Daily Drops · Vol.038每日唱片 · Vol.038
Antonini closes a forty-year loop; a mezzo answers Heine with a phone call to 2023. Antonini 用一張盤把四十年收成一個圓
Il Giardino Armonico / Giovanni Antonini — Haydn2032, Vol. 19: Trauer
- Genre類型
- Classical / Orchestral / Period Instrument
- Label廠牌
- Alpha Classics (ALPHA1101)
- Format介質
- CD / Hi-Res Download
- Released發行
- 2026-05-08
The nineteenth volume in Antonini's slow march through Haydn's complete symphonies arrives the same year Il Giardino Armonico turns forty, and Antonini, never one to waste a coincidence, has placed Symphony No. 44 — the so-called "Funeral" — at the program's center. It was the first Haydn symphony the ensemble ever played. Around it he has arranged Arvo Pärt's Da pacem Domine for strings, written in memory of the victims of the 2004 Madrid train bombings, and Scheidt's Paduana Dolorosa, composed in the early years of the Thirty Years' War. Three laments separated by some four hundred years, but the Pärt is doing something quietly subversive between them, smoothing the centuries down rather than dramatizing the gap. It is also, by my count, the first time Antonini has consciously framed a Haydn2032 disc as biography — his own. Antonini 慢慢走完海頓全集計劃的第十九卷。主菜是 1772 年那首「葬禮交響曲」（No. 44）。圍繞它的是兩段悼亡：Pärt 為 2004 年馬德里火車爆炸所寫的《Da pacem Domine》絃樂版，與 Scheidt 三十年戰爭初期的《Paduana Dolorosa》。三段相隔四百年的悲傷放在同一張盤上，本來很容易策展取巧——但 No. 44 偏偏是 Il Giardino Armonico 四十年前奏的第一首海頓，今年正逢樂團成立四十週年。這不只是「主題曲目」的拼盤，是 Antonini 用一個圓把自己的職業生涯收回起點。海頓系列做了快十年，這是第一次把它做成自傳。
Helen Charlston / Sholto Kynoch — A Poet's Love
- Genre類型
- Classical / Vocal Recital
- Label廠牌
- BIS Records
- Format介質
- SACD
- Released發行
- 2026-05-08
The center is Schumann's Dichterliebe, a song cycle so often recorded that the question with any new account is what else is on the program. Charlston, a BBC New Generation Artist, surrounds the cycle with songs by Loewe, Josephine Lang, Fanny Mendelssohn-Hensel, and Felix Mendelssohn — all on Heine's verse, all written within decades of Schumann's settings — and then closes with the world-premiere recording of Héloïse Werner's Knight's Dream, which Charlston commissioned as a contemporary companion piece. Werner's text is also Heine. The conceit is so neat it could have curdled into a thesis, but Charlston's mezzo, an octave below the tenor most listeners associate with the cycle, lets the songs ache in a different register, and Werner's piece arrives like a Heine reader two centuries later, on the phone, voice slightly muffled. 中央作品是 Schumann 的《詩人之戀》（Dichterliebe）。這種曲目不缺錄音——Fischer-Dieskau、Wunderlich、Bostridge 都做過。新版要立得住，得看周圍配什麼。Charlston 圍它擺了一圈基於 Heine 文本的歌曲：Loewe、Josephine Lang、Fanny Mendelssohn-Hensel、Felix Mendelssohn——幾乎都是 Schumann 同時代人，重新打開 Heine 在十九世紀初的傳播版圖。最後落在 Héloïse Werner 受 Charlston 委約寫的《Knight's Dream》——同樣取自 Heine——作為《詩人之戀》的當代迴響。這是 Werner 這部新作的世界首錄。Charlston 是 BBC New Generation Artist，她的 mezzo 唱 Schumann 比男高音的傳統版本更暗一格，傷感不在亢奮裡，在壓低的音區。Werner 那一首像 1840 年的 Heine 在兩個世紀之後接到的一通電話——同一種文本傳統，但呼吸方式變了。整張聽下來不像策展，像一晚客廳裡的兩段對話。
Modo Antiquo / Federico Maria Sardelli — Vivaldi: La Costanza Trionfante, RV 706-A
- Genre類型
- Classical / Baroque Opera (Reconstruction)
- Label廠牌
- Naïve
- Format介質
- CD / Hi-Res Download
- Released發行
- 2026-05-08
