Erland Josephson and Liv Ullman in Bergman's Saraband

The Profound Consolation: The Use of Bach's Music in the Films of Ingmar Bergman (Part 4)

Variations on a Theme

[20 July 2007]

by Chadwick Jenkins

• Share
  • Email
  • Del.icio.us
  • Digg
  • Reddit
  • Newsvine
  • StumbleUpon
  • Google
  • Yahoo
  • Facebook
• Print
• Comments (0)
• Feeds
  • PopMatters
  • Think

 

The music in Bergman's Saraband sets up numerous tensions that it never reconciles: listener and performer, individual and group, passive aestheticism and practical enactment. Music in Bergman's world offers hope, but it does not offer answers.

‹‹ Read the full article

Add a comment

Please enter your name and a valid email address. Your email address will not be displayed. It is required only to prevent comment spam.

Name:

Email:

Location:

URL:

Remember my personal information

Notify me of follow-up comments?

Please enter the sequence of letters and numbers you see in the image above. Do not include any spaces.

Tagged as: bach | ingmar bergman

Variations on a Theme

The Sounds of Now: Tristan Murail and Sounding Stasis

Chadwick Jenkins

02.Jul.08

What happens to the ear when it receives musical sound? Do we hear "our" music as music and the rest as noise?

The Practicality of the Impossible: John Cage and the Freeman Etudes

Chadwick Jenkins

02.May.08

John Cage replaces the comforting order of the cosmos with the recalcitrant, indecipherable organization of a part of the universe. Each sound, radically set off from the others, demands that we hear it in isolation.

Every Good Boy Does Fine

Chadwick Jenkins

21.Feb.08

Required to take a music class in high school I signed up for chorus, but the teacher offered me $50 to drop the class – and other ruminations about learning to play the piano.