Just as in the first instalment, Wiseman's musical choices are carefully considered. She understands that less can often be more, and her use of silence is a masterstroke. The judicious use of silence builds tension to unexpected heights, providing a powerful contrast to the moments when the music takes center stage.
By working with a limited number of musicians, Wiseman is able to create a more intimate and nuanced musical landscape. This allows the listener to focus on the details of the story and the emotions being conveyed, enhancing the overall viewing experience.
The cello solo in "Salvage" is especially profound, with its serious and almost oppressive tone. It captures the essence of Cromwell's many predicaments with uncanny accuracy, adding a layer of emotional complexity to the drama. The viola's "Man of Sorrows" essay is another standout moment, evoking a sense of sadness and introspection.
Even the ending of "Forgiveness" and "The Leper's Spit" are filled with high drama, as the strings create a frenzy that leaves a lasting impression. These musical moments are not just background noise; they are an essential part of the story, enhancing the viewer's emotional connection to the characters and the events on screen.
Her music helps to create a sense of atmosphere and mood, transporting the viewer to the world of Wolf Hall. Whether it's the tense moments before a crucial decision or the quiet moments of reflection, Wiseman's music is always there to enhance the emotional impact of the scene.
By building on the success of the first Wolf Hall with music of poise and no little power, Wiseman has proven herself to be a master of her craft. Her music is not just a pleasant addition to the drama; it is an integral part of its success.