Daily Drops · Vol.094每日唱片 · Vol.094
Five voices went missing for five centuries; a scholar just wrote them back in 被僱來哭的人，哭著哭著竟成了真
Adam Laloum — Schumann: Novelletten & Kreisleriana
- Genre類型
- Classical / Solo Piano
- Label廠牌
- Harmonia Mundi
- Format介質
- CD / Hi-Res / Streaming
Schumann wrote both of these in 1838, the year Clara was kept from him and the longing ran hottest, and you can hear the split running down the middle of the Kreisleriana — a manic passage, then a tender one, two tenants trading shifts in one body, after E. T. A. Hoffmann's unhinged Kapellmeister. The detail I keep turning over is the dedication. Schumann handed this most private of scores to Chopin, who by most accounts admired only the cover. Laloum, the French pianist, refuses to rush any of it; in the slow fourth piece he lets a phrase hang in the air and waits for it to fall on its own. It is playing as inner monologue, and it makes the awkward gift feel less like flattery than a letter never quite answered. 兩部都寫於 1838，舒曼和克拉拉被拆散、想得最兇的一年。《克萊斯勒偶記》取材 E.T.A. 霍夫曼筆下那個瘋癲的樂長 Kreisler，狂躁一段、溫柔一段，像兩個人在同一具身體裡換班。最耐人尋味的是題獻：這麼私密的東西，舒曼送給了蕭邦，而蕭邦的回應據說冷淡到只誇了封面。
Daniel Gilchrist & Selene Consort — Earthly Solace: Eton Choirbook Reconstructions II
- Genre類型
- Classical / Renaissance / Sacred Choral
- Label廠牌
- Delphian
- Format介質
- CD / Hi-Res / Streaming
The Eton Choirbook is one of the few great manuscripts of English polyphony to survive the Reformation's bonfires, and it survived in pieces: voices torn out, lines that stop mid-phrase. This second volume from the young British consort takes five works no one has heard sung whole in five centuries — Cornysh, Fayrfax, Brygeman, a four-voice Magnificat by the near-anonymous John Sygar, Walter Lambe — and lets the musicologist Russell Blacker compose the missing parts back in. It raises a quiet, awkward question: are you hearing 1500, or one scholar's educated guess at it? Every restored note is a wager. And yet the moment the consort's sopranos take Lambe's line upward, the argument goes silent; the gap simply closes. Scholarship, in the end, is handed over to throats, which is where it always belonged. 今天的私心第一。Eton Choirbook 是宗教改革焚書潮裡少數活下來的英國複調手稿，而且是殘缺著活下來：聲部被撕走，樂句斷在半句。這第二輯挑了五部沒人完整聽過五個世紀的作品：William Cornysh、Robert Fayrfax、William Brygeman、近乎無名的 John Sygar 那部四聲部《Magnificat》、Walter Lambe，另有 Gilbert Banester 與 John Browne。做法是請音樂學家 Russell Blacker 把失蹤的聲部一一補寫回去，再交給年輕的 Selene Consort 唱出來。
Chad Smith / Sinfonia of London / John Wilson — Saxophobia: Celebrating the Sax Craze of the 1920s
- Genre類型
- Classical / Orchestral / Crossover
- Label廠牌
- Chandos
- Format介質
- SACD / Hi-Res / Streaming
先說清楚：這位 Chad Smith 是百老匯的薩克斯名手，不是紅辣椒的鼓手同名者。整張碟在挖一個幾乎被忘掉的名字：Rudy Wiedoeft（1893–1940），爵士還沒成氣候前，把薩克斯風捧成明星的那個人。曲目含 Wiedoeft 的《Valse Mazanetta》《Sax-O-Phun》《Cloudy Days》《Saxarella》，加上 Victor Herbert、Irving Berlin 的改編，一堆 vaudeville 的花活兒：滑音、笑音、賣弄。
Microfiche — With Time
- Genre類型
- Jazz / Post-Rock / Improvisation
- Label廠牌
- Earshift Music
- Format介質
- CD / Streaming
The Sydney sextet has been improvising together for a decade, and their third record is a case for slowing down made by people patient enough to prove it. One track is called "I Sat In One Place Until It Became Many," which is also the method: hold still, and the detail multiplies around you. The lineage runs straight back to The Necks — the same refusal to hurry toward an arrival — though here the old acoustic instincts share the room with synths and samples, and the mood is dimmer than before. Post-rock arcs build and, now and then, a bit of free-jazz punches through the surface. An album to leave running, not to pull singles from. 悉尼六人即興集體，成軍十年，第三張，首次登 Earshift。他們在做一件反潮流的事：慢。有一首叫《I Sat In One Place Until It Became Many》，字面就是方法論——坐著不動，細節自己一層層長出來。這次除了一直以來的原聲取向，加了合成器、採樣與後期的電聲層，基調比前作更暗，卻有一道乍現的樂觀。
Nils Berg / Norrbotten Big Band — Paid To Cry
- Genre類型
- Jazz / Big Band
- Label廠牌
- HOOB Records
- Format介質
- CD / Streaming
The premise is the hired mourner, the person paid to weep at a stranger's funeral until the scripted grief turns real, and Berg wants to know whether a composer, a soloist, a whole big band can do the same trick. The title track summons the full ensemble to cradle one small solo, an entire hall keeping a single person company while they fall apart. A Swedish title sits in the middle of the sequence — "Jag skulle bara hem," I only wanted to go home — and needs no translation to land. It is a lot of brass in service of one very small, very private feeling, and I haven't decided yet whether the scale dignifies the grief or slightly embarrasses it. Two more listens. 主題是「僱來的哭喪人」。一個被花錢請來哭的人，腳本化的悲傷，哭著哭著竟哭出真的——瑞典作曲家、薩克斯手 Nils Berg（2024 年任 Norrbotten Big Band 駐團作曲）想問的是：作曲、獨奏、整支大樂團，能不能也這樣替別人發出情緒。開場同名曲，大編制託著一段很小的獨奏，像整個廳陪一個人崩潰。
Eustress — Exit
- Genre類型
- Electronic / Dub Techno
- Label廠牌
- Kino Disk
- Format介質
- Vinyl / Streaming
Kino Disk grew out of a Chicago record shop called Signal and deals in Midwestern dub techno made by people who have left almost no online trace. Eustress can't even be bothered to name the songs: six tracks, "Exit 1" through "Exit 6." Prickly echoes seep into waterlogged chords, soggy and a little forlorn. Late-night music, and the anonymity is part of the atmosphere — you never quite learn who's turning the room damp. 從芝加哥唱片店 Signal 長出來的廠牌 Kino Disk，主打中西部 dub techno，一圈人神秘到幾乎沒有網路足跡。Eustress 繼與 mosfet 的合作《Patsy》後交出獨作《Exit》：多刺的回聲滲進濕漉漉的和絃，潮乎乎、喪兮兮。母帶 Jason Letkiewicz。六首曲子乾脆全叫《Exit 1》到《Exit 6》。適合深夜，不適合派對。
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