A Language of Love

Bergman’s fourth wife was Estonian-Swedish concert pianist Käbi Laretei (1922–2014). ¹ When Bergman met her, she was already a well-known pianist in Europe and recognized in Swedish households because of her regular television appearances hosting music and culture programs. Laretei and Bergman were married between 1959 and 1966, a period spanning from Wild Strawberries to The Silence. ² There is no question that Laretei’s deep knowledge of music had a significant impact on how Bergman approached his film soundtracks. Evidence of her musical influence can be found in his autobiographies, The Magic Lantern and Images, as well as in Laretei’s memoirs, Såsom i en översättning (As in Translation), and the published correspondence of selected love letters edited by Laretei titled Vart tog all denna kärlek vägen? (Where Did All the Love Go?). ³ Over the course of his career, Bergman invited Laretei to perform on the soundtracks of several films: The Devil’s Eye (1960), Cries and Whispers (1972), Face to Face (1976), Autumn Sonata (1978), Fanny and Alexander (1982), Karin’s Face (1984), and In the Presence of a Clown (1997). She also supplied music for some of Bergman’s radio productions, including: The Pelican, Island of the Dead (2003), John Gabriel Borkman (2001), and The Storm (1999). The fact that many of these projects dated after their divorce is a testament to the high esteem they held for each other and their ongoing friendship, which lasted until Bergman’s final days. Together they had a son, Daniel Sebastian, whose name was inspired by a sabbatical they intended to take together to devote themselves to the study of Johann Sebastian Bach. ⁴ Through his relationship with Laretei, Bergman gained a more sophisticated musical knowledge and developed theories about musical listening and musical performance that forever after influenced his approaches to filmmaking.