# Serial: La música clásica en el cine de Ingmar Bergman

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 11 Mar 2024, 36 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/58988498/lloviendo_clasica_begman_2.mp3

En el programa de hoy de Lloviendo cine, nuevo episodio de nuestro serial La música clásica en el cine. Y lo vamos a hacer de la mano de un director que gustaba de incluir este tipo de música en sus películas: Ingmar Bergman. En concreto traeremos Fresas salvajes, Persona, El séptimo sello y Sonata de otoño. Las músicas del podcast proceden de: Composed by Johann Sebastian Bach, performed by Kimiko Ishizaka, CC0, via Wikimedia Commons https://musopen.org/music/3534-violin-concerto-in-e-major-bwv-1042/#google_vignette Membeth, Public domain, via Wikimedia Commons https://musopen.org/music/6085-recorder-sonata-in-f-major-hwv-369/ https://evokemusic.ai/music

## Transcript

[0:26] Already start one more show of your favorite podcast I watching ending, which you
[0:34] are all pertinent and conveniently invited. You don' t need any kind of
[0:39] entry, you don' t need any permission. The doors are wide open
[0:44] for a more beautiful program. Seeing cinema in which we have come up is
[1:06] another episode of our dearest. It would be classic Energy music, the first
[1:12] classical music in the cinema of this fourth season. And in what way did
[1:18] we come up with talking about classical music in the cinema, because we have
[1:23] reached out to a gentleman who, if he used music in his films was
[1:30] classical music, seemed not to know another type. But, knowing what that
[1:34] director was like and knowing above all, what those films were like that there
[1:41] couldn' t be any other kind of music, classical music, no longer
[1:47] classical music, serious music, sacred music, because that gentleman was called Inmarc
[1:55] Berman. What other kind of music could see in his stories, What other
[2:00] kind of music could set those enclosed spaces, those almost claustrophobic spaces, megalomaniac,
[2:09] What he was like, what other kind of music he was going to
[2:15] use and so much classical music. We find ourselves in his films that he
[2:20] can give us for more than one program of classical music in trey suddenly this
[2:27] is the first one and to do so we have chosen, if they are
[2:49] not his four most emblematic films, because little very little can be lacking in
[2:54] opinion of me, watching cinema, they may be up to his four best
[3:00] films. Ah yes like the one who doesn' t want the thing.
[3:02] To begin with, a little big with don inmar Berman, because he deserves
[3:08] it, and we started with a film of the year nineteen hundred and fifty
[3:15] - seven entitled Three Wilds a whole study on the sunset of the human being,
[3:22] although also a little bit made, as was Don Igmar Berman. More
[3:25] than the sunset, it was a study of death. The thing is,
[3:30] I had to adorn it by saying it was a study of man' s
[3:36] sunset. For in this film, performed by the former director and master of
[3:43] Immar Berman, the great seostron victor sounds Don Johann Sebastian Bach. Who but
[3:51] who else would not appear in a film about the case of the human being
[3:57] directed by Igmalbrner. Specifically, the number eight leak sounds in my lower flat
[4:04] from the first volume of the well- tempered keyring b www. Eight hundred
[4:14] and fifty- three in German. I' m not gonna say it.
[4:17] By the way, it is a very vast Corube work within the already very
[4:23] vast with ub also musical work by Johan Sebastián Bach. Nothing more and nothing
[4:29] less that it was two volumes of well- tempered clavecin, one of the
[4:33] magna works of the German composer composed vailga the redundancy for a few preludes and
[4:41] a few leaks. More preludes and more leaks than stars had the Metrogooldimayer,
[4:47] the prolific qualifier. He was born in the Baroque period of the hand and
[4:53] the score of Don Johan Sebastián Ba permites of buttered mela, because we begin
[4:59] to be of classical music in the cinema Berman Johan n o s o n
[8:07] o n o te because one of two or Donine marver Man had musical ear
[9:05] that makes him have it or what we usually say in raining cinema. It
[9:15] seems that this music had been composed by Don johann Sebastian Bach to appear in
[9:20] a film Dan Marverman, next film by the Swedish director, as nothing more
[9:26] and nothing less than a person probably and without probably the most controversial film of
[9:46] his director. We jump in time. Until the year nineteen hundred and sixty
[9:52] - six, the Scandinavian director had already made his own registered trademark at the
[9:58] level of by very little registered trademarks were those of Fellini or Antonio, nor
[10:05] in Italy, of the irruptors of the noel Back in neighboring France And for
[10:09] us, in domestic mode, the registered trademark of Berlanga in Spain. As
[10:16] is often said Berman was on the crest of the OL and with person.
[10:22] Berman seemed to say you didn' t want broth, because here' s
[10:28] the second cup. Just to see those initial credits and as for the classical
[10:35] music that appears in person, it seems to burn Brban also say something like
[10:41] that you did not want broth, because here you have the second cup of
[10:48] Don Johan Sebastian Back. But unlike other cups and at least musically speaking,
[10:52] this was not at all indignant in this film the starring one. Rather it
[11:01] would have to be said suffered by Leepulman and Anderson. We found the concert
[11:09] for Violin in my greatest BWW one thousand forty- two, by the German
[11:18] composer Johann Sebastian Bach, in particular, and for the beasts to be tamed
[11:24] enough and the day an adayo in the middle of the campal battle of this
[11:33] emotional gore that Inne Marverman had prepared them for the two infaustas protagonists of the
[11:41] film that you have not yet seen person of Ine mar Berman. Man,
[11:48] I' m not gonna tell you to run fast and fast for a possible
[11:54] movie viewing. The Council, rather, would have to be that, before
[11:58] getting angry with this film, it is appropriate, as the males are often
[12:05] said to be tied up. Well, then, let' s listen to
