Reviewed by Ben Hogwood

What’s the story?

Debbie Wiseman reprises her role as composer for the eagerly awaited second instalment of the BBC dramatisation of Hilary Mantel’s Wolf Hall.

Her approach is similarly economical, looking to work with a small band of musicians, while the style of music she seeks is once again free of pastiche.

What’s the music like?

Immediately memorable. If you’ve watched the drama unfold, you will know that the music is an integral part of proceedings – as indeed is silence. The director’s judicious use of silence means the tension builds to unexpected heights, momentarily relieved – or even enhanced – by the music.

This is because Wiseman catches Cromwell’s many predicaments with uncanny accuracy. From the haunting, pure sound of Grace Davidson‘s soprano in the refrains, there is an eerie and almost otherworldly countenance given to the music.

Using the titles assigned to the episodes, Salvage has an especially profound cello solo. Serious in tone, almost oppressive at times. The ominous drum strokes on The Image Of The King are striking and fateful, the cor anglais with an ominous tone as Cromwell’s thoughts are aired in musical form. Man of Sorrows is dramatically essayed by the viola, while Forgiveness and The Leper’s Spit end on high drama, in a frenzy of strings.

Does it all work?

Yes. Wiseman has an uncanny ability for scene setting and character profiling, and Wolf Hall as a drama is all the more effective for her contributions.

Is it recommended?

Very much so. This is dramatic music but written with remarkable restraint and clarity. Debbie Wiseman has built on the success of the first Wolf Hall with music of poise and no little power.

Listen & Buy

Published post no.2,396 – Wednesday 18 December 2024