ORIGINAL TELEVISION SOUNDTRACK

ORIGINAL MUSIC COMPOSED & CONDUCTED BY DEBBIE WISEMAN

PERFORMED BY THE LOCRIAN ENSEMBLE OF LONDON A note from the director,

The score for Wolf Hall represents my Debbie chose to create a score that I. Wolf Hall sixth collaboration with the inspiring acknowledged, rather than slavishly and wonderfully creative composer, adhered to, the compositional style II. Beginnings Debbie Wiseman. As in the past, we and orchestration of the Henrician III. Prophecies And Dreams were able to begin speaking about Age. The spare, distinctive sound IV. Devil’s Spit the score at an unusually early stage. of the string quintet - beautifully Working with my editor and long- augmented by the cor anglais - V. Monstrous Servant time collaborator, David Blackmore, conveys so effectively the veiled VI. Forgive Me I was able to have three sessions with persona of ’s VII. Debbie during pre-production. This revisionist hero, The Scholar allowed her to sketch out the main - as masterfully played by Mark VIII. Master Of Phantoms themes before a frame had been shot. Rylance. Her ‘Cromwell’s Theme’ is IX. This helped during the subsequent a glorious leitmotif for the evocation shoot in so many ways. It allowed of a world set half a millennium X. Still I Love Him David to assemble our footage using ago and yet fresh and politically XI. The Smallest Compliment temporary versions of what would be resonant, as if it were today. XII. Debbie’s actual score, rather than The Unicorn’s Horn using the work of other composers as XIII. Whom The Lord Loves is normally the case. And it allowed XIV. Austin Friars the DOP, (Gavin Finney), and myself to have the key themes in our XV. Crows heads as we shot the serial, a huge XVI. Angel Wings advantage as one seeks to settle on XVII. Just Words style and pace. XVIII. A note from the composer, Debbie Wiseman

Debbie Wiseman

It has been a huge privilege to have This has been a unique experience. Special thanks to Peter Kosminsky been given the opportunity by Peter It’s the first project for some time for the inspiration. Kosminsky to compose the original where I’ve used a small group of The Locrian String Quintet score for the BBC’s adaptation of players, featuring a string quintet Peter Straughan for the extraordinary Hilary Mantel’s WOLF HALL. rather than a full string section, and adaptation. Tudor court music and the it was a decision taken in order to instruments of that period provided attempt to depict the world of Thomas David Blackmore, the editor, for his some initial inspiration, but the first Cromwell in a way that wasn’t dedication and talent, and assistant thing that Peter asked me to do was to slavishly “Tudor” in instrumentation editor Deborah Kavanagh for her write a theme for Thomas Cromwell, or musical style, but rather to convey constant assistance. and a theme for , and immediacy and a sense of being these two themes dominate the score “in the moment” with Cromwell Steve Price, my music recordist, for George Hadjineophytou in various different guises. - as Hilary Mantel says, our past is his incredible skill and instinctive Skaila Kanga - harp - mandolin their present. A lush, full symphony understanding of my music, As I know that lovers of film music orchestra, for instance, would have and assistant Jez Murphy for his often enjoy hearing about the process felt at odds with the way Peter, in unflappable support. of composition, I’ve also included his unmistakable style, had shot the on the album a few solo piano tracks series – not sweet or romanticised in The wonderful musicians who played which show how these themes first any way, but raw, unperfumed and on this score – every one of them appeared in my head, before the meticulously authentic. brought their individuality and orchestration. Peter enjoys hearing the personality to the performances. music played initially on solo piano, I’ve enjoyed every minute of writing and so I would play him the themes in for this incredible group of musicians And finally, the person with whom this simplest form before developing and I hope you enjoy the results. this all began, the brilliant Hilary Petra Hajduchova Jakob Lindberg them further to create the score. Mantel. - harpsichord - theorbo Wolf Hall Credits Original music composed, orchestrated and conducted by Debbie Wiseman

Performed by The Locrian Ensemble of London

Recorder: Martin Feinstein Cor Anglais: Phil Harmer Mandolin: George Hadjineophytou I. Wolf Hall Harp: Skaila Kanga Harpsichord: Petra Hajduchova and David Wright II. BeginningsLute: Jacob Heringman III. PropheciesTheorbo: And Jakob Dreams Lindberg Vielle: Charlie Brown IV. Devil’s SpitPercussion: Frank Ricotti V. MonstrousFemale EthnicServant Voice: Belinda Sykes Violin I: Perry Montague-Mason VI. Forgive MeViolin II: Charlie Brown VII. The ScholarViola: Philip Dukes Cello: Justin Pearson VIII.Double Master Bass: OfChris Phantoms Laurence and Richard Pryce IX. Anna ReginaPiano solos: Debbie Wiseman X. StillBaritone I Love voice/choir Him fixed by Don Greig XI. TheMusic Smallest recorded andCompliment mixed by Steve Price XII. The Unicorn’sAssistant engineer: Horn Jez Murphy Recorded and mixed at Angel Studios, London XIII. WhomMusic The Copyist: Lord Tony Loves Wharmby Album mastered by Mike Brown at Original Sound XIV. Austin Friars XV.Executive Crows producers for Silva Screen Records ltd: Reynold D’Silva and David Stoner XVI. AngelRelease Wings co-ordination: Pete Compton XVII. JustArtwork Words & design: Stuart Ford XVIII. MusicEntirely published Beloved by BBC Worldwide Ltd.

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