Debbie Wiseman is influenced by the past, but not constrained by it

.Wolf Hall: The Mirror and the Light is released this month, 10 years after the first dramatisation of Hilary Mantel’s Tudor drama hit our screens. How does composing for a sequel compare to composing for an original or one-off drama?

It is incredibly helpful when working on a sequel as the musical language is already in place. I referred back to the original Tudor palette I had created for the first series using string quintet, cor anglais, lute, theorbo, recorder and harpsichord. However, this time director Peter Kosminsky wanted to add in a new dimension, which came in the form of exquisite soprano, Grace Davidson. The 'Dorothea' theme is sung exclusively by Grace and this was the main additional element. There are also lovely new themes for this sequel, for viola, for example and for mandolin, mandola and guitar but it is essentially the same soundworld.

Wiseman worked on the new series with long-time collaborator, director Peter Kosminsky (Image: BBC/Playground Entertainment/Nick Briggs)

You worked in parallel with early music specialist Claire van Kampen on this project, How did this work?

Her very specialised and notable contribution involves working with existing Tudor music and arranging it for the musicians who appear on screen. Essentially, we worked on opposite sides of the production. She is there before filming to ensure the authentic period piece atmosphere with historical music from the time whereas my work comes in later in the process.

How do you adjust your approach to composing a soundtrack when composing for a period piece?

It was important to me to use clear influences of the time but not to be constrained by them. It was likewise very important for the director for the music to sound contemporary in context. The time frame in which the drama takes place is our past, of course, but for the characters it is their present and Peter was at great pains to avoid any semblance of pastiche and for it to sound authentic as the characters would have experienced it. I too was inspired by this to work in the setting presented and ensure that my contribution be reflective of the music of the time rather than only of the period itself.

'The time frame in which the drama takes place is our past, of course, but for the characters it is their present' Agnes O’Casey as Meg Douglas and Lilit Lesser as Lady Mary (Image: BBC/Playground Entertainment/Nick Briggs)

How did you balance the task of creating a historical period-friendly soundworld, with maintaining your own voice as a composer?

My own voice as a composer always centres around melody. The orchestrations reflect the overall desired soundworld and once I have captured the essential melody and theme, I can adapt my own voice to any project, regardless of whether it is a period piece or something more contemporary.

The first Wolf Hall series was your sixth collaboration with BAFTA Award winning director Peter Kosminsky. What do you feel is key to a longstanding and successful director-composer relationship like this?

We both know by now how the other works and what we are likely to need at any given time, and we have a clear understanding of the process which makes everything easier. Over time we have developed a natural way of working together. For example, I knew Peter would want to start early and receive some demos of musical ideas to have close at hand, so I was already prepared for this. We listen to each other and appreciate each other – and it's also really important to have a good sense of humour. I think it works like a marriage really!

'Director Peter Kosminsky is always very clear never to over-sentimentalise in his work and this applies to the music too' Damian Lewis as King Henry VIII' (Image: BBC/Playground Entertainment/Nick Briggs)

In a Twitter post in July you mentioned being back into the studio with your ‘wonderful Wolf Hall musicians’ – was it important to you to have the same players on this sequel?

Absolutely and I was thrilled to work with them all again on this wonderful project! For me, they are the heart and soul of the score. They are masters of their craft and I trust completely that they know what they are doing. I chose 12 musicians for the soundtrack, and I conducted the music throughout. They all have individual solos and as I have such a close connection with them all, I can write specifically with them in mind as I know exactly what they can do with their instruments and how far it can go. I am also very happy to listen to suggestions from them and take this on board if they have a particular point to make as regards their own instrument and its role within the music, especially with the early instruments such as the vielle.

It was also a pleasure working with Grace Davidson on this – her voice is beautiful and ethereal with a magical, effortless quality. She was the key for me for the vocal music. Director Peter Kosminsky is always very clear never to over-sentimentalise in his work and this applies to the music too. It can be emotional, of course, but it cannot tip over and become saccharine. He definitely wanted to maintain the earthy, salty feel of the time. 

'We see into the workings of Cromwell's mind and every corner is illuminated' ​Mark Rylance as Thomas Cromwell (Image: BBC/Playground Entertainment/Nick Briggs)

You also visited the set for the series earlier this year. Do you feel this sort of interaction with the filming process is essential for composing a soundtrack?

It's not essential to visit the set but it is hugely enjoyable! BBC Radio 3 was making a documentary about the making of the series and were following the entire process, so I was part of that. It's definitely a different world to the music world – everything moves quite slowly on set whereas in the recording studio we work at a really fast pace! It was wonderful and inspiring to soak up the atmosphere on set and it really helps to get you into the right mood for your own work.

The new series is titled Wolf Hall: The Mirror and the Light. How do these themes of reflection and illumination manifest within the score?

It is indeed all about reflection and illumination all the way through. We see into the workings of Cromwell's mind and every corner is illuminated. He's in every scene and everything draws from his performance, which is mesmerising and inspiring in every respect. My feeling is that the music is there to support this very gently, to underscore the external and internal drama but never to overscore. 

Debbie Wiseman's score can be heard in the next episode of Wolf Hall: The Mirror and the Light which will air on BBC One at 9pm on Sunday (17 November). The soundtrack album will be released on 13 December on Silva Screen Records.