1
Dear Clarice [Hannibal - Original Motion Picture Soundtrack] Anthony Hopkins, Libera, the Lyndhurst Orchestra, Gavin Greenaway 0
2
Goldberg Variations BWV 988: Aria - Da Capo Glenn Gould 01:48
3
The Capponi Library [Hannibal - Original Motion Picture Soundtrack] the Lyndhurst Orchestra, Gavin Greenaway 01:14
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Gourmet Valse Tartare (From the Film "Hannibal") Libera, the Lyndhurst Orchestra, Gavin Greenaway 06:50
5
Avarice [Hannibal - Original Motion Picture Soundtrack] the Lyndhurst Orchestra, Gavin Greenaway 03:54
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For a Small Stipend [Hannibal - Original Motion Picture Soundtrack] the Lyndhurst Orchestra, Gavin Greenaway 00:55
7
Firenze Di Notte (From the Film "Hannibal") the Lyndhurst Orchestra, Gavin Greenaway 03:09
8
Virtue [Hannibal - Original Motion Picture Soundtrack] Libera, the Lyndhurst Orchestra, Gavin Greenaway 04:38
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Let My Home Be My Gallows [Hannibal - Original Motion Picture Soundtrack] Anthony Hopkins, Libera, the Lyndhurst Orchestra, Gavi
10
The Burning Heart [Hannibal - Original Motion Picture Soundtrack] Anthony Hopkins, the Lyndhurst Orchestra, Gavin Greenaway 04:2
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To Every Captive Soul [Hannibal - Original Motion Picture Soundtrack] the Lyndhurst Orchestra, Gavin Greenaway 06:55 1
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Vide Cor Meum (From the Film "Hannibal") Anthony Hopkins, Danielle de Niese, Bruno Lazzaretti, Libera, the Lyndhurst Orchestra,
Item UPC: 028948321308
Date First Available:
Label: DCA
ABOUT THE ALBUM
Vinyl LP pressing. Hans Zimmer's score propels us into Lecter's twisted psyche, evoking an atmosphere of foreboding and dread. The soundtrack alludes to many classical pieces, from the delicate "Aria da capo" from Bach's Goldberg Variations, performed by Glenn Gould, to an off-key, subtly disturbing Blue Danube, with nods towards Mozart, and mixed with Zimmer's atmospheric electronica and haunting string melodies. Anthony Hopkins delivers three suitably chilling Lector monologues. Ridley Scott worked very closely with composer Hans Zimmer, during post-production on Hannibal. Scott believes the music to a film is as important as dialogue-"It is the final adjustment to the screenplay, being able to also adjust the performance of the actors in fact." Zimmer used a symphony orchestra for the opera sequence, but would mostly use what he described as a "very odd orchestra... only cellos and basses all playing at the extreme ends of their range." This was done to emphasise the character of Hannibal Lecter. He explains: "Anthony's character is for me somebody at the extreme range of whatever is humanly imaginable somehow."
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