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.
When Stede is sitting alone at the beach in "Act of Grace," and remembering Mary and the kids, we hear Bach Goldberg Variation #25 in the background. I don't know who the pianist is, but Glenn Gould said of this variation, looking back at his own 1955 recording, "This variation ... wears its heart on its sleeve. It seems to say, 'Please take note. This is tragedy.' It doesn't have the dignity to bear its suffering with a hint of quiet resignation."
Which I suspect is not far from what Stede would say in response to his own internal monologue: that he's been self-dramatizing (e.g., talking about the bill having come due earlier in the episode), when he wishes he could muster quiet resignation.
I don't think the second Badminton brother drunkenly self-destructing in front of him is the thing that pushes Stede to return to his wife and kids. I think he's already decided to go. Which I don't at all see as at odds with kissing Ed back, or telling him, "You make Stede happy": I think Stede has simply decided that his own happiness is insignificant compared to his responsibilities. (And in attempting to return to a life that never fit him very well, he hurts himself, Ed, and his family.)
Shuffle your 'on repeat' playlist and post the first ten tracks, then tag ten people
I was tagged by @heresluck!
I don’t really have an “on repeat” playlist, so I threw together my different favorite playlists (mostly sorted by vibe, emotion, or which fandom I associate with which songs) and shuffled them into a giant “list of bangers to belt in the car.” I skipped repeated artists (look, Ani DiFranco’s late 90s-early 00’s run was *formative*)
(1) Because the Night (Live MTV Unplugged) - 10,000 Maniacs
(2) Parachute (Serbian Ghenea mix) - Ingrid Michaelson
(3) Darkness, Darkness - Richard Shindell
(4) Hail Mary Shy of Redemption- Eddie From Ohio
(5) Pick Yer Nose - Ani Difranco
(6) When I Go - Dave Carter & Tracy Grammer
(7) Ladder - Joan Osborne
(8) You Gotta Be - Des’ree
(9) Pilentze Pee (Pilentze Sings) - Bulgarian Women’s Chorus
(10) Scarborough Fair - The King’s Singers ft. Manuel Barrueco
I feel 2000s pop is underrepresented in this sample, so please allow the additions of the first two that shuffled up:
(11) Sober - P!nk
(12) If I Were a Boy - Beyoncé
The most played non-Hamilton musical on my iPhone is either the 2009 Idina Menzel/Josh Groban CHESS or the 1998 OST for THE PRINCE OF EGYPT. That feels representative.
The most played classical piece is the 1955 version of Glenn Gould playing Bach’s Goldberg Variations, which is directly wired to affect my nervous system like Valium.
If you have noticed that I haven’t listened to much new music, well spotted! @heresluck and @kouredios are working on me, as are a couple of other friends, but I have been remiss about putting together new playlists, as I have spent most of the last two years listening to audiobooks (especially the Murderbot Diaries and the Goblin Emperor books).
Tagging @megastoat, @cincoseis, @white-throated-packrat, @fremedon, @agentreynard, @dsudis , @changingthingslikeleaves, @bgoodg and @cereta if they’ve thus far escaped being tagged by someone else and would like to play. But anyone is welcome!
There are some pieces of music you always return to when you want peace. When you want to slow down. When you want to relax. Those musical pieces are formative experiences in your lifetime. You connect with them.
Glenn Gould’s 1981’s performance of Bach’s Goldberg Variations is one such musical piece for me. His 1981 performance is so relaxed compared to his 1955 performance and it is simply sublime. You can hear him humming as he performs, he is relaxed and is one with his piano and with the music. I will always come back to this performance when the mood strikes me. Today is one of those days.
I don't know anything about music, but I rebuilt this piece by ear and by studying Synthesia videos on the piece.
I've been obsessed with this piece since I was a baby.
goldberg variations - ternary patterns for insomnia (glasgow)
it seemed as if instead of nerves the dancers were wired by music. they weren’t governed by the laws of humanity, but were purely musical beings. their skill was shown through how effortless their movements seemed, when logically they weren’t so. encapsulating in their dance perfectly how one feels when hears music. i greeted them with standing ovations.
rosalyn tureck: mostly you'll find bach, her rendition of goldberg variations sounds SHOCKING i kid you not when heard for the first time and after that that's the only "true" goldberg variations for me cannot be helped
tatiana nikolayeva: the only source of comprehensive work on shostakovich's preludes and fugues, she recorded the whole thing couple of times, you can check out youtube vids of her playing p's&f's live in like early 90's. also go to her for your bach and beethoven needs
I have always been a huge fan of Bach’s Goldberg Variations, especially Glenn Gould’s 1955 energetic performance. I always knew it was originally written for harpsichord but I never sat down to listen to it being played on harpsichord until today. I am glad I did, this 2022 harpsichord performance by Jean Rondeau is simply wonderful.