I can't believe that in a matter of hours after finding this forum, I've tracked my ten-year-old piece

down again. I'm going to paste it here in its entirety, both to make it accessible again, and to
spark new discussions. I've matured as a writer since then (writing it today, I probably would have
had all sorts of references to "F minor opening" and the like), but I'm surprisingly not embarrassed
by something I did ten years ago.

Reading over it, I realize that I would be quite happy with even a return to the 1997 version, but
for me, it is the 1987-1997 version that is the "one true version." It is "Les Mis." Incidentally, the
run time on the US tour is listed as 2 hr. 50 min., so that's not a good sign. Anyway, the article... I
only removed my decade-old bio.

Tracking the musical parallels and motifs in Les Misrables

by Kelly Dean Hansen
Article 2000 Kelly Dean Hansen

This article first appeared in an earlier form as a series of posts at the official Les Misrables site's
Le Caf discussion forum.
As a musicologist who happens to love Les Mis, I have spent time analyzing the music of the show,
specifically the recurrence of various themes and motifs known as "parallels." I have also tried to
determine the meaning of these recurrences in some cases. To my surprise, it is the exception
rather than the rule for musical themes not to be repeated. In fact, most of them are. The
technique is so pervasive that it approaches the method used by Wagner when he introduced
"Leitmotifs" into his operas. Hopefully this chart and analysis will help people to better appreciate
the compositional process used in the musical. The analysis is largely based on the Complete
Symphonic Recording, the only recording that reproduces the entire score. As a result, changes
from 1997 may not be reflected.

Prologue

1. Prisoner's Work Song - This is of course one of the most important thematic and symbolic tunes
in the score. It reappears in the first Paris scene as "Look Down," and in the first half of "The
Confrontation." There is a more martial version of it associated with the students in Act II. It
appears in numerous other places that will be mentioned as they occur.

2. Valjean's interview with Javert - This reappears in the second half of "The Confrontation" (the
counterpoint passage) and the final meeting between the two before the suicide.

3. Valjean: "Freedom is mine..." - this is accompanied by music from "I Dreamed a Dream."

4. Valjean at the farm and the inn - This is the first appearance of the characteristic jumpy
recitative-like music that is used throughout the musical. I will refer to this material as "recit."
There is also the appearance of a rising theme that is only sung by Valjean and only in Act I at
"Another door is closed to me" and "And now I know how freedom feels." This rising theme is
usually sung in soliloquy and is similar to recitative. It occurs at other places in Act I that will be
noted.

5. The Bishop's music - This is used as the basis for "Empty Chairs at Empty Tables," much later in
the show.

6. Valjean's arrest - The first appearance of a very important motif, the "police music," that
becomes most closely associated with Javert. It usually includes what I call the "responding
phrase," a rising melody that is often sung by the accused or the addressed. In this first case with
the constables, the "responding phrase" is sung by the bishop. There follows more of the bishop's
music (anticipating "Empty Chairs.")

7. Valjean's soliloquy - An exact parallel to Javert's suicide, containing the same music and many
corresponding text passages.

Act I

1. First appearance of the four-note descending figure that is so characteristic of much of the
musical. This four-note figure usually signifies change or the passage of time.

2. "At the End of the Day" - This is not heavily reused, but portions of the song appear in the
confrontation between Fantine and Bamatabois. "Fantine's arrest" before the arrival of Javert is
based on "At the End of the Day." It is also used in "The Runaway Cart," but never shows up again
after that.

3. "I Dreamed a Dream" - This is one of three melodies that I call "the sublime melodies." It recurs
very frequently. Some places are: the very end of "The Confrontation"; before "The Bargain" when
Valjean finds Cosette; extremely heavy and triumphant use in "One Day More," used by Marius,
Cosette, Eponine, and all of the students.

4. "Lovely Ladies" - the main music appears, greatly altered, as "Turning." Fantine's transactions
for her locket and her hair are to the recit. music.

