalist — Cajun fiddle, clawhammer banjo, accordion, French horn — and has spent decades as the sideman of choice for people like Rhiannon Giddens and Joan Baez. Wake is his first solo outing in six years. The opener, "Étoiles Cachées," is a waltz scored like the aubade from The Last Waltz; later tracks weave in field recordings of Louisiana trains and swamp insects without making a big deal about it. Giddens and Darrell Scott are on backing vocals; Powell's daughter Amelia co-writes two songs. It's an unusually generous record for a solo album — which is to say, the supporting cast is allowed to be present. Powell 是多樂器手裡的多樂器手：Cajun 小提琴、clawhammer 班卓、手風琴、法國圓號——過去十幾年是 Rhiannon Giddens、Joan Baez 這一層美國南方根源音樂人的首選伴奏手。《Wake》是他距上次個人專輯六年後的新作。

Eve Maret — Diamond Cutter

Nashville has an electronic underground that the city's country-industrial machine mostly pretends does not exist. Maret has been mining it for a decade. Diamond Cutter — title borrowed from a Mahayana Buddhist sutra — is her most coherent statement to date: twelve songs built around modular and vintage synths, with four advance singles ("Break the Chain," "Gethsemani," "Forgive Me, Father") already mapping the emotional territory of strength entangled with vulnerability. Bandcamp made it Album of the Day on Friday; their editors are not algorithmic and they tend to be right. Nashville 有一片被 country 工業體系假裝不存在的電子地下。Eve Maret 在那層挖了十年。《Diamond Cutter》12 首，標題取自大乘佛教《金剛經》的英文名。前期四首單曲已先走過地毯：〈Break the Chain〉、〈Gethsemani〉、〈Forgive Me, Father〉——圍繞"力量和脆弱共存"的主題。專輯在這基礎上再補八首。

Benjamin Tod — Vengeance and Grace

Tod fronted Lost Dog Street Band with his wife, the fiddler Ashley Mae, until the arrival of their first child put the band on indefinite hiatus. Vengeance and Grace arrives as a dual LP: the same twelve songs in two readings, one with full band and outlaw-country swagger, the other alone with an acoustic guitar and almost no reverb. It's a neat conceit that could easily feel gimmicky; it doesn't, because the songs hold up in both uniforms. The stripped version is the one to start with — the record of the two that sounds most like a man who has been away from the road long enough to remember what he actually wanted to say. Tod 是 Lost Dog Street Band 的主唱，妻子 Ashley Mae 是小提琴手。第一個孩子出生後樂隊無限期停擺。這張個人雙版本專輯是他的再出發：12 首歌，兩個版本——一邊 full band 做 outlaw country，一邊 solo acoustic 做 stripped-down 版。概念很容易淪為噱頭，但這批歌夠硬，兩種聲音尺寸都能撐住。