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

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 18 Mar 2024, 50 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59081430/lloviendo_clasica_bergman_2.mp3

En el programa de hoy de Lloviendo cine continuamos con el erial La música clásica en el cine. Y continuamos a su vez con las películas de Ingmar Bergman en las que el director sueco introdujo música seria para ambientar sus historias. En concreto hablaremos de Bach y de El silencio, de Mozart y Cara a cara al desnudo, de Brahms y Saraband y de Chopin y Gritos y susurros. Las músicas del podcast proceden de: https://musopen.org/music/4107-goldberg-variations-bwv-988/ https://musopen.org/music/2646-fantasia-in-c-minor-k-475/ https://musopen.org/music/2108-string-quartet-no-1-op-51-no-1/ https://musopen.org/music/100-mazurkas-op-17/

## Transcript

[0:26] And here we are again one more day, one more show of your favorite
[0:31] podcast, me watching cinema which you are all inconveniently invited pertinent. You don
[0:37] ' t need any kind of entry, you don' t need any permission.
[0:41] The doors are wide open one more show of raining cinema in what is
[1:03] going to be the second part of classical music in the cinema Dain mad Berman.
[1:11] Last week we started this sub- serial of the classic music series in
[1:17] cinema. We could say how we could use more than one, more than
[1:23] two and more than three films directed by the Swedish director in which classical music
[1:27] sounded. We did not know what his favourite genre was, but it seemed
[1:37] that classical music was part of his bedside table. And if in the previous
[1:45] program dedicated to classical music, in the cinema of emarc Berman we take advantage
[1:49] of four of their great films on this occasion, or we do it with
[1:56] other four films of the ones to eat Apart, if in the cinema of
[2:02] Berman there is not the same table to eat them all four films that we
[2:09] could classify, we find it difficult to find the adjective ranging from the disturbing
[2:17] to the trembling, the gore of the spirit of Barberman. And the first
[2:40] of them is called The Silence year one thousand nine hundred and sixty- three,
[2:49] belonging to the trilogy The Silence of God. And with that is already
[2:53] all said trilogy that form like in a mirror the communicants and there is the
[3:00] silent cast headed by another of the usual of the Berlin cinema, Ingrid Tulling.
[3:07] The theme is going to look like this a film of his disciple budiyalen
[3:14] God, sex and vital anguish, for to set this beautiful film of spiritual
[3:21] gore in Marverman, made by Johann Sebastian Bach, his favorite composer, in
[3:29] particular made hand in hand with his mythical leciendaria variations Wolbert, in particular the
[3:38] variation number twenty- five BWW nine hundred eighty- eight, which, in
[3:46] the matter of the variations Back and its innumerable variations, would indeed seem to
[3:54] be in the binco twenty- five. And it is that, in case
[3:58] of doubt, the Scandinavian director, because he finished the bingo roulette to Don
[4:02] Johan Sebastián Bachz Fallar was not going to do it. Well, then,
[4:08] let' s hear this variation number twenty- five bw W nine hundred and
[4:16] eighty- eight of the sharp variations that sound in silence. N o n
[5:54] o n o n s s o n t n n n n o n
[10:54] so much? So much? So much? So, indeed, we would
[13:41] have to keep some moments of silence more after hearing of this absolute wonder.
[13:48] But we' re going to the second movie. We' re going to
[13:54] the' 70s and the movie is called Face to Face the Naked. Go
[14:09] with the title in Spanish. Why not just leave it face to face.
[14:16] Well, then, issues of distribution on the sidelines. Face to face the
[14:20] nude brings together again a couple in crisis novelty in the filmography Dan Marberman marriage
[14:30] played by lip Ulman and Erland Josephson, a couple that, in fact,
[14:39] repeats after the great secrets of a marriage, a couple of years before,
[14:43] philosophical, psychological, metaphysical questions, so much like the Swedish director. Film
[14:54] that, by the way, we have named it is already the movie that
[14:58] will not be budy ale in Anihol because it has already started the film had
[15:05] two minutes of credit and in Swedish, as much as Ani tries, that
[15:11] film will not be seen at that time. According to Albi Singer, he
[15:20] doesn' t like to get into the middle of the movie. But we
[15:24] were with idmar Berman. We were face to face with the naked film of
[15:30] marriage crisis, to use, the use of Eine mar Berman, for which
[15:35] he takes the hand of Volcan Amadeus Mozart, in particular, of his fantasy
[15:43] in C minor Kehel four hundred seventy- five, if Aine Marverman liked to
[15:50] take Don Johann Sebastian Bach out of the bingo roulette from time to time towards
[15:56] trampilla and he drew a ball in fanciful fondo in this case of Don Volgan
[16:04] Amadeus Mossett, both Monta rides Don johann Sebastián and Don Volgan Amadeus. So