5. Fantine's arrest - The first part is recitative, and then it is based on "At the End of the Day.";
The "police music" is used at Javert's arrival - the responding phrase is sung by Bamatabois.
Valjean's arrival uses the characteristic Act I "rising theme" from the prologue. Finally, his
interview with Fantine is the first appearance of the introductory music to her death.

6. The Runaway Cart - New recit. followed by music from "At the End of the Day." Javert then
sings to the "police music" and Valjean to the "rising theme" from the prologue. I should mention
that in the montage of the rescue, after some "heroic" music that is not heard elsewhere, the
familiar recit. is done in an instrumental version that is completed by Fauchelevent's only line.

7. "Who am I?" - This song is mostly based on new material. It is the first song to make extensive
use of the descending four-note figure. It is the most prominent tune in "One Day More" and it
also appears in "Valjean's Confession" to Marius. The introductory material is used by Valjean
when Eponine delivers Marius' letter to Cosette.

8. "Come to Me" (Fantine's Death) - The introductory music, "Cosette, it's turned so cold..." is not
used in "On My Own." It appeared at the end of Fantine's arrest and is also very prominent in the
final scene at Valjean's death. The main music is the sublime melody which recurs so memorably
as "On My Own" and in the final scene.

9. The Confrontation - This is largely music from the Prologue's "Work Song" and the first
Javert/Valjean interview. Curiously the "police music" is not used, probably because it is a more
personal scene, while the "police music" is more public.

10. "Castle on a Cloud" - This is an entirely new song at this point. The most impressive reuse
comes between Valjean and Cosette after Thnardier's aborted attack right before "One Day
More." It is briefly used as the "travel music" right before "The Bargain". A wistful remembrance of
the tune at the end of "Dawn of Anguish" was ruthlessly and inexplicably cut in the 1997 revisions.

11. Mme. Thnardier's arrival - This is largely the familiar recit., but at the end as intensity grows
it has affinity to "At the End of the Day." Cosette of course sings some "Castle on a Cloud"
fragments.

12. "Master of the House" - almost an entirely self-contained song. The introductory material and
the main song are entirely new, and the only two reuses are an exact quotation of part of the
music as "Beggar at the Feast" and of course in "One Day More." The waltz music is much more
common as a motif for the Thnardiers. This song is largely a set piece, but a very impressive one.

13. "The Bargain" (before the Waltz) - Valjean comes to the tavern with Cosette singing "travel"
music to "Castle on a Cloud" on La La La syllables. I understand that Valjean's new music added
for the 10th anniversary changes when meeting her ("Hush now/Do not be afraid of me...") is the
same as his counterpoint in this travel music. As he enters the tavern he sings the "rising figure"
for the last time to "I found her wandering in the woods." He then sings to the "I Dreamed a
Dream" music (appropriate as he is referring to Fantine) with interjections from the Thnardiers.

14. The Waltz of Treachery - It is associated with the Thnardiers when both of them are on stage;
it is never used when Thnardier appears without his wife ("The Rue Plumet Attack" and "Dog Eat
Dog"). I believe it appears on all occasions where they are together and becomes their main
motivic representation. It is the only major theme of the musical in 3/4 time.

15. Transition to Paris 1832 - This was greatly altered in the 1997 revisions. Valjean and Cosette
still sing to the waltz music, but the "travel" music is not reprised, and the waltz theme builds up
intensity rather than drawing itself out, as before. Whether these are improvements is a topic I
won't embark upon, but I miss the return of the "La la la" travel music...

16. Paris 1832 - "Look Down" - This of course uses the same material as the opening prisoner's
chorus, but with much new material. Gavroche is the first to sing a melody that will later become
associated with Eponine. The exchange between the crone and the young prostitute is new
material, not used again, except when the beggars sing "see our children fed" shortly thereafter.
Marius and Enjolras enter to the tune Gavroche sang before. As this becomes a tune associated
with Eponine, I will call it "Eponine theme 1." After Marius and Enjolras discuss Lamarque, still to
this music, Gavroche takes the theme again.