This is the rare classical release that doubles as a musicology event. Vivaldi composed La Costanza Trionfante degl'Amori e degl'Odii for the Venetian Carnival of 1715–16; the autograph score did not survive him. In 2001 Faun Tanenbaum Tiedge and Michael Talbot turned up seven arias and the fragment of a duet, and Sardelli, working with that fragment plus material Vivaldi later recycled into Il Teuzzone, has now stitched together eighteen of the original thirty-five numbers. He conducts Modo Antiquo with the conviction of someone who believes the missing seventeen will turn up too. The result feels less like a curio than a performance. Vivaldi 1715-16 年威尼斯狂歡節的歌劇，自筆手稿失傳兩百多年。2001 年學者 Tanenbaum Tiedge 與 Talbot 找到七首詠歎調和一段二重唱殘片；這次 Sardelli 在那之上、再加上 Vivaldi 自己後來挪用到《Il Teuzzone》的素材，把原本三十五首中的十八首縫了回來。這不是錄音事件，是音樂學事件——一部被時間吃掉的歌劇從片段被重新拼回部分劇情。Modo Antiquo 把這塊拼圖唱得像它本來就是這樣，沒有論文氣，沒有「考古錄音」常見的那種小心翼翼。古樂唱片裡最貴的不是樂手，是檔案學者；這張讓兩邊都拿到他們的署名。
runo plum — Bloom Again
- Genre類型
- Indie Folk / Singer-Songwriter
- Label廠牌
- Winspear
- Format介質
- Digital / Streaming（24-bit/96kHz 下載可購）
- Released發行
- 2026-05-08
The Minnesota songwriter Margaret Martin (who records as runo plum) follows last year's debut LP patching with six songs cut in single live takes, fingerpicked and close-miked, the room audible at the seams. patching, she has said, was the wound and the suturing; Bloom Again is the next stage, when "everything starts to become beautiful again." The opener "butterflies" inverts the cover image of the previous record — a butterfly Martin painted herself — into a kind of disenchantment with romantic possibility, but the EP isn't really about disenchantment. It is about the willingness to keep trying. Comparisons to Skullcrusher and Julien Baker are inevitable; Martin is a touch lighter than either, less fixated on the moment of impact. 明尼阿波利斯的 runo plum 在 2025 年首專《patching》之後的小品 EP。六首歌，全是 live take，warm finger-picked 吉他為主——Bandcamp 高解析下載是 24-bit/96kHz，可以聽到房間的邊緣聲。她自己說：《patching》是疼痛和修補，《Bloom Again》是「治癒之後那一步——一切重新變好的時候」。開篇 "butterflies" 把上一張封面那隻她自己畫的蝴蝶翻了過來用——心動落空之後的灰階，「我好像不再相信什麼是愛」，但寫得不悲壯。後半段 "pink moon" 是和當時剛約會、後來成女友兼合作者的 Noa Francis 第一次見面那晚寫的；"be gentle with me" 是首專標誌性曲目的 acoustic 版。質地在 Skullcrusher 和 Julien Baker 之間，但少了她們倆的咬肌——更輕、更松，沒有把傷口當奇觀寫。
Abigail Lapell — Shadow Child
- Genre類型
- Americana / Folk
- Label廠牌
- Outside Music
- Format介質
- Digital / CD / Vinyl
- Released發行
- 2026-05-08
Nine songs, one for each month of gestation. Lapell, a Toronto songwriter and four-time Canadian Folk Music Award winner, was pregnant with her first child when she booked time on Vancouver Island with the producer Colin Stewart (Dan Mangan, Black Mountain), and the deadline was the last day she could safely fly home. The harmony singers — Frazey Ford, Jill Barber, Pharis Romero — are all British Columbians and all mothers. The themes are not the soft-focus ones the press release would imply: "Little Cannibal," "Mother Tongue," a title track named for the ultrasound's "ontologically blurry" image of a person who does not yet exist. Lapell's earlier records were studio-rich; this one is starker, closer to the bone. Released, with characteristic precision of timing, the Friday before Mother's Day. 九首歌，對應懷孕九個月——這種概念專輯做不好就是賀卡。Lapell 不讓它變賀卡。她是多倫多 JUNO 提名 singer-songwriter，四次加拿大民謠音樂獎得主。這張她帶著身孕飛到溫哥華島跟 Colin Stewart（Dan Mangan、Black Mountain）錄製，回程機票訂在第三孕期最後還能飛的那一天。和聲請來 Frazey Ford、Jill Barber、Pharis Romero——三個 BC 母親。題材覆蓋多年 IVF、2023 年她在巡演舞臺上經歷的流產（演完了那場再走下臺）、2024 年 11 月兒子出世。歌名誠實到刺人——"Little Cannibal"、"Mother Tongue"、"Sing A Rainbow"。題目曲《Shadow Child》指的是產前超聲波里那個「本體論上模糊的人」——還沒真正存在但已經被看見。母親節週末發，但絕不是溫情賀卡——是一份誠實到不打算討好任何人的禮物。