Daily Drops · Vol.175每日唱片 · Vol.175
His teacher never found time to record it; the student has. 他說彈貝多芬像把丟掉的那雙手找回來
Minsoo Sohn — J. S. Bach: The Well-Tempered Clavier I
- Genre類型
- Classical · Solo Piano · Bach
- Label廠牌
- Hyperion Records；目錄號 CDA68501/2
- Format介質
- CD（2CD）／ Streaming ／ Hi-Res
- Released發行
- 2026-10-02
Russell Sherman used to grumble, half in earnest, that he really ought to record the Well-Tempered Clavier and had no time for it, because he was busy teaching. He died without doing so. His student Minsoo Sohn, who now holds a piano chair at the New England Conservatory where Sherman and Wha Kyung Byun between them taught for decades, has recorded it instead, and the record is dedicated to the two of them. About a year after Sherman's death, Byun handed Sohn her husband's own copy of the score, thick with his markings; beside the C minor prelude there was a short poem drawn from Caesar and Brutus. Sohn says it showed him a world much wider than the one he had in mind. He is fifty, and he came to this music late and sideways. He was drawn as a young man to the dramatic repertoire and kept his distance from Bach, whom his teachers simply insisted on. Then, on the last day of 2008, an accident left his right hand unusable for about three years, and the left hand he overworked in its place eventually needed surgery of its own. He has described the years that followed as survival mode, and playing the Beethoven sonatas afterwards as finding the hands he had lost. The playing here is free of pain, he says, and the work itself he calls a thing of infinite variety. Recorded at Schloss Elmau, in the Bavarian Alps. 那份譜子上的批註裡，有一首詩。c 小調前奏曲旁邊，Sherman 寫了一段取材凱撒與布魯圖斯的短句；Sohn 的說法是，那讓他看到「一個比我原先設想的要寬闊得多的世界」。這件事有個不太好笑的背面：Sherman 生前自己始終沒有錄下這部作品，他半開玩笑地抱怨過，該錄，但要帶學生，騰不出檔期。現在接著在新英格蘭音樂學院教鋼琴的是 Sohn，而這張碟獻給 Sherman 與師母卞和卿。他跟這部作品的關係本來也不親。他自陳早年被戲劇性的音樂吸引，對巴赫與貝多芬是疏遠的，是老師硬把它們排進去的；中間還隔著一段更硬的東西——2008 年底的一次意外讓他右手約三年不能使用，左手因為過度代償也動了刀，他形容那幾年「每天都是在求生模式裡」。現在不痛了。順帶一筆，他是林允燦的老師：當年他先派給林的是《平均律》的前奏曲與賦格，至於《哥德堡》，是林自己決定什麼時候去碰的。錄音在巴伐利亞阿爾卑斯山的 Schloss Elmau。他對這部作品的定性只有四個字：無窮的變化。
Bruno de Sá — Uyaras – The Enchanted Voice
- Genre類型
- Classical Vocal · Orchestral Song · Opera
- Label廠牌
- Erato / Warner Classics（℗ 2026 Parlophone Records Limited）；目錄號 未找到
- Format介質
- CD ／ Streaming ／ Hi-Res
- Released發行
- 2026-10-09
The line de Sá quotes most often about himself comes from the people who cast operas: they did not know where to put him, he was told, he was like an alien. Thirty-six now, and a sopranist, he has built a career out of the gap that remark describes, and this record widens it on purpose. Juliana Ripke has orchestrated Saint-Saëns's Le Cygne and Strauss's Kling! for that voice specifically; Villa-Lobos, Granados, Canteloube, Rachmaninov and a Proch coloratura aria from 1850 sit alongside them, the last of these an Easter egg, in his own phrase, for whatever comes next. Ingobert Waltenberger, writing for Online Merker, puts his finger on the useful thing: the middle register is unexpectedly solid, which is exactly where this repertoire usually catches singers out. The one reservation in that review is that the programme may be too various. Fair enough. It is a passport, not a thesis. Uyaras 是亞馬遜流域的水妖，以美貌或歌聲引人，再把人拖到水底淹死，據說為的是守護河流與雨林。