作曲 J. V. 勒貝迪耶娃

《給長號與管樂團的協奏曲》是一首由四個樂章所組成的作品，題獻給哈薩克知名長號演奏家阿克梅托夫（Kanat Muginovich Akhmetov, 1957-）；本作品核心理念在於表現出長號在各種音樂情緒、氣氛中的不同性格，作品標題為《長號的一生》。

第一樂章是一首充滿悲劇張力性格的華爾滋《From the Past》，樂曲進行在數個不同的主題間隱晦地轉換；音樂主題同時帶有悸動與飛逝的特質，彷彿在千頭萬緒之中失去了自我，遂在樂章的結尾終於證成自身存在的意義，此一段落可被稱為「長號的主題」，在此主題中，長號作為「英雄」角色出現─一如他的實存、智慧與穩重，能夠以他所立足的哲學視野，得到對於他終其一生的回顧、分析。其餘的主題，則描摹那些存在於過去的人、事，不斷飛逝的樣貌；由英雄所散發出的經驗與力量，逐漸離他而去，同時亦笑亦哭、亦悲亦喜。

第二樂章旋律根據哈薩克民謠改編而來，本質上，此樂章中的長號仍然依照演奏者阿克梅托夫的形象被擬人化；在此，英雄的出身並不光彩，他睿智依舊，卻仍保持年輕且親和，融合了自己的天性與喜好，將樂曲主題以截然不同的方式演奏出來。突然間，節奏組轉為搖擺（Swing）節奏，主題實際上並不更動，但改變了發展的方式，結合了爵士與哈薩克的傳統元素，形塑出充滿「胡椒味」的長號性格，顯露出英雄真實的面目。玩了一陣子文字遊戲之後，英雄又回到了莊嚴肅穆的形象，繼續隨唱祖先的傳統歌謠。

第三樂章揭示出英雄不為人知的內心世界，其中又以溫柔作為最主要的特質。英雄唱出廣闊而怪誕的旋律，是一首充滿癡迷而固執的情歌。

第四樂章可被稱為「舞動的長號」，表現出環繞著英雄的週遭樣貌；即便乍看之下笨拙，然而英雄其實是單純、英俊而強壯的，像一個高明的外交官一般舞技超群，臉上帶著僵硬的虛情假意，而內心暗自哀嘆。他的身段柔軟而精巧，他以其獨特性與魅力，演奏充滿力量的第四首歌曲，展示他充滿光明的原初樣貌，也就是─長號。

演奏總長度約為20分鐘，所有樂章皆可單獨演奏，然而在此，所有樂張有著共通的內在，即是「長號」。

Concerto for Trombone and Wind Orchestra
“Trombone’s Life”
by J. V. Lebedeva

Concerto for trombone and orchestra is a composition consisting of four parts. It is devoted to Kanat Muginovich Akhmetov who is a performer well known in Kazakhstan. The main conception of the Concerto is a wish to show the Trombone in different emotional spheres. The composition title is “Trombone’s Life”. The first part is a pathetically-dramatic waltz “From the Past” based on the entanglement of many varied themes, one suddenly leaking from another. The tremulous and flying principal theme, losing itself in a flow of thoughts and minds, find validation in the part final, proving the significance of the own being. Virtually, it may be called the Trombone’s Theme. The main hero of the composition is Trombone, — such as he is just now, sophisticated and mature, who can look back from the height of his philosophy for an analysis of all his lived life. The rest themes are flying, — those are people and events existed in the past. Experience and strength, that should be emitted by our hero, leave him, at the same time, to cry and laugh, to joke and sorrow.

The second part is based on the Kazakh national Melos being, in essence, the origin of our Trombone personified in the performer K. Akhmetov himself. Here also, the hero is not glory in his origination. He is as wise as before but remains young and convivial. Mixing his nature with that he likes, he forces the themes to sound differently. The ‘kui basis’ suddenly transforms into a nice swing. The theme practically does not alter, but blooms in another way. A combination of two lines, Jazz and Kazakh, produces a ‘peppercorn’ that may be treated as a Trombone’s characteristic feature. This is his nature and his kernel. Having played on words a little, our hero returns to the initial state and becomes respectable, following to the Forefathers’ Voice.

The third part reveals the Trombone’s inner world that is unseen from the outside. Here, tenderness is in the first place. The vast and weird Trombone’s Song is a song of obsessive and persistent love.

The fourth part that may be called “Dancing Trombone”, shows the Trombone’s environment. He, despite all his seeming unwieldiness, is easy, handsome, and strong. That is a brilliant diplomat who perfectly dances, perkily laugh, and inly bewails. His moves are flexible and precise, and his Song Number Four creates much energy presenting the bright ‘alpha’, and convincing in soleness and great charm of the main hero, — Trombone.

The estimated concerto performance time is about 20 minutes. All parts are individual and independent of one another. Herein, however, one inherence is common, — that is Trombone.