Debbie Wiseman - Ten: Memories for solo piano

Debbie Wiseman is a highly esteemed British composer, recognised for her musical scores for film and television, and compositions for royal events (including Queen Elizabeth's Platinum Jubilee Celebration and the Coronation of King Charles III and Queen Camilla). 

We recently spoke with Debbie about her experiences being Classic FM's Composer in Residence, her new album and sheet music collection, Ten: Memories for solo piano, and the music she has composed over the past decade.

Browse Debbie Wiseman Recordings

Browse Debbie Wiseman Sheet Music 

Your new album celebrates ten years of being Classic FM's Composer in Residence. What has that been like for you?

There has been some significant music composed in that time, including music for the coronation of the King, Elizabeth Remembered for the late Queen's funeral, music for Wolf Hall, and a piece composed during the COVID pandemic called Together. 

They're all different orchestrations: some are choral, some are orchestral. But I write at the piano, so I thought, what if I just go back and play them all at the piano and see what happens? 

How did you decide on which pieces to include in the collection? Are they your favourites, the ones that translated best to solo piano, or the most popular works? 

It was a mixture of all that, but it was difficult to choose. I wanted pieces that sounded good on the piano. Not everything did, because when you write at the piano, you're not necessarily writing for the piano. Not everything translates as well when you turn it into a piano solo. 

So the main criteria were that it had to work well on the piano, it had to be written within the past ten years, I needed to be able to play it, and it needed to be playable for others. I also wanted people to be able to listen to pieces one after another. When it is just the one instrument, you have to be careful that there's enough variety for people to enjoy. 

I recorded it on the most beautiful Steinway concert grand piano, at a place called Master Core Studios. You just sink into the keys, and I had the most lovely time recording it. I hope that comes through in the playing, because when you're enjoying playing an instrument that you love, it definitely affects the way you play and perform.

Could you tell us more about the sheet music collection?

With Together, we encouraged people to download the sheet music to play themselves whilst isolating at home. We were deluged with people who were doing this, and it was so lovely to be able to connect people through music. So I thought, what if I produce a songbook of the music on the album so that people can not only listen to this music, but can also play it themselves. 

Faber Music jumped on board immediately. The book is intended for intermediate-skilled pianists, and I think that's great because it's playable; this is not virtuoso music. The joy of being able to share this music is just brilliant. I love the piano; it's such a popular instrument for people to listen to and I hope it provides relaxation and enjoyment. That was the purpose of it. 

You mentioned Together there, which was composed during the pandemic. What was your experience during this time? 

Well, just like everybody else, completely awful. I don't think anybody's got any happy memories of that time. My brother caught COVID very early on. He must have been one of the first to catch it. He was in intensive care for three weeks, and we didn't know if he would survive. Nobody could see him, and it was all ghastly. I wrote Together for him.

Fortunately, my brother is fully recovered and it had a happy ending, but I know that a lot of people didn't. Musicians were in a terrible way because all their work had been cancelled. Suddenly, they all had empty diaries, which was frightening. I remember Classic FM presenters all had to work from home, but they were determined to keep on air because music was the one thing that was helping people. 

Writing Together was a release for me from the awful stuff that was going on. Music was the one thing during that time that people felt gave them some respite. 

You mentioned working at the piano originally. Did you have this music notated for the piano already? 

No, I notate it in the orchestration that it's got to be performed in. The music for the Coronation was choral, so it was notated for choir, and Elizabeth Remembered was orchestral. There's another orchestral piece that starts the album called The Traveller, which was written for Viking [River Cruises], and is their signature music. So we've got a lot of different orchestrations for the original pieces. 

I think we're so overstimulated in this world. There's always so much going on, and our to-do list is so full. I love it when I declutter my wardrobe or my desk, and just strip it right back to its essentials, so the idea of stripping the music back and giving its beauty and simplicity to the piano was what appealed to me. It's simple. It doesn't require a lot of energy or concentration, even. You can just sit back and enjoy it, one instrument in its purest form. 

How did you feel about composing Elizabeth Remembered for the funeral of the late Queen?

A huge privilege. I was commissioned to write the piece five years before she died. It was obviously done in great secrecy, but the BBC have to prepare for these things. The BBC Concert Orchestra were booked to play the music, and it was recorded at Maida Vale studios, with everybody signing nondisclosure agreements.

It was a difficult thing to write. I had seen her recently at the 90th birthday celebrations, where I'd composed the music for the overture and the finale. That was held at Windsor in the private grounds of the castle, the most remarkably wonderful celebration of her life and her 90th birthday. 

