The Friday tide hasn't come in yet, but the Thursday flotsam is already worth picking through. 週五前夜的撿漏：從威尼斯—布拉格的Vivaldi餘波，到Glasgow出走的一張Drone

The Harmonious Society of Tickle-Fiddle Gentlemen / Robert Rawson / Hana Blažiková (sop) / Tassilo Erhardt / Ciara Hendrick (sop) / Sally Holman / Mark Baigent — Vivaldi in Prague

The Four Seasons were dedicated to a Bohemian count, Wenzel von Morzin, who in 1718 hauled Vivaldi back to Prague as his court's chief Italian — a small biographical fact that set off a generation of musical migration between the lagoon and the Vltava. Robert Rawson and his charmingly-named Tickle-Fiddle Gentlemen excavate the lesser-known traffic on that route: a bassoon concerto Vivaldi wrote for Morzin's chapel, a violin concerto by František Jiránek (a Czech who studied with Vivaldi in Venice and went home), and two arias from Vivaldi pasticcios cobbled together by the impresario Antonio Denzio for Prague audiences — at least one of them, remarkably, in Czech translation. Blažiková and Hendrick share the vocal honours. The scholarship is light on its feet; the playing isn't precious about it. Vivaldi的「四季」是題獻給布拉格伯爵Wenzel von Morzin的，1718年伯爵直接把他從威尼斯打包帶回宮廷做首席意大利樂長。這條威尼斯-布拉格的音樂航線從此鋪開，影響了整整一代捷克作曲家。

Christopher Guild (piano) — Ronald Stevenson: Piano Music, Volume Eight — Greetings to Grieg, Gardiner and the Graingers

Milena Granci — To Some Place New

A French-Italian pianist who has been a fixture at Pizza Express Jazz Club and the Vortex for years, Granci finally introduces herself at album length, and the unhurried instrumentation — wordless vocals, alto saxophone, accordion, piano trio — feels less like a calling card than a quiet rebuke to the theme-solo-theme orthodoxy of mainstream jazz. The pieces unspool, don't quite arrive, then unspool further. The Italian site Jazz in Family called it "not an immediate album," and meant it as a compliment; I'm coming round to the same view. The launch tonight at Crazy Coqs sold out a while ago, which suggests the rest of London noticed first. 法國-意大利雙籍鋼琴家，在倫敦Pizza Express Jazz Club、Vortex、EFG London Jazz Festival跑場多年，今天才出第一張碟。

Suzanne Jarvie — mother's day

An album about losing a mother that resists the consolations of the genre it nominally belongs to — Jarvie's Americana is more bruised than balm. Five of the nine tracks begin at the piano, which is where her classical training sits, and she sings low, without any of the soft-edged warmth that the late streaming era has trained Americana listeners to expect. The North American release came in February through Wolfe Island; the European edition slips out today on Continental Record Services, so this counts as a kind of belated arrival. 加拿大singer-songwriter。題材是直接撞上喪母的悲與怒，9首裡5首鋼琴起手——她底子是古典鋼琴。聲音偏低、不甜，The Spill Magazine形容為「在黑暗中讓人凝住」。

The Beach Boys — Pet Sounds (Definitive Sound Series One-Step, Mono Audiophile)

It is possible to be tired of audiophile reissues of Pet Sounds — many readers will have at least three — and still find this one disarming. The wrinkle is the source: Capitol's archivists turned up a 1972 analog tape labelled "Reprise Master," which the mastering engineer Chris Bellman confirmed was the lineage behind the cult early-Seventies Brother Records pressing that has been quietly traded among Brian Wilson partisans for decades. Now it gets the All-Analog One-Step treatment at 180 grams, in mono — Wilson's preferred form — limited to six thousand numbered copies in a slipcased gatefold. Audiophilia has already gone soft over it. So, frankly, will you. 很容易厭倦《Pet Sounds》的audiophile復刻——很多人手上至少有三個版本。但這次值得認真看一眼。

Yulyseus — Nothing Under Heaven

The third album by the Glasgow-born, Valencia-based composer Yulyseus follows the bruised interior of In the Dark Palaces of Both Our Hearts with something more open-mouthed: layered electronics under bowed strings, field recordings used architecturally rather than scenically, and a willingness to let a piece simply move from one tonal climate to another without underlining the journey. n5MD has been quietly building one of the better ambient catalogues this decade; this is among its more patient additions. Glasgow出身、Berlin和Mexico City住過、現定居Valencia的producer。前作《In the Dark Palaces of Both Our Hearts》偏陰鬱內向，這張開口更大——bowed strings疊上田野錄音和緩慢推進的層疊電子，像Benoît Pioulard偶爾撞上36。