Description
"Wolf Hall: The Mirror and the Light is about the politics of despotism. On the face of it, Henry VIII is an absolute ruler. But Cromwell, his factotum, has to deal every day with the limits of that 'absolute power'. And, in the process, Cromwell must try to protect himself from the dangerous capriciousness of a man who thinks himself an absolute ruler but is daily frustrated by the realities of the new, evolving politics - political problems not so very different from those we face today.
The Mirror and the Light is told entirely from Thomas Cromwell's point of view and it is only through the score, each episode's music, that we hear his inner voice, his private thoughts and emotions - shielded, as they must be, from enemies and friends alike. Debbie Wiseman, my long-time musical collaborator, and I began our discussions about the score many weeks before I shot a frame of the series - searching for exactly this inner voice, a way to chart the emotional temperature at each moment in the story. As a result of those early conversations, Debbie wrote themes and melodies which run through the six episodes. The joy of this way of working is that I then had those themes playing in my mind as we shot the scenes, guiding me towards the correct pace and tension. It also meant that David Blackmore, Editor of both Wolf Hall and now The Mirror and the Light, could assemble the episodes using these prototypes of Debbie's new themes, rather than - as is normally the case - drawing music from other random film soundtracks. In effect, we already knew the building blocks from which the score would be made, long before the edit began. This required a huge commitment in time by Debbie, way beyond the few weeks she would normally expect to commit to such a project. But the result speaks for itself. The glorious score she composed for the original Wolf Hall reached the top of the UK Classical chart in its first week!" - director Peter Kosminsky
"Following the first screening of Wolf Hall almost ten years ago, I cannot begin to number the people who have asked me when the final part of the trilogy will be filmed. The anticipation of The Mirror and the Light has been extraordinary, and like nothing I have experienced before. When Peter finally told me that they would be going into production, I felt huge excitement at being able to go back into the world of Thomas Cromwell, with all its tension, intrigue and subterfuge, and help to complete this exceptional work by Hilary Mantel, adapted so powerfully by Peter Straughan.
The distinctive sound of Wolf Hall is all about immediacy and being in the present with these characters. Drawing on elements from the original Wolf Hall score, new themes have been created for our soprano Grace Davidson, our viola player, Philip Dukes, and our mandolin player and guitarist John Parricelli.
It's been the most thrilling experience composing the score for this production. My heartfelt thanks to each and every one of the incomparable musicians - many of whom played on the recording of series 1 -who have brought the score to life with some stunningly beautiful performances. I also thank editor David Blackmore for his expertise in assembling the building blocks which became the blueprint for the new score; and of course director Peter Kosminsky for his constant inspiration". - composer Debbie Wiseman