the usage of the "goldberg variations" in hannibal has always fascinated me, even more so now that i know the origin of why bach composed them in the first place:
so basically, the variations were created to soothe the count who was ill/sleepless which hannibal mirrors in the books (and in the silence of the lambs film) by being calmed by them. in fact, we are first introduced to hannibal in apéritif with one of the variations playing in the bg while he calmly dines on a fancy dish of people. then in fromage, hannibal plays the aria variation on the harpsichord after his fight with tobias, presumably to return to a state of stasis.
the next time we hear aria, it is a piano rendition in kō no mono when will and hannibal ritualistically devour the ortolans. it seems that will is a calming, grounding force for hannibal and it eventually becomes their shared melody. heartbreakingly, a song called "bloodfest" by brian reitzell which is based on the variations plays in dolce (when hannigram reunites in the uffizi gallery) and in digestivo (when they talk in the cabin after escaping muskrat farm).
a similar slowed down version plays in the series finale called "the wrath of the lamb, pt. 2 / bach aria, pt. 2" when will/hannibal are in the glass house, right before they defeat francis. even throughout the series, there are variations to the variations such as this, as well as hannibal's own composition "suite no. 4 - III. sarabande: la d'aubonne" by antoine forqueray & christophe rousset, which has similar vibes to the goldberg variations. perhaps inspired by them?
but the body of music isn't simply used as a calming metaphor or an ode to will - rather, it is a deeper, existential contemplation that was nicely summed up by jeremy denk & donald francis tovey: (Hannibal Lecter's Guide To The 'Goldberg Variations'; NPR):
the goldberg variations are a representation of a cycle, a reflection, a "becoming" of sorts; a longing to be free but also a cautionary tale that once someone is seen for who they truly are, there is no turning back. and in the blink of an eye, this beautiful lie that we call life is over.
La música es de Bach, pero el instrumento es la primera vez que lo veo. Parece una zanfoña, pero no, no es una zanfoña.
Si alguien sabe como se llama ese instrumento que se manifieste.
Bach must have known
how something flutters away
when you turn to face the face
you caught sideways in a mirror
in a hall at dusk
and how the smell of apples
in a bowl can stop the heart
from beating, for an instant,
between sink and stove
in the dead of winter when stars
of ice have spread
across the windows and everything
is perfectly still
until you catch the sound
of something lost and shy
beating its wings
against those darkening stars.
And then: music.
Gerda Wegener (Danish, 1885–1940)
A Johan Sebastian Bach humblement
signed, dated and titled 'GERDA. WEGENER/ PARIS 1936/ A Johan Sebastian Bach/ humblement' (lower right)
oil on canvas
39 3/8 x 31 5/8 in.
She met fellow artist Lili Elbe – then known as Einar Wegener – at art school. They married in 1904, when Gerda was 18 and Lili was 22. They travelled through Italy and France, eventually settling in Paris in 1912. The couple immersed themselves in the Bohemian lifestyle of the time, befriending many artists, dancers and other figures from the artistic world, often attending carnivals and other public festivals.
During this time Elbe began to wear female clothing, and adopted her female name and persona, becoming Gerda Wegener's favorite model, in paintings of beautiful women with haunting almond-shaped eyes dressed in chic fashions. In 1913, the art world was shocked when they learned that the model who had inspired her depictions of petite femmes fatales was in fact her husband.