這張碟的班底是法國的（Opéra Orchestre Normandie Rouen，Pierre Dumoussaud 指揮），但同名那首 Alberto Nepomuceno 的《As Uyaras》op. 15 用葡萄牙語唱，Comunicantos 合唱團的部分專程回聖保羅錄，那是他童年待的城市。另外兩首是為這個聲音特地改的：Juliana Ripke 把聖桑的《Le Cygne》與理查·史特勞斯的《Kling!》改成男性女高音與樂團的版本。末尾放的是 Heinrich Proch 1850 年那首帶變奏的花腔詠嘆調，他自己說那是暗示後續計劃的彩蛋。Online Merker 的 Waltenberger 說他中聲區「erstaunlich satt」（意外地厚實），而這一路曲目的許多演繹者正是在這裡失手的；藝術歌曲部分則是「跪下來聽的連奏」。那篇評論只留了一句保留：整張的風格色彩或許太雜。我同意那句保留，但換個說法：這是一張把履歷攤開給你看的碟。
Susan Tomes — Women and the Piano
- Genre類型
- Classical · Solo Piano · Historical Recovery
- Label廠牌
- Hyperion Records；目錄號 CDA68489
- Format介質
- CD ／ Streaming ／ Hi-Res
- Released發行
- 2026-10-09
Marianna von Auenbrugger left one sonata behind and, as far as anyone has established, nothing else; it is here, in E flat, a few places away from Raie Da Costa's Razor blades, a syncopated piece of light music from the other end of the gramophone era. That is the shape of the programme — twelve composers lifted out of Tomes's own book of fifty lives, with her own notes in the booklet — and it is also an argument. Gerald Fenech, reviewing it for Classical Music Daily, reports that before she began the research her own sense of the field stopped more or less at Clara Schumann and Fanny Mendelssohn, because nobody in her training had encouraged her to look further. His conclusion is that these pieces fell out of the repertoire for want of opportunity and institutional support rather than for want of quality. Recorded last December at St Silas the Martyr in Kentish Town. 這張碟是從一本書裡長出來的，而書是她自己寫的。《Women and the Piano – A History in Fifty Lives》裡那些作曲家，她挑了十二位錄進來，解說也自己寫；她希望它「作為書的一種伴隨物，同時也作為一張獨立的專輯」成立。Classical Music Daily 的 Gerald Fenech 補上了這件事的來路：做研究之前，她的認知基本只到克拉拉·舒曼與範妮·孟德爾頌為止——受訓的那些年，沒有人鼓勵她去彈女性作曲家的東西。所以曲目裡會出現 Marianna von Auenbrugger 的降 E 大調奏鳴曲，按 Fenech 的說法，那是這位作曲家存世的唯一一部作品。旁邊還有 Hélène de Montgeroult 的 B 大調練習曲，和 Raie Da Costa 那首帶切分的輕音樂小品《Razor blades》。錄音是 2025 年 12 月在倫敦 Kentish Town 的 St Silas the Martyr，Steinway，製作人 Andrew Keener。Fenech 的結論值得抄下來：這批作品淡出標準曲目，原因在機會與制度支持，不在質量。
The Talking Hearts — Memory Lane
- Genre類型
- Traditional Country · Bluegrass · Americana
- Label廠牌
- 自主發行（℗ 2026 The Talking Hearts）；目錄號 無
- Format介質
- Streaming
- Released發行
- 2026-10-09