[16:12] let' s hear this fantasy in C minor, which is Mr Mozart'
[16:19] s four hundred and seventy- five, which we find in the film face
[16:26] - to- face with the nude of Don Ninmar Berman n o s o
[22:26] n t o n n n t o p n o n o n o
[24:17] s o n? So much as n o n o n o n t
[27:33] impacts t n n twenty or his last film sarababan year two thousand three,
[31:00] splendid farewell from the cinema by Immar Berman, in which he appealed or we
[31:06] just named them Lie Pulman and Irland Josephson. And on this occasion it is
[31:12] a continuation of that, the secrets of a marriage thirty years earlier, a
[31:18] film that is a real delight, in the opinion of our shadow collaborator,
[31:25] Don Juan, only an authentic masterpiece fired from the cinema by im Marc Bernan,
[31:32] who seemed to have to do. It seems that his farewell had to
[31:40] be Making this film in this way, counting the things that counts in order
[31:47] to settle accounts, it is worth the redundancy of paying more than one debt
[31:53] and to set musically this film, in Marverman made hand in classical music of
[32:00] much and good classical music, in concrete hand made, for example, by
[32:07] Johannes Brahms, one of the greats of German romanticism, specifically in Marverman,
[32:14] made hand in hand with his number one string quartet in C minor opus fifty
[32:21] - one. Paying off debts, regrets, things that were never said Lee
[32:27] Pulman and Irland Josephson find in Johannes Brahms and in this number one string quartet
[32:35] in C minor, the best musical background to say things to their faces.
[32:43] Also face to face And after so many years, let' s hear this
[32:50] string quartet number one in C minor opus fifty- one by Johannes Brahm,
[32:54] which sounds in the latest film Dain Marvel nine s S. Yeah? Yeah?
[35:01] Are they N or N? Yeah? Yeah? S O S?
[38:00] Or S? Yeah? Yeah? Yeah? Yeah? Or S? Or
[39:27] S? Yeah? Yeah? Yeah? Yeah? Yeah? Yeah? Yeah?
[39:59] Yeah? And we' re gonna finish today' s show. Of
[40:15] this watching cinema dedicated to classical music in the cinema daim Marverman with a film
[40:20] of the year nineteen hundred seventy- two and the film is entitled Gritos y
[40:36] Susurros. Just listening to the name of the movie gets that chilly restlessness.
[40:45] Something' s going to happen here and it' s not happening. We
[40:50] talk about spiritual chore, because probably with persona Gritos and Whispers is the most
[40:58] gore film in that sense of the Swedish director, probably and without probably the
[41:05] film in which his filmmaker is least cut, a film that is not at
[41:12] all easy, but once he enters it it is worth the reward and the
[41:17] previous wait. A movie we already say, not fit for all stomachs.
[41:23] There are Doña Harriottanderson, in the opinion of Joevin do Dine, the prettiest
[41:30] leep actress Ulman through all the filmography Broman. There' s Ingrid Tulling and
[41:37] there' s Doña Lipulma. And who sounds, apart from Don Johan Sebastian
[41:43] Bach in screams and whispers, since a certain Frederick Chopen, and with that
[41:49] sounds, Don Frederick Chopen, with some of the other night, on this
[41:54] occasion, with a dungeon, a dungeon of his own, specifically the dungeon
[42:00] in the least opus seventeen and four. Well, to finish today' s
[42:06] Ovino Cine program, we' re going out on marzucas. Or o o
[43:43] o o o s s s o n? Or do you tempt? So
[45:09] much O or try so much s o n o n? Or? S
[46:59] O? S O? S O? Yeah? Yeah? S O?
[48:07] And so far there has come one more show of your favorite podcast and or
[48:10] cinema wine in which we have given a good account of classical music in the
[48:15] cinema of Imas Berman, part two, the soundtrack of his films. It
[48:22] is classical music, it is serious music, it is sacred music and it
[48:27] facilitates us and allows us to make more than one episode of this our dearest
[48:32] serial. Classical music in the cinema. For me we have brought Don johann
[48:37] Sebastian bach In Silence, Don Volcan, Mattheus Mozar face to face the naked,
[48:42] Don Johannes brams In Saraban and Don Frederick chopen in shouts and whispers.
[48:51] Donine Mark Berman gives us game face to classical music in lne. Who knows
[48:57] if, in the future I can come back hoping that the program has been
[49:02] of your total pleasure. We said goodbye until next week, about which we
[49:06] will talk about a topic that, as always, comes to mind in the
[49:09] coming days. Until then we can only thank you very much for your attention,
[49:15] much more your patience and make you the final culinary recommendation of all the
[49:21] raining cinema eat a lot of banana, which is very healthy ask it in
[49:28] shout or whisper, but never lack a banana. And above all, when
[49:32] you piss on heaven, you know what you have to do. Find your
[49:37] cloud. We all have one, and when you go and build trust and
[49:42] conversation with it, you have to tell it well before and clearly what rains
[49:49] cinema par ten.

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