17. The Robbery - This is carried forward with a recitative-like material having an accompaniment
of heavy repeated notes. It is interrupted by Marius and Eponine singing to "Eponine theme 1."
This theme is primarily used from here on when Eponine interacts with Marius. The robbery music
returns, and then comes...

18. One of the most dramatic uses of the four-note figure as Marius bumps into Cosette. This is, in
my opinion, one of the greatest moments of genius in the score. What could be banal and trite is
just subtle enough to work. "I didn't see you there, forgive me," by the way, is "I Dreamed a
Dream" music. [Ed: Perhaps this subtly reinforces the immediate connection between Marius and
Cosette by having Marius sing to a theme associated with Cosette's mother.]

19. Thnardier sings to the waltz theme as he attempts to rob Valjean. It builds intensity until...

20. Javert's arrival - this sounds new, but is really a variation of the "police music," as is confirmed
with "Look upon this fine collection..." which is sung to what I have termed the "responding"
phrase of the police music. Thnardier, appropriately, sings this responding phrase twice. The
"police" music dominates until Javert is alone onstage.

21. "Stars" - This wonderful song is really an isolated number, one of three notable songs that
were late additions (the others are in Act II, "Bring Him Home" and "Dog Eat Dog"). One would
expect it to be associated with Javert all the time, but he is more often associated with the "police"
music. This is actually very effective, as when material from "Stars" does return, at the end of the
suicide, its effect is undeniable. After "Stars," Gavroche mocks Javert with - the police music! [Ed:
Notably, "Stars," "Bring Him Home" and "Dog Eat Dog" are all private, highly personal expressions
of each character's view of God. As such, it makes dramatic sense that the musical themes of
these songs only recurs rarely and at critical moments such as the character's death.]

22. Eponine's Errand - This is the introduction of "Eponine theme 2." It has two parts. The first is
the material starting with the a capella "Cosette; now I remember..." The second part begins with
Marius' "Eponine, who was that girl..." I could call them two separate themes, but they usually
occur together, and are used with great effectiveness when Eponine is on the barricade. The
segment ends with a preview of "A Little Fall of Rain," which I term "Eponine theme 3."

23. The ABC Caf - The students have several themes. The first I'll call the "organization theme,"
or "student theme 1," with which this scene begins. Tunes in the song itself are: first, the music
with which the main portion of the song begins to "The time is near..." This music recurs at the
end of the song with "Lamarque is dead..."; second, the music sung at "Marius, you're late..." and
later by Enjolras at "Marius, you're no longer a child."; third, the tune sung by Enjolras at "It is
time for us all to decide..." and by Marius at "Had you been there tonight..." These three elements
are largely confined to this scene alone, except for the first, "The time is near..." which is alluded
to on the barricade and becomes what I will later term "student theme 3." Before Enjolras'
"Lamarque is dead...," the "organization theme," or "student theme 1" returns. This," the chorus
(refrain) of "Red and Black," and some new themes become characteristic of the barricade scenes.

24. "Do You Hear the People Sing" - Carefully reserved until now and invariably effective, this the
third of the truly "sublime" melodies. It is one of B&S's most wonderful inspirations, and although
it is a simple march tune, it is masterfully constructed. The verse parts beginning in minor add
effective contrast. In the show, the song does not come to a final cadence, but moves directly into
"In My Life." In fact, the song never does come to a clear close until the end of the musical, which
I find highly effective. It is perhaps the main theme in the barricades and is so important that I will
not degrade it by calling it a "student theme."

25. "In My Life" - As Act I nears its close, interest is maintained by the introduction of much new
music. The entire Rue Plumet sequence is to new music. "In My Life" is largely self-contained. The
music sung by Marius, Cosette, and Eponine doesn't return. One portion does return, that sung by
Valjean to Cosette: "Dear Cosette, you're such a lovely child..." It appears, effectively, when
Valjean releases Javert at "You are wrong, and always have been wrong..."

26. "A Heart Full of Love" - the love music returns later on after Marius is rescued, with the
masterful stroke of giving Eponine's interjections to Valjean. "He was never mine to keep"
becomes "She was never mine to lose."

