Film and TV
Sir Richard Rodney Bennett
The Film Music of Sir Richard Rodney Bennett
Murder on the Orient Express
Far from the Madding Crowd
Lady Caroline Lamb*
Elegy for Viola and Orchestra
Nicole’s Theme from ‘Tender is the Night’
Love Scene from ‘Four Weddings and a Funeral
Philip Dukes viola*
BBC Philharmonic
Rumon Gamba
Wolf Hall
DEBBIE WISEMAN
Wolf Hall was the most keenly anticipated BBC drama for 2015. Based on the Booker Prize-winning novels of Hilary Mantel its all-star cast includes Mark Rylance, Damian Lewis, Claire Foy and Jonathan Pryce. The six part serial presents an intimate portrait of Thomas Cromwell, Henry VIII’s chief minister and confidante.
Leading British film and TV composer Debbie Wiseman in her sixth collaboration with BAFTA Award winning director Peter Kosminsky has created a highly original score mixing Tudor instruments with modern to create the austere and vivid musical atmosphere of the time.
DICKENSIAN
DEBBIE WISEMAN
Debbie Wiseman follows her 2015 Classical chart topping release Wolf Hall with the soundtrack to the major new BBC drama production, Dickensian. Launched over Christmas 2015 this ambitious 20 part series stars Stephen Rea, Pauline Collins and Caroline Quentin and is set within the fictional realms of Charles Dickens’ critically acclaimed novels. It brings together his most iconic characters such as Scrooge, Miss Havisham and Fagin, with all the action taking place soap style in a lavishly recreated 19th century cobbled street.
British Film Classics
Chandos Recordings
A selection of British Film Music
Harry Potter and the Philosopher's Stone
JOHN WILLIAMS
The music for Harry Potter and the Philosopher’s Stone was composed by John Williams and recorded in 2001 at Air Lyndhurst Studios in London. Williams crafted an iconic and whimsical score that perfectly captured the film’s sense of magic and wonder, introducing memorable themes such as “Hedwig’s Theme,” which became the musical signature for the entire series. The recording featured the London Session Orchestra under Williams’ direction, blending sweeping orchestral arrangements with choral elements to evoke the enchantment and mystery of the wizarding world.
GLADIATOR
Hans Zimmer
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The music for Gladiator (2000) was composed by Hans Zimmer and Lisa Gerrard and recorded at Media Ventures Studios in Santa Monica, California, along with sessions at Abbey Road Studios in London. The score combined powerful orchestral and choral arrangements with atmospheric world music influences, reflecting both the epic scale and emotional depth of the film. Gerrard’s haunting vocals added a spiritual quality to the soundtrack, complementing Zimmer’s sweeping themes and percussive intensity. The result was a groundbreaking and influential score that became one of the most recognizable in modern cinema.
Chicken Run
John Powell and Harry Gregson-Williams
The music for Chicken Run (2000) was co-composed by John Powell and Harry Gregson-Williams and recorded in London at Abbey Road Studios. Large orchestral sessions—conducted across different cues by Gregson-Williams, Gavin Greenaway, and Nick Ingman, with engineering by Nick Wollage and Alan Meyerson—produced a playful, boldly cinematic sound. The score mixes classic adventure writing with cheeky touches (even kazoos and whistles) to match Aardman’s stop-motion caper energy
Paddington 2
Dario Marianelli
The music for Paddington 2 (2017) was composed by Dario Marianelli and recorded at Abbey Road Studios in London. Performed by the London Symphony Orchestra under the composer’s direction, the score blends rich orchestral textures with lighthearted, whimsical themes that mirror the film’s warmth and humor. Marianelli’s music combines playful melodies, British charm, and emotional depth, perfectly complementing Paddington’s adventures and the film’s heartfelt tone.
The World is not Enough
David Arnold
The music for The World Is Not Enough (1999) was composed by David Arnold and recorded at AIR Lyndhurst Studios in London. Performed by the London Symphony Orchestra, the score blends sweeping orchestral arrangements with contemporary electronic elements, reflecting Arnold’s modern take on the classic James Bond sound. Featuring a balance of high-energy action cues and lush romantic themes, the music captures the film’s mix of sophistication, danger, and emotion, while maintaining the iconic Bond musical identity established by John Barry.