Section A: Adagietto (bars 1 -22).
The first section of the piece, marked Adagietto, consists of lyrical trombone phrases accompanied by a repeating rhythmic motif in the piano:
The trombone passages consist of long flowing phrases with large dynamic swells that follow the contour of the melody. Here, the trombone’s upper register is explored with demanding passages that lead to some of the highest notes in the work
Section B: Allegro (bars 22 -54).
The second section, marked allegro, is an intense and unrelenting battle for supremacy between the trombone and the piano. The main theme of this section, derived from the simple rhythm of a quaver followed by two semiquavers, is repeated, varied and expanded on the trombone and imitated by the piano. The frequent changes in time
signature creates an unbalanced rhythmic feel. However, this does not detract the sense of driving motion created by the fast, semiquaver passages in the trombone. The detailed articulation also emphasise this forward momentum with accents on the beginning of the beats.
Unpredictable dynamic changes, such as in the 45th bar of this section marked ‘subito p’ where the main rhythmic motif of this section returns, strongly contrast with the first section where the dynamics were predictably expressive and the phrases where balanced and distinct. This section leads into the calmer and relatively short C section.
Section C: molto piu lento (bars 55-67).
The C section is marked A Piacere Quasi un recitativo, like a recitative. The trombone has a poignant melody unmistakably in the key of F minor, while the piano accompanies with tremolos on a cluster chord in the right hand with occasional swells in dynamics.
The 64th bar of this section marks the beginning of a two bar piano solo that leads into the trombone cadenza. This two bar solo is a rare moment in the work where the piano demonstrates its lyrical qualities with a sweet melody high in the piano’s tessitura. A long, sustained note in the trombone, then leads into section D, the cadenza.
Section D: Librement (free cadenza).
The cadenza is relatively rhythmically free with no inserted bar lines but with written note values and tempo markings such as accelerandos and fermatas. Beginning with leaps of extremely large intervals and accelerating to exceedingly high notes, the unrelenting pace doesn’t stop with a fast, descending passage down the trombones range to the lowest natural note possible. The cadenza leads into the final section of the work which happens to be the longest.
Section E: Maestoso (bars 67-99).
The final section again contrasts with all before it. A four bar piano ‘prologue’ introduces the new segment and establishes the mood which reveals itself to be a kind of slow and sombre march. Perhaps a funeral march as the name suggests, “The Tomb of Goya”. This idea of a march is first established in the piano with soft yet heavy accompaniment in the key of B minor. The steady crochet chords on every beat of the bar are what create the sense of a funeral march.
The trombone enters with a solemn, expressive melody based around the tonal centre of B minor. As in the 1st section (A), the dynamic swells follow the contour of the phrases
and build up throughout this final section to the climax at bars 88 and 89. Here, a slowly ascending melodic passage reaches its zenneth on a C above middle C.
After the peak of this section, the piano is allowed four bars to calm the situation until the trombone enters once again, this time at a much softer sound level. Infact , the final few bars of this section, and the entire piece, are a constant decrescendo. The last note on the trombone is sustained at ppp and the piano plays the final two chords at p. A fiting end to this section and the entire piece.
“Le Tombeau De Goya” is an exciting work in the trombone’s repotoire as it not only explores the trombone’s harsh, unyeilding qualities that defines it as one of the ultimate brass instruments, but it also highlights its expressive lyrical qualities found in its upper register. And although at first glance, the structure of this work doesn’t appear to have a consistent and familiar form, its fantasy-like formation compliments its rhythmic and melodic ideas so as to create a logically flowing piece of music that is both exciting and challenging to perform, and enjoyable to listen to.