27. The Attack on Rue Plumet - basically all new material, although there is some affinity to the
earlier "robbery" music and perhaps the variation of the "police music" used by Javert in that
earlier scene, which also used the rapid repeated notes used by Thnardier here. Notice that Mme.
Thnardier is not present and the waltz theme is not used! There is repetition within the scene,
with Marius singing music that had been used by Thnardier and his gang. The actual music to the
attack does not appear again, however.

28. Transition to the Finale of Act I - Here we finally return to familiar music to round out the act.
First comes the old recit., with "My God, Cosette..." Then we finally hear "Castle on a Cloud" again,
but Cosette starts with the second strain of that song with "That was my cry you heard, Papa."
("There is a lady all in white.") The main COAC music comes with "Three men I saw beyond the
wall." "Must be Javert" is recit. again. It's been a while since we've heard the recitative music, and
it seems rather refreshing here. One very curious recurrence is a "Red and Black" reference right
before the beginning of the finale. [Ed: Perhaps this is a musical foreshadowing that the students'
plot will dominate much of Act II.]

29. "One Day More" - The tour de force of the counterpoint of previous themes in this finale should
not be underestimated. It is a supreme accomplishment; personally, I find it the most impressive
structure of the entire musical.

The main thread is the oh so useful four-note figure. The two main themes of the finale are "Who
am I?" used of course by Valjean, and "I Dreamed a Dream," used by Marius, Cosette, Eponine,
and the students. This is a very radical and masterful transformation of that song from when
Fantine sang it, particularly when it reaches its exhilarating climax, predictably, with the words "Do
You Hear the People Sing?" "Who am I?" and the four-note figure are very skillfully woven into the
"I Dreamed a Dream" fabric, and it is hard to tell which element really dominates, although I think
it is "Who am I?" because of the steady presence of the four-note figure.

To add to this, we also have Javert singing to a version of the "police music" and the Thnardiers
with their "Master of the House" interjections. The culmination, of course, is to the "Who am I?"
music. This is a perfectly assembled, unbelievably integrated ensemble number that is a miracle of
its kind, in my opinion, especially when everybody sings in counterpoint and then comes together.

Act II

The barricade scenes comprising much of Act 2 are among the richest in motifs, but also difficult to
trace. I think I have worked it out to the best of my ability.

1. At the Barricade - The act begins with what I will call the "student" version of the opening of the
musical. It is slightly more martial in character (more brass and winds) than what we hear in the
"Look Down" scenes, but the music is largely the same. This is followed by a "busy" sounding
fragment of "Do You Hear the People Sing." Then comes the first appearance of one of two
fanfares used during the barricade scenes. I will call it "Fanfare I." It is based on student theme 1,
or the "organization theme." The students sing to a new theme that is related to what Enjolras
sang at the beginning and end of "The ABC Caf." The music takes a different turn at Javert's
words "I can find out the truth..." I will call both parts of this "student theme 3." At Eponine's
entrance we have "Eponine theme 1" (the tune originally sung by Gavroche in "Look Down"). This
theme continues until Eponine leaves the barricade.

2. At the Rue Plumet - When Eponine meets Valjean, the music is from "Who am I?" (actually the
introduction to the main song that Valjean sang back then). Compare "I have a letter..." with "I
am the master of hundreds of workers..." Valjean reads the letter to new music, but it shows up
again at the end of his confession to Marius. This parallel seems highly appropriate. It was actually
heard earlier during the bargain with the Thnardiers. ("Your feelings do you credit sir...")

3. "On My Own" - What really needs to be said? The introduction is new and is used neither at
Fantine's death nor in the final scene, where different music is used ("Cosette, it's grown so
cold...") I think that this song is the high emotional point of the show. It is exactly the same music
as "Fantine's Death" (the main part anyway) but it distinguishes itself from that and from the
Finale by its splendid climax, perhaps the finest in the show. It is partly due to this wonderful
climax that Eponine is such a coveted role. At the analogous point earlier, Fantine dies, so it trails
off - no climax. In the Finale, it also trails off at this point leading into the final reprise of "Do You
Hear the People Sing?" Here, the music is allowed to build to awesome heights. Is there anybody
for whom chills up the spine are absent for "The world is full of happiness that I have never
KNOWN!!" And then, how beautiful the restraint of the closing after this glorious climaac. A waif in
rags on a bare stage and such an impact. Marvelous. Yes, sublime.

