Daily Drops · Vol.060每日唱片 · Vol.060
Daily Drops Vol.060 — Jun 01 戰時的烏克蘭人，彈四百年前英國人的憂鬱
Lahav Shani & Rotterdam Philharmonic Orchestra — Dvořák: Symphony No. 9 "From the New World" / Wagenaar: Cyrano de Bergerac
- Genre類型
- Classical / Orchestral
- Label廠牌
- Warner Classics
- Format介質
- CD / Hi-Res / Streaming
- Released發行
- 2026-05-29
There is no shortage of recordings of the "New World" Symphony; it is the most-taped piece of orchestral music on the planet, and you almost certainly own a version already. The case for this one rests not on the Dvořák but on the thing Shani parks in front of it: Johan Wagenaar's 1905 concert overture Cyrano de Bergerac, a swashbuckling Dutch curio almost no conductor bothers to program. It is Strauss in a lighter coat — all feint and flourish, the nose arriving a half-beat before the man. Shani's Dvořák is unhurried and beautifully balanced, the second-movement cor anglais walking back from a great distance, but it is the Wagenaar you'll remember, because you've never had to remember it before. A familiar meal, preceded by a drink you didn't know existed.
Dmytro Kokoshynskyy — Music for These Troubled Times
- Genre類型
- Classical / Harpsichord / Early Music
- Label廠牌
- Fuga Libera (Outhere)
- Format介質
- CD / Hi-Res / Streaming
- Released發行
- 2026-05-29
A Ukrainian harpsichordist, after four-plus years of war on his own doorstep, sits down to play English melancholy from four centuries ago. Most of the program is virginalist repertoire — Byrd, Bull, the keyboard men who wrote in the long shadow of England's own civil unrest — and what Kokoshynskyy borrows from them is precisely their trick of turning low spirits into structure. The frame is Robert Burton's 1621 Anatomy of Melancholy, which prescribed music as a remedy for the troubled mind. Dropped into the middle is Maxim Shalygin's contemporary KHORA, which slides into the old soundworld without a seam. This is not period-costume nostalgia; it's a man hemmed in by war reaching for the recipe another besieged generation left behind. The record I'd put on alone, with the phone in another room. 一個烏克蘭羽管鍵琴家，在自家門口打了四年多的仗裡，坐下來彈英國人四百年前的憂鬱。曲目大半是維吉那琴派——Byrd、Bull，那群在英國內戰的陰影裡寫鍵盤曲的人——他借的正是他們把壞心情寫成結構的本事。框架來自一六二一年 Robert Burton 的《憂鬱的解剖》：音樂是治鬱之藥。中間插一首當代作曲家 Maxim Shalygin 的《KHORA》，和三百年前的英國聲響無縫接上。這不是博物館裡的復古，是一個被戰爭圍住的人，去翻另一群被戰爭圍過的人留下的方子。今天最該單獨聽的一張，聽的時候請把手機放到別的房間。
Joanna Kacperek — In Plain Sight
- Genre類型
- Classical / Solo Piano
- Label廠牌
- Rubicon Classics
- Format介質
- CD / Hi-Res / Streaming
- Released發行
- 2026-05-29
The title is a quiet accusation. These women were all celebrated once — Farrenc taught at the Paris Conservatoire, Chaminade's salon pieces sold by the crate, Marianna Martines shared a building with Haydn — so they were never hidden; we simply stopped looking. The Polish pianist Joanna Kacperek puts them back on the stand, Bacewicz and Mel Bonis and Ingeborg Bronsart and Agathe Backer Grøndahl among them, several in their first commercial recordings. She doesn't play them as victims or argue their case in italics. She just plays the scores straight, with enough care that you hear, without being told, that the music was always load-bearing. A record about being seen, made by the simple act of looking closely. 標題是句安靜的指控。這些女作曲家當年都紅過——Farrenc 在巴黎音樂學院教書，Chaminade 的沙龍曲賣到脫銷，Marianna Martines 和海頓同住一棟樓——她們從沒被藏起來，是後來的人不看了。波蘭鋼琴家 Kacperek 把她們重新擺上臺面，連 Bacewicz、Mel Bonis、Ingeborg Bronsart、Agathe Backer Grøndahl 一起，有些是商業首錄。她彈得不悲情，也不替誰喊冤，就是把譜子認真彈一遍，讓你不用被告知，就聽見這些曲子本來就站得住。一張關於「被看見」的唱片，方式只是好好彈琴。
Huw Wiggin & Oliver Wass — Elements
- Genre類型
- Classical / Saxophone & Harp
- Label廠牌
- Orchid Classics
- Format介質
- CD / Hi-Res / Streaming
- Released發行
- 2026-05-29
Saxophone and harp is an odd marriage: one instrument shouts, the other only whispers. Wiggin and Wass arrange the standoff around the four classical elements — earth, air, fire, water — folding six new commissions in among the Baroque, so that Bach, Purcell, Vivaldi and Couperin keep getting interrupted by Laura Bowler and Charlotte Harding and answering back. Old and new take turns, politely sparring across the table. The sharpest moment is Bowler's Caesium, named for the metal that bursts into flame on contact with air or water; she lets the saxophone threaten to combust while the harp keeps a hand on its shoulder. Not a heavyweight program, but a genuinely funny pairing of timbres — the kind that makes the ear grin. 薩克斯和豎琴坐到一起，本身就是個怪組合：一個會吼，一個只會低語。這張以「地水火風」四元素佈局，六首新委約夾在巴洛克裡——一邊是 Bach、Purcell、Vivaldi、Couperin，一邊是 Laura Bowler、Charlotte Harding 這些當代名字。新舊輪流開口，像兩代人隔著桌子禮貌地抬槓。最妙的是 Bowler 那首《Caesium》：銫這元素遇空氣遇水就炸，她讓薩克斯也學著隨時可能失控，豎琴負責按住，沒讓它真炸。不是大麴目，但這對音色會把耳朵逗笑，是今天最輕鬆的一張。
冬にわかれて — forgotten
- Genre類型
- City Pop / Folk / J-Pop
- Label廠牌
- こほろぎ舎
- Format介質
- CD / Streaming
- Released發行
- 2026-05-06
Don't let the city-pop tag fool you; there is no neon gloss here, none of the lacquered eighties shine. Saho Terao sings the way someone who also writes essays sings — never rushing you, just setting each word down and letting it sit. On the Tokyo trio's fourth album, Iga Wataru's bass keeps low and Adachi Reisaburo's drums barely surface, leaving great open fields of air. "Tokyo Rain" earns its name: this is damp, literate city folk that brushes against city pop without ever quite stepping inside. The advance single "Peppermint Times," with lyrics by the singer-songwriter Mom, is the closest the record comes to pop. After an afternoon of classical, it's exactly the right way to switch off the lights. 別被 city pop 這三個字騙了，這裡沒有八十年代的亮面和霓虹。寺尾紗穂的嗓子是那種寫過散文的人才有的——不催你，只把字一個個放下。三人樂隊第四張，伊賀航的低音結他走得低，あだち麗三郎的鼓幾乎不出聲，留出一大片空。〈東京レイン〉名副其實，是潮濕的城市民謠，擦著 city pop 的邊卻不肯進去。先行曲〈ペパーミント・タイムズ〉由唱作人 Mom 填詞，是全碟最接近流行的一刻。古典聽累了，用它收尾剛好。