Jon Young, in No Depression, describes a rogues' gallery of shifty characters, and a band so flippant about their behaviour that poor judgment comes out sounding like big fun; he also says the bright, swinging surface could be mistaken for Dan Hicks & His Hot Licks, which is the right neighbourhood. A Boston sextet, second record, run from the fiddle chair: Rachel Rosenberg writes most of it, plays the fiddle and sings lead, with the mandolinist Zach Meyer taking the microphone in turn and bringing a scruffier persona with him. Young's ear catches the division of labour nicely — Rosenberg delivers the sharp lines calmly, Meyer gets the mischief, and the harmonies stay high and lonesome above both of them. 領隊是拉小提琴的那個人。波士頓六人編制，Rachel Rosenberg 拉小提琴並唱主音，詞曲大半由她寫或共同寫，曼陀林手 Zach Meyer 也輪流坐主唱席。先行單曲〈You Didn't Make Me Cry〉的來歷她講得很直白：一趟去紐約的週末沒能如她所願，這首歌是把檸檬變成檸檬水的音樂版本。No Depression 的 Jon Young 給的參照是 Dan Hicks & His Hot Licks，說這張明亮帶搖擺的聲音可以被誤認成那支樂隊；他形容整張住著一群滑頭角色，而樂隊處理這些壞行為的態度輕佻到讓糟糕的判斷力看起來很好玩。他點出的細節是：Rosenberg 唱帶刺的詞時交付得沉著，Meyer 接過麥克風時換成一個邋遢帶頑氣的角色，和聲高而孤。10 月 17 日在 Lilypad Inman 有發片場。
ASA-CHANG エマーソン北村 — こぶし
- Genre類型
- Organ Pop · Experimental Pop · J-Pop
- Label廠牌
- AIRPLANE LABEL；品番 AP1114
- Format介質
- CD ／ Streaming
- Released發行
- 2026-10-07
Two people, a voice and an organ, and nothing else in the room. Their third EP is the first on which every song is sung, which Mikiki's Hiroyuki Ichinoki notes in passing before getting to the better observation: the organ sounds as though it is being played right next to you. Two of the songs are other people's — Kirinji's Aliens, and a Nishida Sachiko number handed over to the guest singer Satomi Kobayashi. Ichinoki says ASA-CHANG's delivery makes you laugh first and leaves you sad afterwards. 兩個人，一把聲音，一臺管風琴，房間裡沒有別的東西。這是他們的第三張 EP，卻是第一張全曲有唱的——Mikiki 的一ノ木裕之寫明「初の全曲歌入り」，前兩作《Debut》（2018）與《エロス》（2020）不是這樣做的。裡面有兩首翻唱：キリンジ的〈エイリアンズ〉，以及西田佐知子的〈涙のかわくまで〉，後者請小林聰美客座主唱。一ノ木裕之對那臺管風琴的描述很準：聽起來像就在你旁邊彈。至於 ASA-CHANG 的唱法，他的說法是先讓人笑出來，最後讓人難過。兩人各自手上也都有別的事：ASA-CHANG 2023 年重新編了金延幸子《Fork in the Road》的再發行版，エマーソン北村 2025 年參與了 CADEJO 的《ENDLESS》。
John Leventhal — National Drift
- Genre類型
- Folk · Instrumental · Blues
- Label廠牌
- Rumble Strip Records（℗ 2026 RumbleStrip Records，Thirty Tigers 發行）；目錄號 未找到
- Format介質
- CD ／ Streaming
- Released發行
- 2026-10-02
He calls it a found album, and he means it literally. The material is improvisation he happened to be recording while co-writing and producing his wife Rosanne Cash's forthcoming Blue Note record; the instrumental album was assembled afterwards, out of what was lying there. Henry Carrigan, in No Depression, takes the word seriously enough to set it beside Howard Finster's found art, and calls Leventhal a restless musical genius whose writing moves through jazz, gospel, blues and bluegrass without announcing the changes. The two pieces Carrigan picks out are worth having: JL's Hymn No. 1, where a steady organ drone sits under descending fingerpicking and smells of a country church, and Red is the Color, swamp blues stirred into something smokier. Rumble Strip is the label he and Cash founded; her own record follows in 2027. 