4. Building the Barricade - The second barricade scene begins with the "Look Down" music again, a
bit more intense this time; then the chorus of "Red and Black" (student theme 2) in an
instrumental version. Then comes student theme 3 again, the second part of which is now also
clearly from Enjolras' music from "The ABC Caf," as is the first part; it wasn't as recognizable
when Javert sang it. Then comes the first entrance of the second fanfare, which is used before the
army officer calls to the students at the barricade. This officer sings what I term the "students'
fate" theme. This is followed by the chorus of "Damn their warnings; Damn their lies," etc., to the
"Red and Black" refrain (student theme 2).

5. Javert's arrival - Javert enters to a repeated-note recitative that seems to be new. I term
Enjolras' response "Have faith..." student theme 4 because we do hear it again. Javert's response,
"I have overheard their plans..." I will call student theme 5, as Enjolras sings both of these tunes
once more, but not together. Both of these "themes" (4 and 5) are quite ephemeral, and I almost
hesitate to label them, but I do it for the sake of completeness. Theme 4 is heard when Enjolras
thanks Valjean for his service, and theme 5 right before "Drink With Me."

6. "Little People" - I don't think anybody really misses the longer original London version, which
was really a rather silly little song. The abridged version used here works perfectly for Gavroche
when he exposes Javert. We don't even have to know that the original included a flea biting the
bottom of the pope in Rome. Anyway, we hear "Little People" again, of course, at Gavroche's
death. After the song, a bit of recitative ("Bravo, little Gavroche...") leads to the "police music."
This is rather ironic, as the tables are now turned on Javert. Significantly, this time he sings the
"responding phrase," as he is on the other end. This ironic use of the "police music" is really quite
effective.

7. "A Little Fall of Rain" - First we hear "Eponine theme 2" with both of its strains in their entirety
sung by Marius and Eponine. Then comes the fulfilment of "Eponine theme 3." I'm not sure why,
but I'm moved to tears more by this scene than any other except for maybe Gavroche getting
shot, which is almost too much to take. Although "A Heart Full of Love" is a fine duet, I think that
this is the real love duet of the show. It's one-sided, but that's the beauty of it. With Eponine's
death, her themes die as well, confirming their association with her. The students memorialize
Eponine to the strains of the repeated note recitative that will return as "Dawn of Anguish."

Originally, her body was carried away to "Drink With Me" music which appeared before the song
itself. In the revisions of 1997, this was changed to more of "A Little Fall of Rain." This is one of
the few changes I really liked. The "preview" of "Drink With Me" didn't make much sense in the
context, and lessened the effect of "Dawn of Anguish," because with the preceding repeated notes
it was really an exact duplication of the music for that scene.

8. Valjean's arrival; Night of Anguish; First Attack - Valjean arrives to sequential recitative-like
music which is later used when he asks to be able to "take care" of Javert. Before the first attack,
the first fanfare, based on student theme 1 is heard, and the attack itself is accompanied by "Do
You Hear the People Sing?" The ensuing dialogue between Valjean and Enjolras is a version of
what I have termed "student theme 4," and then follows the sequential recitative from before the
attack. When Valjean and Javert meet, it is the old recit. music beginning with "We meet again!"
Javert sings to what appears to be derived from the "police music" at "Once a thief, forever a
thief..." His phrases are similar to the end of the soliloquy music as well, such as "I'll escape now
from that world..." At "You are wrong, and always have been wrong," the music is from "In My
Life" ("Dear Cosette, you're such a lonely child..."), but the last few lines are similar to what was
heard when Valjean read Marius' letter. This is another subtle, easy to miss theme sung only by
Valjean and, at the confession, Marius. The tag sung by Enjolras after the "execution" is "student
theme 5" ("Courfeyrac, you take the watch," earlier sung by Javert: "I have overheard their
plans..." Symbolic, as Javert has just been "executed?"). Valjean's last words to Javert sound
suspiciously like his interjections to the Thnardiers during "The Bargain."