I was given the brief that they didn't want the music to be mournful or sad. They wanted it to be a reflection of a wonderful woman who lived an amazing life, had inspired so many people, and was so loved. I wrote the music thinking of that, and it ended up being in a major key. 

On the day when we were getting news about her health, I got a call from the person who commissioned the piece to say they thought that we would hear my music soon. Sure enough, that evening was the first time I heard it. I don't normally get emotional about anything I've written because I look at it all very technically; I'm always surveying it with a critical eye. For the first time, I was just in pieces. I was so moved by it. At the end of the funeral, they played the music over a three-minute montage of the events of the day, and again I was in absolute pieces. I just thought they did a beautiful job. 

You also composed two pieces for the Coronation of King Charles III. What was that like? 

I got a completely unexpected call just before Christmas asking if I would be able to write two alleluias. I was so excited when I got the call. They sent me the text as they knew which psalms they wanted to set. At that time, both were going to be for the Westminster Abbey Choir with an organist, so I originally wrote them both for that orchestration. Soon after Christmas, I got another call saying the King would love a gospel choir at the Coronation, and if I would mind reworking the second alleluia. 

It was such an absolute thrill to write. At the time, I wasn't sure it was going to work because it had been written with a classical setting in mind. Luckily, it had already had a bit of a bounce to it, so I could adapt it for the gospel choir.

The Ascension Choir did the most remarkable job, especially with all that pressure on them to deliver in front of an audience of billions. I was so proud of them. It was one of those completely unforgettable days, and I was fortunate enough to be one of the twelve composers commissioned to write for the occasion. We were all given the most wonderful seats at Westminster Abbey, close to the choir, all sitting together. We all felt so hugely privileged and honoured to be there. Very special and never to be forgotten, I think. 

It is wonderful that we've got a King who is genuinely passionate about and invested in music…

Yes, and particularly classical music. The Queen, you know, was passionate about her horses. She loved music, but she wasn't as invested in it. The King absolutely loves classical music.

I had the amazing honour of being given a Fellowship at the Royal College of Music. The King is the patron there and gave out the prizes on the day. There was a concert by the students, including a whole array of instrumentalists. He was sitting in the front row and was absolutely riveted to every note. He wasn't looking around; he wasn't talking to anyone. He was concentrating on the music. I thought that showed how genuinely passionate about it he is. 

What are some of the most memorable collaborations you have had over the past decade? 

I've had a couple of collaborations with Alan Titchmarsh [English gardener, broadcaster and writer], with The Glorious Garden and Jack Frost. Two pieces are included on the new album: Jack Frost in its piano form (originally orchestral and vocal) and ‘Myrtle’ from The Glorious Garden (originally for solo violin and orchestra). Just stripping those back to piano solo was lovely. 

For The Glorious Garden, Alan sent me poems about his favourite plants and flowers, which inspired the music. Having something, whether it is a picture, an event, or an occasion, helps get the music out of me. I do like music to have a purpose. 

Are there any poets or authors that particularly resonate with you? 

I remember when I was at college setting words by WH Auden, and that was fantastic. Recently, the Welsh poet Graham Davies sent me a poem about VE Day 80. He wanted to write something that was a celebration and a tribute to the veterans. The beautiful poem is called A Day May Come. 

Graham Davies writes incredibly musically, so that the text sets very naturally to a vocal line. Voces8 ended up performing that piece beautifully; they're an incredible vocal ensemble. It was released as a digital download originally, and it went to number one on the iTunes classical chart, which was fantastic. We decided to include it in Ten as a bonus track so people can own it on a physical CD, which is lovely. That was a real treat - I do love setting words. 

We were struck by the way that nature and travel seem to have been a wellspring of inspiration for you. Are there any specific journeys or locations that have sparked musical ideas?

I love being by the water. It's very peaceful. When I wrote the music for Viking, they very generously asked me to come and experience their river ocean cruise. This is all for research purposes, obviously, not for enjoyment! They were completely wonderful. Being on board: the sound of the sea, the sunsets, the relaxation, the adventure, the peacefulness, and the elegance of it all, very much inspired the piece. 

I don't go on many long holidays because I love my work and I don't like to be away from it for too long. But I do love being by the sea. Any opportunity to go to the seaside, I will grab with both hands. 

Ten: Memories for solo piano 

More by Debbie Wiseman

Read our interview with Debbie Wiseman on The Mirror and the Light here