[12:09] this concert for Violin in my biggest b WWW one thousand forty- two,
[12:16] by Johann Sebastian Back that sounds in person. O o o o o s
[15:00] s s s s s s s s s n n n n s s
[16:49] o n o n s s s s s o n o n o n
[18:52] n o n s And we park for the moment and for today' s
[19:08] program don Joan Sebastián goes to go with other composers and other films, because
[19:15] now we may not go to play Chess, because we return to the year
[19:33] thousand nine hundred fifty seven, for maybe to throw a little bit of Chess
[19:41] with a certain character of those who carry a scythe. The seventh label of
[19:48] Inmar Berman, one of the darkest and darkest films, not of Idmar Brman,
[19:53] but of the history of cinema, A film that initiates, as the
[19:59] other would say, within his filmography, the pessimism of the author. If
[20:04] you start playing chess games with that euphemism of death, then what music is
[20:11] going to sound, because nothing less than the d sire, but the original
[20:17] dioire we explain ourselves in all Mass of the deceased is included the sequence of
[20:29] the diecire and we see it in all those Rickens, from those composed by
[20:36] Volgarava of us Mozart to Joseph Verd, through Stephen Songhein and suini Top.
[20:41] Yeah, the flit street barber, but that would be another subject. We
[20:47] focus on the ten cits and if we say that in all the requiem there
[20:52] is a ten I will go is because someone initiates it, and that happened
[20:59] in the thirteenth century. A certain Tomás or Dachelano included in the mass of
[21:03] the deceased for the first time in history a diecir and from there, all
[21:10] the newly known and for having already seen it. They have their ten I
[21:15] will go particular, but the first one that included it, the first one
[21:21] that said within all Mass of the deceased must be one day I will go
[21:27] was Don Tomaso Dachela, because how is not going to sound a ten I
[21:33] will go and even more the original ten sir in a film by Imar Berman,
[21:40] And how is it not going to sound on the seventh seal, for
[21:45] we will hear this ten I will be composed in the thirteenth century by shots
[21:51] O Dachelano, who had to impertinently include in the soundtrack of the seventh seal.
[21:52] Donningmar Berg decided the sole mat of how many rigors to cough when I
[22:37] sventustas disco gan are rcy Cohen, blood, mor oh, man of your
[23:37] belief or mu o mutu ima. It' s my tompk picturos cis extremen
[24:33] of Mayan savas for free. Save my sped remember or are causes your son
[25:29] are or are n or you buy it to part of s or are as
[28:11] an end we saw it if waso expa or love guy s we throw a
[29:14] little bit of Chess and to finish the program today, of it, watching
[29:18] cinema dedicated to classical music, in the cinema of Imad Berman, let'
[29:22] s return with his last great movie. And that last great movie is the
[29:38] one that for many is the best movie of iman year one thousand nine hundred
[29:45] and eighty- two. Fanny and Alexander, the film of autobiographical touches of
[29:51] the Scandinavian director and, as it is often said, the most personal of
[29:56] its author, the individual, since we have named him previously loves to go
[30:00] through Dave Merver. Although the film is set a few years before Mr Barbo
[30:06] ' s real childhood, since a film a little brighter, we could say
[30:11] at least that we have named in the Jovin do Cine program, because it
[30:17] needs a music, a little brighter. Also Donning Marburran made, for example,
[30:23] by Roberts Suman hurt romantic by antonomasia of the history of classical music.
[30:32] In particular, the piano quintet sounds in my highest flat Opus forty- four.
[30:40] Concrete, its second movement and mode of a march, the most autobiographical
[30:45] film, of the most personal film of its author, the most luminous film,
[30:52] a film is wanted more open within what the open qualifier can give of
[30:57] itself in the filmography of Il Barbero. Here we don' t have so
[31:06] much claustrophoric space Here we don' t have games of chess with tetric euphemisms.
[31:11] We don' t have human cases here. Here we have, therefore,
[31:15] a kind of cumin faje, that of the author' s own life,
[31:22] a film, if you want more, maestrem was also a television series,
[31:27] as it was also, by the way, no secrets of a marriage,
[31:33] because let' s hear already Oddon Roberts Human let' s listen to
[31:40] his quintet for Piano in Nimeéibol major that sounds in Fanny and Alexander. T
[33:00] o n o n o o o o o s? O n o n
[37:02] o n? Or not? Or not? Or not? Or not?
[37:50] Or not? Or not? Or not? Or not? Or not?
[38:16] O n o n o s? Yeah? Yeah? O n o n
[40:30] o s o s And here' s one more show of your favorite podcast.
[41:13] I watch movies where we have given a good account of classical music that
[41:17] are in four films of filmography Dave mad Brban. We have laid hands on
[41:24] Don Johann Sebastián Ba, Don Thomas or Duchellano and Thon Robert Shuman and it
[41:30] happened to you. We talked about the films in which those strawberry compositions sounded,
[41:37] wild person the seventh Seal and Fanny and Alexander, and we have already
[41:44] said that a director like today Marc Berman would give us enough play when it
[41:49] comes to future programs of classical music in cinema time and programs we will have
[41:55] for it. Waiting for the program to have been of your total pleasure.
[42:00] We do not dismiss you until the week in which we will talk about a
[42:05] subject that, as always, comes to mind in the coming days, Until
[42:09] then we have only very much to thank you for your attention much more your
[42:15] patience and make the culinary recommendation to you at the end of all the raining
[42:20] cinema eat a lot of banana, which is very healthy wild or not.
[42:22] You have to eat them and above all, when you piss on the ice,
[42:25] you know what you have to do. Find your cloud. We all
[42:29] have one, and when you have entered into trust and conversation with her,
[42:35] you have to tell her loudly and clearly what I evade cinema par ten

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