9. "Drink With Me" - This is the first real "song" since "A Little Fall of Rain." It seems desperately
needed at this point. The opening chords are, curiously, what is heard before Valjean's and
Javert's soliloquies. "Drink With Me" returns, of course, in "Dawn of Anguish."
10. "Bring Him Home" - This is a largely falsetto aria for Valjean. It is unbelievably similar to the
"Humming Chorus" from Puccini's Madama Butterfly. This is really the last major new tune to be
introduced, and it shows up in its entirety as an instrumental piece during the tableau following
the fall of the barricade, and also makes an appearance in the final scene.

11. "Dawn of Anguish" - This was originally identical to what was sung when Eponine was carried
off, but then the "Drink With Me" fragment was replaced in the earlier music. The "Castle on a
Cloud" fragment was really wistful and nostalgic here, and it is a real shame it was removed. (A
chapter about Cosette at this point in the book makes it appropriate, too!)

12. Death of Gavroche - At this point of the show, I'm emotionally drained, but this still always
brings an unbelievable lump to my throat. The "second" fanfare is now heard again, and a bit of
"Do You Hear the People Sing" for the second attack; this is followed by the "organization" student
theme 1, and then more DYHTPS fragments before Gavroche takes off to gather bullets. Who
would have thought that the originally rather frivolous "Little People" could be used to such
shatteringly tragic effect?

13. The Final Battle - The "martial" version of the "Look Down" music is heard, followed by the
second fanfare. The army officer again sings the "students' fate" theme, which is taken up by the
students, who now know their fate themselves...DYHTPS fragments are heard as everybody is
killed. Then follows the last appearance of the first fanfare and the final appearance of the "Red
and Black" chorus (student theme 2), this time as a dirge. This culminates on a large dissonant
chord.

14. Orchestral interlude - The entirety of "Bring Him Home" is reprised in an orchestral version.
This accompanies the final view of the barricade, Javert's search, and Valjean's descent into the
sewer with Marius. Thus end the barricade scenes, by far the most difficult ones in which to trace
themes and motifs!

[Comment by Lindsey, webmaster of the excellent Rue Plumet site: One of my favorite uses of
motifs in the show is during this orchestral interlude. Not only is "Bring Him Home" reprised, but a
reprise of "Stars" overlaps it. The musical representation is brilliant - without even seeing what's
happening on stage, we know that Valjean and Javert's paths are crossing again and where their
motivation lies. Follow-up note by Kelly Dean Hansen: That's an interesting thing I missed. The
"Stars" reprise refers to the prominent French Horn entrance at the end of the interlude that is to
the tune of "Keeping watch in the night".]

15. The Sewers - "Dog Eat Dog" - I really think that this, and not "Master of the House" is the
chance for the actor playing Thnardier to really shine. It is a credo of sorts - a credo of nihilism.
The music, of course, is new, and while I don't call it a major theme, it really packs an impact if
there is a Thnardier who wants to be more than a comic figure. It doesn't show up again, but
segues into "Look Down" music as he escapes and Valjean emerges from the sewer. Like "Stars"
and "Bring Him Home," it is a soliloquy-like song introduced to further define the character. The
other two songs appear at their respective character's deaths. There is no place for a nostalgic
return of this nihilistic song, though.

16. The encounter with Javert - What a great dramatic moment! The music is very old, from the
first prisoners' chorus and Valjean's first interview with Javert, as well as "The Confrontation." The
"Look Down" music occurs before the suicide, as Javert lets Valjean go. This music is great to hear
again after all this time, and of course it is appropriate.

