The beginning of the script to the never realised film Kärlek utan älskare (Love without a lover) of Ingmar Bergman includes a short description of a short still of flow of translucent water ('Ett strömmande genomlyst vatten'). Bergman wrote this complex film 1978 when in his self-chosen exile in München but he could never get funding for the realisation of it. All the producers refused it. Main themes of the text are the 'missing manuscript' and different 'fragments of film'.
He has at other moments in his writing talked about his wish to "put together a film consisting of fragments, but without having access to a manuscript". The question that rises for me is how to be clear about material when you don’t know where it should be? How clear can a short scene or fragment be and still remain identifiable. Needless to say as well; when does the picture (sound) change and mutate perceptibly into something else when transformed (processed) into something else. The descriptive words could here of course come from musicological terminology but the essential questions remain the same, whether you are film director, writer or composer.
© Johan Tallgren Instrumentation
hp, electr Category
Works for Solo Instrument Premiere
Véronique Ghesquière, harp, Espace de Projection, Paris, June 15, 2002 PDF for promotional use
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