In a world stripped of enjoyment -- a fractured existence broken on the wheel of pointless progress, determined domination, and wasteful and wasted work -- pleasure becomes the most determinate form of rebellion and liberation.
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.
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.