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. dfgfd judicious use of silence means the tension builds to unexpected heights, and is only momentarily relieved by the music.

This is because Debbie 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. Ominous drum strokes on The Image Of The King. The cor anglais has an ominous tone. Man of Sorrows essayed by the viola. Forgiveness ends on high drama, as does The Leper’s Spit – both 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.

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