這張碟壓根不是為了做碟而錄的。素材全是他替 Rosanne Cash 做那張即將出的 Blue Note 唱片、一邊共同創作一邊製作時順手錄下的即興，事後才整理成一張器樂專輯；他自己叫它 found album。Rumble Strip Records 是他跟 Cash 一起開的廠牌，兩人的創作關係已經超過三十年，而他名下的首張個人專輯出在入行四十多年之後。No Depression 的 Henry Carrigan 把那個「found」接到了 Howard Finster 的 found art 上，稱他是個不安分的音樂天才。Carrigan 點出的兩處我也想記下來：〈JL's Hymn No. 1〉是一道穩住不動的管風琴持續音，墊在層層下落的指彈底下，他讀成鄉村教堂的氣味；〈Red is the Color〉把沼澤藍調和帶煙味的爵士攪在一起。領銜曲是〈When I Walked to the River〉。Cash 自己那張排在 2027 年。
蘇珮卿 — The Best of the Worst of Times
- Genre類型
- Art Pop · Harp · Singer-Songwriter
- Label廠牌
- Siren Song Music（℗ 2026 Siren Song Music）；目錄號 未找到
- Format介質
- Vinyl ／ Streaming
- Released發行
- 2026-09-25
Two weeks shut inside a studio in Los Angeles with the American musician Benjamin Lazar Davis, and a small crew of players from elsewhere: that is where part of this one was made, and she describes the arrangement as being sealed off from the world and working on music every day. The harp is still the centre of it, with analogue synthesisers, electric guitar and a pushing drum kit stacked over the top. The lead song had existed as a sketch for about a decade before she finished it last year. Her third album of original material, and the first in three and a half years; the early vinyl order carries a seven-inch with an unreleased song on it, whose title she is not giving out. 封面是兩張照片疊在一起：一張是家人拍的她的童年，另一張是她兒子拍的。她給的解釋很省話——這樣她同時是被照顧的小孩，也是照顧人的大人。這是她三年半來的第一張，也是第三張全原創專輯；中間隔著的事她在三立的專訪裡講了：2019 年確診乳癌，治療一年多後康復，去年正式搬去紐約。碟的一部分在洛杉磯錄，她形容是閉關兩週，共同製作人是美國音樂人 Benjamin Lazar Davis。主打〈Every Second's A Treasure〉十年前就有雛型，去年才寫完，她的原話是「這首歌其實在10年前就大概有了雛型」；這首以她的豎琴為核心，疊上模擬合成器、電吉他與推進的鼓。黑膠早鳥附的那張 7 吋裡有一首未發表曲，曲名她沒公佈，說那是給收實體的人的。
Amalie Dahl's Dafnie & Lisa Ullén — Live at Kafé Hærverk
- Genre類型
- Free Jazz · Nordic Jazz · Live
- Label廠牌
- Trost Records；目錄號 TR268
- Format介質
- Vinyl ／ CD ／ Streaming
- Released發行
- 2026-09-25
The tape is from 27 March 2025, at Kafé Hærverk in Oslo, recorded by Knut Sævik, and it waited until the end of September this year to come out. What it catches is Dahl's horn-heavy quintet with the Swedish pianist Lisa Ullén added as a seventh voice, so that the piano becomes the only harmonic instrument in a room with saxophone, trumpet and trombone in it. Trost says Ullén was the reason the collaboration happened at all. Patrycja Wybranczyk is in the drum chair, standing in for Veslemøy Narvesen. 編制這件事值得先講：Dafnie 本來是管樂偏重的五人團（薩克斯、小號、長號加貝斯與鼓），這次請瑞典自由即興鋼琴家 Lisa Ullén 進來當客座，於是鋼琴成了整組裡唯一的和聲樂器。廠牌自己寫明，最早啟發這次合作的人就是她。鼓椅上坐的其實是替補：這趟巡演由 Patrycja Wybranczyk 代替固定鼓手 Veslemøy Narvesen。帶子錄於 2025 年 3 月 27 日，奧斯陸的 Kafé Hærverk，Knut Sævik 收音，一直到 2026 年 9 月 25 日才發行。曲目是舊曲改寫加一首新的：〈Wavelet〉是新作，〈Eco Echoes〉來自 Dafnie 第二張《Står op med Solen》。Trost 的文案說 Ullén 那種帶稜角的彈法給樂隊加了強度與縱深——廠牌文案，打個折聽。我還要再聽兩遍才敢下判斷。
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