Wolf Hall: The Mirror and the Light represents the second and concluding installment of the critically lauded historical drama series, Wolf Hall. Adapted from the popular book trilogy by the late Hilary Mantel, this season chronicles the remaining four years in the life of King Henry VIII’s trusted advisor, Thomas Cromwell. Directed by Peter Kosminsky and penned by Peter Straughan, the final season guides viewers through Cromwell’s eventual downfall and execution.
The show explores historical events such as Henry VIII’s marriage to Anne of Cleves, but it does so in a way that resonates with contemporary viewers. One key aspect of this was using Debbie Wiseman’s musical score, which deviated from Tudor-era musical conventions to create compositions reflecting Thomas Cromwell’s emotional journey within the series. Apart from scoring music for on-screen monarchs, Wiseman also created music for King Charles III’s actual coronation in 2023.
In their conversation, ScreenRant interviewed Debbie Wiseman. She shared insights on her role in Wolf Hall: The Mirror and the Light, detailing how she aimed to immerse listeners in Thomas Cromwell’s thoughts via music. Additionally, she discussed her experience revisiting the atmosphere of Wolf Hall. Lastly, she touched upon the challenges and pleasures of composing music for King Charles III.
How Wolf Hall: The Mirror And The Light’s Historical Drama Was Made For Modern Audiences
“It’s Not Pretending To Be Written In The 1700s”
In “Wolf Hall: The Mirror and the Light,” an age-old narrative is presented, yet it’s designed to resonate with modern audiences. Debbie Wiseman’s musical composition played a significant role in achieving this aim, as it was always intended. According to Debbie Wiseman, this choice of making the score sound contemporary, despite being set in Tudor times, was made in collaboration with director Peter Kosminsky.
The main characters in “Wolf Hall” experience their story as if it’s happening now, according to Wiseman. Mantel aimed to make the entire production feel contemporary, avoiding any sense of looking back at history through a distorted lens. This perspective influenced the tone and style of the score.
Mantel opted to incorporate some Tudor-era musical instruments such as a lute, recorder, harpsichord, theorbo (a large version of a lute), but she did so primarily for their unique tones rather than mirroring the main body of the score. As she put it, “The core and essence of the music lies in a string quartet, percussion, harp, an oboe, and cor anglais (English horn). These are modern instruments, and the composition is structured in a contemporary style.” She emphasized that “This isn’t trying to mimic music from the 1700s. It’s composed today, and these characters are experiencing this now.
Debbie Wiseman Explains Writing Music For Thomas Cromwell
“Everything, Musically, Comes Through Cromwell’s Inner Thoughts”
The novel “Wolf Hall: The Mirror and the Light” primarily revolves around Thomas Cromwell, which means the music reflects his feelings and thoughts. As Wiseman explained, “All the musical elements are filtered through Cromwell’s internal world, his emotions.” This approach allows for greater creative freedom since we’re not bound by historical time or location; instead, our focus is on understanding Cromwell’s state of mind. The challenge was to capture the tone, quality, intensity, vulnerability, and at times, the mystery of what Cromwell might be thinking.
Wiseman went on, praising Mark Rylance’s performance as being so nuanced and understated that at times, it leaves you guessing about the thoughts hidden behind those extraordinary eyes. The music, in essence, serves to aid the audience in deciphering the intricacies of the unfolding events… Since Cromwell is present in every scene, and we view everything from his perspective, it made perfect sense for the music to mirror this narrative flow.
How Debbie Wiseman Found The Sound Of An Execution
“The Music Has A Calmness To It”
In “Wolf Hall: The Mirror and the Light,” real-life events unfold dramatically, making Thomas Cromwell’s execution less of a surprise. However, depicting this on screen required careful thought. For director Peter Wiseman, the soft, poignant melodies of a single soprano, Grace Davidson, beautifully contrasted the brutal scenes. As he explained, “The solemn voice of Grace Davidson against the harshness on screen was remarkably powerful. We opted not to score it dramatically, instead allowing the audience to feel the profound trauma of the moment without overt manipulation. The music mirrored Cromwell’s calm demeanor at that critical juncture. His fate had been determined for him, and thus he remained composed, much like the peaceful tone of the music.
Beyond Cromwell’s execution, the narrative of ‘The Mirror and the Light’ also found its moments to resonate profoundly. In our discussion with Peter Kosminsky, we pondered over the need for a new hue within the story, and the concept of featuring a lone soprano singing hauntingly beautiful phrases seemed fitting, symbolizing the delicate nature of the unfolding events.
How The Mirror And The Light Honors Hilary Mantel’s Legacy
“Everybody Knew That She Would’ve Loved Seeing This”
Hilary Mantel, renowned author of the “Wolf Hall” series, regrettably passed away in 2022, prior to the filming of the new season. As Wiseman expressed, “Everyone was deeply saddened because everyone knew she would have cherished witnessing this adaptation – the concluding part of the trilogy. The production was carried out with her memory in mind, considering questions like, ‘Would she appreciate it? Would she enjoy it?’
Wiseman highly valued Mantel’s work, as it immersed readers into the life of Cromwell in an unprecedented way. He explained, “It felt real,” and “for the first time, I could truly visualize these characters. It wasn’t just reading a history book or learning facts; it was like being present with them.” Moreover, everyone involved understood the significance of the task, acknowledging that they had to do justice to this remarkable work.
Debbie Wiseman On Composing For A King
“It Was A Massive Honor”
In “Wolf Hall: The Mirror and the Light,” Wiseman crafted numerous musical pieces for scenes involving Henry VIII; however, it seems unlikely that anything could rival the experience of composing for the genuine article. Upon a personal request from the future King Charles III himself, Wiseman was asked to create music for his coronation. She expressed her feelings by saying, “It was an immense honor,” adding that she received a call near Christmas before the coronation, informing her that the King desired her to arrange two gospel “Hallelujahs” for the coronation ceremony.
Wiseman expressed that the moment during the ceremony was particularly inspiring, which is why he composed two gospel ‘Hallelujahs’ for the Westminster Abbey choir and organist. Then, in January, he received another call stating that the King preferred a gospel choir to sing the second ‘Hallelujah.’ He had already decided on the choir he wanted to perform at the coronation, which was the same one that sang at Harry and Megan’s wedding. They asked Wiseman if he could rework the second ‘Hallelujah’ specifically for a gospel choir.
In this scenario, having experience in film and television production proves beneficial as one is accustomed to reimagining, adjusting, and experimenting with ideas. Meanwhile, the choir, under the tutelage of Wiseman, rehearsed tirelessly for an “audience of a billion,” ultimately embracing the piece and delivering an exceptional performance that left Wiseman beaming with pride.
On that unforgettable day, she was present in the Abbey, witnessing firsthand the remarkable spectacle that left her with memories she’ll cherish forever.
It was gratifying to learn that the King gave his approval for the event. “Later in the day,” Wiseman shared, “we had an opportunity to meet him, and he seemed thrilled with the entire ceremony. Twelve composers were commissioned, and I believe he aimed to highlight the finest British music. This wasn’t limited to composers but also extended to performers and singers. The performances that day were truly remarkable. Everyone stepped up to the challenge, and we all felt a great sense of pride for being a part of it.”
Check back for our interview with writer Peter Straughan.
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2025-05-24 04:08