17. Javert's suicide - As the musical nears its end, a large number of themes from very early
scenes begin to appear again. The barricade is gone, and so are most of the students' themes
(DYHTPS excepted). Eponine's themes are gone. It's time to come back to familiar territory from a
long time ago. We've seen the begining of this in Valjean's encounter with Javert carrying the
lifeless Marius, and continues with the suicide. Out of all of the parallels, this is the most perfectly
analogous of them all, with both text and music. Of course, it's the same music as in Valjean's
"What have I done?" The lyrics of the two soliloquies have amazing parallels that sound incredibly
natural in both places. The suicide has a tag of the "Stars" music, the only time we hear a
reference to that song after Javert sings it, and I think that this is a really good way to use it.

18. "Turning" - The pattern of reprising music from early in the show continues with this radical
transformation of "Lovely Ladies." Before, it talked of fallen girls. Now it talks of fallen boys.

19. "Empty Chairs at Empty Tables" - The long string of musical reprises from early on continues
here. This is the most surprising of all reprises and parallels. It is the music originally sung by the
Bishop. It's hard to see any connection between the Bishop and Marius' tribute to his fallen friends,
but it is satisfying to hear this forgotten and poignant music again after such a long time. Marius,
of course, adds some material to what the Bishop originally sang, but it is basically the same.

20. "Every Day" (Reprise of "A Heart Full of Love") The introductory music is new. Cosette and
Marius sing their original music, but Eponine's lines are skillfully given to Valjean, and there is the
textual parallel I mentioned before.

21. Valjean's Confession - The "letter" music returns, and here it is sung by Marius. He sings it
first as he offers Valjean a home. Valjean, of course, sings to "Who am I?" complete with the four-
note figure, but with new introductory material. The scene ends with the "letter music" again.

22. The Wedding - The chorale isn't anything really special, but it does make an effectively subtle
reappearance in the final scene. It merges, of course, into the long absent waltz music. I don't
really care that the musical writers kept the Thnardiers alive when Hugo killed Madame
Thnardier. It makes a unified motif with the waltz only appearing when the couple appears
together. Marius' interjection about Eponine is the same material as Valjean's interjections when
the waltz was first heard, as are the other sections of near recitative. This is the last we hear of
the waltz music. [Ed: MIDI file includes "Empty chairs at empty tables", "The Wedding" and
"Beggars at the feast"]

23. Beggar at the Feast - A surprising return of "Master of the House," which seemed like an
isolated set piece, to new words of course. The reprise here consists of one verse and chorus of
the song. [Ed: MIDI file includes "Empty chairs at empty tables", "The Wedding" and "Beggars at
the feast"]

24. Final Scene - New music!!! - and surprisingly so, with "Alone, I wait in the shadows..." The
rising phrase "And show them grace" is derived from "I Dreamed a Dream."

Then comes the final reprise of "Bring Him Home," and this is followed by the final iteration of the
"sublime melody." Here it is closer to its guise in Fantine's death than to "On My Own," but
significantly, both characters who sing the glorious tune appear here. Fantine even sings her
original introductory material - originally "Cosette, it's grown so cold...", now "Monsieur, I bless
your name." Valjean's interjections are similar to what they were when Fantine sang this material
at her arrest, but look at the contrast in context! A wisp of the Wedding Chorale is played as
Marius and Cosette arrive, singing to what turns out to be the last new material.

Finally, we get the last reprise of the sublime melody, which dominates until the end. At "Come
with me, where chains will never bind you..." it becomes almost transfigured. Where Eponine had
come to her intense climax, the music fades into a wisp at the clinching "To love another person is
to see the face of God." It merges into the final chorus of the other "sublime" melody, "Do You
Hear the People Sing?" As I said before, the very end of the show is the only time this wonderful
song comes to a full, final cadence, and what a cadence it is!
Although it is certainly possible to thoroughly enjoy this masterpiece of musical theater without
noticing all of these connections in the music, I find that it greatly enhances the experience to
realize where they occur. For me, it was satisfying to hear "In My Life" music when Javert was
released by Valjean and to realize where it came from. Hopefully my work here will be of use to
serious Les Mis fans and help them to realize what a carefully constructed masterpiece it really is.