Imaginary

Fictional Narratives

Seeing Valjean’s honor and wisdom, people came to rely on him, not only to provide employment but also to resolve disputes.

Little by little, and in the course of time, all this opposition subsided. There had at first been exercised against M. Madeleine, in virtue of a sort of law which all those who rise must submit to, blackening and calumnies; then they grew to be nothing more than ill-nature, then merely malicious remarks, then even this entirely disappeared; respect became complete, unanimous, cordial, and towards 1821 the moment arrived when the word "Monsieur le Maire" was pronounced at M. sur M. with almost the same accent as "Monseigneur the Bishop" had been pronounced in D---- in 1815. People came from a distance of ten leagues around to consult M. Madeleine. He put an end to differences, he prevented lawsuits, he reconciled enemies. Every one took him for the judge, and with good reason. It seemed as though he had for a soul the book of the natural law. It was like an epidemic of veneration, which in the course of six or seven years gradually took possession of the whole district. [Victor Hugo, Les Misérables (1862), Volume I – Fantine; Book Fifth – The Descent Begins, Chapter V, “Vague Flashes on the Horizon”.]

Poetry

Music: Composers, artists, and major works

After Bach, the cello sonata took on a new character. The later works, by Beethoven, Brahms and others suggest a deeper seriousness of purpose, placing them more firmly in the action domain of reliance.

• Franz Schubert, Sonata for Arpeggione in A minor, D. 821 (1824) (approx. 24-29’) (transcribed for cello)
• Frédéric Chopin, Cello Sonata in G minor, Op. 65 (1847) (approx. 26-34’)
• Edvard Grieg, Cello Sonata in A Minor, Op. 36 (1882) (approx. 27-30’)
• Felix Mendelssohn, Cello Sonata No. 1 in B-flat Major, Op. 45 (1838) (approx. 24-25’)
• Mendelssohn, Cello Sonata No. 2 in D Major, Op. 58 (1843) (approx. 24-28’)
• Dmitri Shostakovich, Cello Sonata in D Minor, Op. 40 (1934) (approx. 25-29’)
• Richard Strauss, Cello Sonata in F Major, Op. 6, TrV 115 (1883) (approx. 25-26’)
• Claude Debussy, Cello Sonata in D minor, L. 135 (1915) (approx. 11-12’)
• Sergei Rachmaninoff, Cello Sonata in G minor, Op. 19 (1901) (approx. 34-42’)
• Charles-Marie Widor, Cello Sonata in A Major, Op. 80 (1907) (approx. 26-30’)

Ludwig van Beethoven, Cello Sonatas (1-5) (approx. 19-20’):

• Sonata No. 1 in F major, Op. 5, No. 1 (1796) (approx. 23-26’)
• Sonata No. 2 in G minor, Op. 5, No. 2 (1796) (approx. 22-26’)
• Sonata No. 3 in A major, Op. 69 (1808) (approx. 26-28’)
• Sonata No. 4 in C major, Op. 102, No. 1 (1815) (approx. 15’)
• Sonata No. 5 in D major, Op. 102, No. 2 (1815) (approx. 19-20’) 

Johannes Brahms, Cello Sonatas:

• Sonata No. 1 in E minor, Op. 38 (1862-1865) (approx. 27-30’)
• Sonata No. 2 in F major, Op. 99 (1886) (approx. 29’) 

Gabriel Fauré, Cello Sonatas:

• Sonata No. 1 in D minor, Op. 109 (1917) (approx. 17-18’)
• Sonata No. 2 in G minor, Op. 117 (1921) (approx. 18-21’) 

Bohuslav Martinů, three Cello Sonatas:

• Cello Sonata No. 1, H 277 (1939) (approx. 18-20’)
• Cello Sonata No. 2, H 286 (1941) (approx. 18-21’)
• Cello Sonata No. 3, H 340 (1952) (approx. 18-21’) 

Camille Saint-Saëns, Cello Sonatas:

• Cello Sonata No. 1 in C Minor, Op. 32 (1872) (approx. 20-22’)
• Cello Sonata No. 2 in F Major, Op. 123 (1905) (approx. 29-32’) 

Georges Onslow, Cello Sonatas, Op. 16 (1819):

• Cello Sonata No. 1 in F major (approx. 21-22’)
• Cello Sonata No. 2 in C minor (approx. 26’)
• Cello Sonata No. 3 in A major (approx. 18’) 

Nicolai Myaskovsky, cello sonatas:

• Cello Sonata No. 1 in D major, Op. 12 (1911, rev. 1935) (approx. 20’)
• Cello Sonata No. 2 in A minor, Op. 81 (1950) (approx. 21-23’) 

Heinrich von Herzogenberg, cello sonatas: “The Austrian composer Heinrich von Herzogenberg (1843-1900) has sometimes been attacked as nothing more than a pale imitation of Brahms, of whom he was a great admirer. There is no denying that his music often shows the influence of Brahms, however, listeners and players alike have discovered that it is original and fresh, notwithstanding the influence of Brahms.”

• Cello Sonata No. 1 in A minor, Op. 52 (1886) (approx. 25-27’)
• Cello Sonata No. 2 in D major, Op. 64 (1890) (approx. 15’)
• Cello Sonata No. 3 in E-flat major, Op. 94 (1897) (approx. 25’) 

Stand-alone cello sonatas and a canzona:

• Charles-Valentin Alkan, Cello Sonata in E major, Op. 47 (1856) (approx. 33-34’)
• Samuel Barber, Cello Sonata, Op. 6, H 65 (1932) (approx. 17-20’)
• Frank Bridge, Cello Sonata in D minor, H 125 (1917) (approx. 21-24’)
• Benjamin Britten, Cello Sonata in C major, Op. 65 (1961) (approx. 21-27’)
• Ernst von Dohnányi, Cello Sonata in B-flat minor, Op. 8 (1899) (approx. 25-29’)
• Michele Esposito, Cello Sonata, Op. 43 (1899) (approx. 19’)
• Miloslav Kabeláč, Cello Sonata, Op. 9 (approx. 23-24’)
• Zoltan Kodály, Cello Sonata, Op. 4 (1910) (approx. 17-19’)
• Albéric Magnard, Cello Sonata in A major, Op. 20 (1909) (approx. 27-28’)
• Francis Poulenc, Sonata for cello and piano, FP 143 (1948) (approx. 20-24’)
• Sergei Prokofiev, Cello Sonata in C Major, Op. 119 (1949) (approx. 21-25’)
• Hendrik Andriessen, Canzona for Cello & Orchestra (1965) (approx. 11-12’): the orchestra introduces and the cello consummates.

Albums:

• Kenny Barron, “Other Places” (1992) (67’) and “Wanton Spirit” (1995) (63’), both in ensemble

Music: songs and other short pieces

• The Beatles, “With a Little Help from My Friends” (lyrics)
• Dan Fogelberg, “Longer” (lyrics)

Visual Arts

Film and Stage