Imaginary

Fictional Narratives

Poetry

Music: Composers, artists, and major works

William Byrd’s keyboard music is serious and deliberate, suggesting intention formation and/or commitment-making. Ton Koopman (54’), Rosalinde Haas (70’), Colin Tilney (52’), and Tom Pixton (52’), have recorded this music.

Music of serious intention:

• Johannes Brahms, Vier ernste Gesänge (Four Serious Songs), Op. 121 (1896) (lyrics and analysis) (approx. 16-20’), “. . . is a cycle of four songs for bass and piano . . .” Brahms told his publisher, “they are damned serious and at the same time so godless that the police could ban them – if the words were not all in the Bible.” Top recordings are by Kipnis & Moore in 1936, Hotter & Moore in 1951, Fischer-Dieskau & Demus in 1958, Baker & Previn in 1977, Quasthoff & Zeyen in 2000, Gerhaher & Huber in 2002, Williams & Vignoles in 2016, and Goerne & Eschenbach in 2016.
• Johann Nepomuk Hummel, Quintet for Piano, Viola, Cello & Double Bass in E-flat Major, Op. 87 (1802) (approx. 22-24’)
• Andrew Rudin, Sonata for Violin & Piano (2001) (approx. 20’); Sonata for Viola & Piano (2007) (approx. 23’); Sonata for Cello & Piano (2010) (approx. 15’)
• Roy Harris, Symphony No. 3 (1937) (approx. 17-18’)
• Roy Harris, Symphony No. 5 (1942) (approx. 24’)
• William Schuman, Symphony No. 3 (1941) (approx. 31’)
• Alberto Ginastera, String Quartets (approx. 70’ in total): No, 1, Op. 20 (1958, rev. 1968) (approx. 23’); No. 2, Op. 26 (1958) (approx. 28’); No 3, for soprano & string quartet Op. 40 (1973) (approx. 25’)
• Albéric Magnard, Violin Sonata in G Major, Op. 13 (1901) (approx. 40’)
• Gabriel Fauré, String Quartet in E Minor, Op. 121 (1924) (approx. 22-25’)
• Arne Nordheim, Partita for Paul, for violin & electronics (inspired by Paul Klee’s paintings) (1985) (approx. 11-17’)
• Nicolas Flagello, Piano Sonata, Op. 38 (1962) (approx. 19’) (mvt 1, mvt 2, mvt 3); Declamation for Violin & Piano (1967) (approx. 9’); Prelude, Ostinato and Fugue for Piano, Op. 30 (1960) (9’)
• Irving Fine, Notturno for Strings & Harp (1951) (approx. 14’); Partita for Wind Quintet (1949) (approx. 15-18’); String Quartet (1952) (19’); Symphony 1962 (1962) (approx. 23-26’); The Hour Glass (1949) (approx. 15’)
• Juan Crisóstomo de Arriaga, Symphonie À Grand Orchestre en Ré (Symphony in D Major) (1824) (approx. 29’): clearly a young composer’s work (Arriaga was 18), serious in tone
• Giorgio Federico Ghedini, Marinaresca a baccanale (Sea Piece and Bacchanale) (1933) (approx. 17-18’)
• Axel Ruoff, Organ Symphony No. 2 (2016) (approx. 37’)
• Johannes Brahms, Piano Sonata No. 2 in F-sharp Minor, Op. 2 (1853) (approx. 25-29’)
• Grażyna Bacewicz, Piano Sonata No. 2 (1952) (approx. 17’)
• George Enescu, String Quartet No. 1 in E-flat Major, Op. 22, No. 1 (1920) (approx. 45’)

Dave Brubeck was a jazz pianist who developed a clear idea of what he wanted: to lead piano-forward jazz ensembles. His albums reflecting this vision include:

• “Time Out” (1959) (39’)
• “Gone with the Wind” (1959) (40’)
• “Countdown: Time in Outer Space” (1961) (42’)
• “Live from Vienna 1967” (1967) (43’)

Other albums:

• Marilyn Lerner, Ken Filiano and Lou Grassi, “Intention” (2020) (74’)
• Milton Suggs, “Pure Intention” (2024) (59’): “. . . Suggs tells stories set to melodies by harmonically sophisticated, upper echelon composers . . .”

Music: songs and other short pieces

• Slambovian Circus of Dreams, “Light a Way” (lyrics)
• The Script, “Hall of Fame” (lyrics)
• Blaise Siwula, Nicolas Letman-Burtinovic & Jon Panikkar, “Intention”

Visual Arts

Film and Stage

• I Vitteloni (The Young and the Pasionate), Fellini’s autobiographical film about “a half-dozen twentysomething layabouts”, one of whom breaks free toward a more purposeful life