リインカネーション：安田信二 [トロンボーン4重奏]

リインカネーション

人の縁と言うものは面白い。ひょんな事や偶然から、期せずして思わぬ何かが生まれたりする。そんな事が、これまで、僕の人生では何度も起こった。

2017年12月、友人のトロンボーン奏者、岸名和巳先生を介して、同じくトロンボーン奏者の沼田司先生と出会った。僕は初対面でいきなり「沼ちゃん」って呼んじゃったけど、「ミュージシャン一回呑んだらもうお友達」とまあ、川柳風にポリシーを語るとそう言う事になる。彼も呑んだ勢いで、「トロンボーン4重奏を書いて下さ～い」な～んてスゲェ事言っている。社交辞令の無礼講、「作曲家あるある」だ。だから「任せろイェ～イ」とは言ったものの、翌日、本当に電話が掛かって来ちまうとは思わなかった。沼ちゃんのそれ、「作曲家ないない」だったのだ。昔の僕は、これでもとんがっていて、「ワシはロックしか書かん！！」と息巻いていたが、最近では、すっかり人間丸くなった（きっとラーメンの食べすぎ）。今だったら、頼まれたらお経や念仏だって書いちゃうと思う。

曲は翌年、1月5日から約1ヶ月間で書き上げた。その間、闘病中の母が天国に旅立ち、僕は哀しみに暮れた。だからそんな想いも当然曲創りに反映された。作曲中は確かに哀しみのズンドコにいたが、曲自体は楽しい曲にしたかった。吹き手とっては「千本ノック」の様な部分も有るが、あえて普通じゃつまらないのでそうした（笑）。実は、こう言うのは、聴き手はハラハラドキドキ感を吹き手と共有して聴く事が出来る。そのサポーター心理は、まるでアイドルを応援するみたいだけど、そう言う音楽の楽しみ方も本当はあるんだぜ（笑）。

演奏時の注意点は、「千本ノック」をガチ怒った暴走蒸気機関車みたいな顔で吹くのではなく、笑顔でやるくらいの気持ちで。でも、本当にヘラヘラしてたらキモイので、そこは力まずしてグルーヴを保つって事……と、そんな風に上手い事工夫して吹いて貰える旨、どうか宜しくお願い申し上げ奉り候致します。

曲中、それぞれの区切りで細くタイトルを付けてみた。僕自身、色々と想いが有って付けたので、タイトルの行間を読んで貰えれば、本当は嬉しい。けど、その意味をどう受け取らえるかは、実は皆さんの自由だと思う。想像力をい～っぱいに広げて、色々トライして吹いてもらいたい……なぁ～。（安田信二）

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◆First Performance: JTC/JTSMC 2017 Nominees Gala Concert, Hosted by Japan Trombone Association

Inscrutable and interesting are the ways people intertwine. There are the unexpected and coincidences that lead us to somewhere we have never imagined. These happened to me time and again.

I had the privilege of meeting the trombone player, Mr. Tsukasa Numata through one of my friends, the trombonist Mr. Kazuki Kishina in December 2017. I was on a nick-name basis with him within seconds, which is simply how I go. “When musicians drink, even just a glass of beer, We're all buddies, man." It's a poem by some Japanese Haiku poet composed (or not). Numa-chan, as I call him so, was being outrageous as well, asking me to “write a trombone quartet pleeease" which is typical exchange among drunk musicians. We flatter and talk nonsense over more than a couple of beers. I have never thought that he would take my word literary when I said “Bring it on, man!" until he gave me a phone call next morning, sober. Murphy's law was not applied to this guy obviously. I used to be an edgy one, declaring to write rock music only. My edges were smoothed down real good, I became so mellow (thanks to generous amount of Ramen noodles, probably) that I could write a Buddhist's chants if I'm asked to.

The piece was composed from January 5th, 2018 to February. While composing, my mother passed away after a battle with an illness. I was slap-bang in the middle of sorrow then, but I wished the overall tone of the piece happy. There are places where some players might find “boot camp-ish", but we all need some kicks in life so I decided to throw some in. When those passages are performed, the audience would enjoy the adrenaline and the thrill you players hold. This psychological phenomenon seems somewhat similar to that between Japanese Idol and geeky otaku fans. This is certainly one way of appreciating music.

Caution: don't blow this “boot camp-ish" part like a steam locomotive in a rage. Put on a smile and play it if you please. It would probably creepy if you really smirk, just relax, be in the pocket… and apply all you might; necessary techniques and contrivances to make it work somehow. Pray, pray do so accordingly. I beg of you.

There are subtitles throughout the piece. I named them for reasons, I hope you feel how I felt. The interpretation is up to you. Spread your wings of imagination, and explore… I hope.

I appreciate all your help and support; Japanese Association of Trombonists, young and talented trombone players who premiered the piece, staff members of the publisher, all my family and friends, and thank you, Naka-chan. Without Mr. Numata the greatest, this piece would not have existed. That means a bowl of Ramen noodles (with grilled dumplings!) and beer for me… on you!

仕様

楽器編成

REINCARNATION

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