Daily Drops Vol.052 — May 24 古典聽眾在皇家阿爾伯特廳聽馬勒，實驗聽眾聽羊骨笛在八聲道裡迴轉｜5月24日

Vasily Petrenko / Royal Philharmonic Orchestra — Mahler: Symphony No. 3

Genre類型

Classical / Late Romantic / Live

Label廠牌

harmonia mundi（HMM 902758.59，2CD）

Format介質

2CD + Hi-Res FLAC/ALAC/WAV

Barbara Hannigan / Gothenburg Symphony Orchestra — An American Dream?

Genre類型

Classical / Orchestral / Vocal

Label廠牌

Alpha Classics（ALPHA1222）

Format介質

CD + Hi-Res 數字

The question mark in the title is doing a lot of work. Hannigan, conducting and singing both, builds the disc around Copland's 1925 Dance Symphony (drawn from a ballet inspired by an early viewing of Nosferatu) and Robert Russell Bennett's symphonic picture of Porgy and Bess — fine but expected choices. The unusual move comes at the end, when Hannigan and arranger Bill Elliott assemble At the Fair, a suite that includes "I Stayed Too Long at the Fair" and "Don't Rain on My Parade." Both are songs almost no one has tried to take back from Barbra Streisand, and Hannigan steps directly into them. The arrangements treat the standards like art songs without sanding off the showbiz; the symphony orchestra plays along like an old session band that remembers what these arrangements sounded like the first time. Tracklist and samples on Presto Music. 標題的問號在做工。Hannigan 自指自唱，曲目從 Copland 那部 1925 年看完《Nosferatu》之後寫的舞劇《Dance Symphony》起頭，加上 Robert Russell Bennett 編的《Porgy and Bess》交響畫、Rodgers《Carousel Waltz》。前半都是合理選擇。

Justin Taylor / Orchestre National de Lille / Chloé Dufresne — Clavecin XX

Genre類型

Classical / Harpsichord / 20th-Century Concertos

Label廠牌

Alpha Classics（ALPHA1226，似 ALPHA1220）

Format介質

CD + Hi-Res 數字

The conceit: four harpsichord concertos written between roughly 1923 and 1980 (Falla, Poulenc, Françaix, Górecki), stitched together with solo pieces ranging from Bartók's Hommage à J.S.B. to a closing Maple Leaf Rag. Taylor plays the whole programme on a Pleyel-style harpsichord built in the 1970s by Anthony Sidey — a hybrid instrument that splits the difference between revival and replica. Result: a survey of how the harpsichord survived the modernist century by becoming something other than itself. Joplin lands harder than you'd expect. Tracklist on Presto Music. 程式很賊：四首二十世紀羽管鍵琴協奏曲——Falla、Poulenc、Françaix、Górecki——之間穿插獨奏。Bartók《Hommage à J.S.B.》當致敬；Stéphane Gassot《Bluesinuum》是 Taylor 委約的；Martinů 一首；最後是 Scott Joplin《Maple Leaf Rag》。

Barry Douglas — Celtic Nocturne

Genre類型

Classical / Solo Piano

Label廠牌

Chandos（CHAN 20XXX）

Format介質

CD + Hi-Res 數字

John Field invented the piano nocturne and got Chopin's credit for it; the form's afterlife is the more interesting story. Douglas, the 1986 Tchaikovsky gold medalist, plays six Field nocturnes, his own arrangements of Irish traditionals — "The Wild Colonial Boy," "The Harp that Once through Tara's Halls," "Cockles and Mussels" — and three pieces of his own. The trick is the connective tissue: Field's voicings already sound a little like Irish trad piano, and the trad arrangements already sound a little like nocturnes. The album lets the resemblance do its own work. Tracklist on Presto Music. John Field 發明瞭鋼琴夜曲，蕭邦才繼承的——這條譜系在兩百年間被壓縮成「蕭邦夜曲」的同義詞。Field 自己幾乎被忘了。

Lea Bertucci & Norbert Rodenkirchen — The Days Pass Quickly Immersed in the Shadow of Eternity

Genre類型

Experimental / Electroacoustic / Early Music

Label廠牌

Cibachrome Editions（Bertucci 自營廠牌）

Format介質

Digital + LP

Bertucci's own description is the best one going: "as if Phill Niblock and Hildegard of Bingen had tea at Maryanne Amacher's house." The technical setup is more arresting than the description sounds. Rodenkirchen, of the early-music ensembles Sequentia and Dialogos, brought five of his historical flutes — Medieval traverso, Renaissance tenor and bass, swan bone, sheep bone. Bertucci made sixty samples and assembled them into an eight-channel piece that triggers and diffuses the recordings across a ring of speakers while Rodenkirchen plays live alongside them. What you hear, in the stereo mix, is two centuries' worth of psychoacoustic strategies cohabiting: a drone tradition that runs from Hildegard through Niblock; an iso-polyphony that turns one flute into an architecture. The piece would feel academic if it weren't so physical. Bertucci 的描述最有力：「as if Phill Niblock and Hildegard of Bingen had tea at Maryanne Amacher's house」。Niblock 的持續音、Hildegard 的中世紀聲樂傳統、Amacher 的心理聲學——三個人被放進了同一個下午茶會。

SUSS — Counting Sunsets

Genre類型

Ambient Americana / Ambient Country / Instrumental

Label廠牌

Northern Spy Records

Format介質

LP（Vinyl）+ CD + Digital

SUSS have been working a thin seam between ambient and Americana for nearly a decade, and Counting Sunsets is their most disciplined statement of it. Ten pieces titled "Sunset I" through "Sunset X" — pedal steel, tape loop, a synth doing the part the bass would normally do. It's tighter than their last several albums, which is what a year of touring as a trio does. The standout is "Sunset IX," where an 8-bit bleep finds the pulse of an acoustic-guitar twang and the two settle into a slow conversation. Sunset light recorded as durational object. SUSS 在 ambient 和 Americana 中間這條窄道上走了十年。《Counting Sunsets》是他們最自律的一張：十軌「Sunset I 到 Sunset X」，pedal steel、tape loop、acoustic guitar、低音 synth 當 bass 用。