by Debbie Wiseman (Soundtrack)

Listed as one of the top 10 most interesting independent film scores of the past four years according to the editors of Film Score Monthly

# Title Time Listen
1 Wilde 4:29 mp3
2 Wild West 2:41
3 I Do Need An Audience 1:48 mp3
4 Almost As Beautiful As His Mother 2:07 mp3
5 Nothing Should Reveal The Body But The Body 1:48
6 He Loves 1:15 mp3
7 Gates Thrown Open 1:39
8 Love Goes Round 1:27
9 I Will Kiss thy Mouth, Jokanaan 1:46
10 The Wounds Of Love 3:53
11 Constant Constance 2:03
12 The Selfish Giant 1:09
13 Mr. Wilde, You Must Go 4:31
14 Cast Into Outer Darkness 2:02
15 Don't Ever Change Your Love 2:04
16 What Is The Love 1:20
17 Angel At My Side 1:52 mp3
18 Who Has Dared To Wound Thee? 3:11
19 De Profundis 1:39
20 So Wildly Worshipped,And So Madly Kissed 2:11
21 An Age Of Silver 9:37

Album Cover

Sonic Images Records
Sep 15, 1998

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Music engineer: Dick Lewzey
Orchestra leader: Perry Montague-Mason
Oboe solos: Dick Morgan 
Piano solo: Andrew Botrill and Debbie Wiseman 
Cello solos and strings co-ordination: Justin Pearson
Music consultant: Roz Colls 
Music preparation: Tony Wharmby 


This is a very beautiful score for an overlooked film. The opening main theme is a lush one for solo oboe (Dick
Morgan), piano solo and strings.  There are other lovely cues on this release, including Track 4 ("Almost as
Beautiful as His Mother"), Track 8 ("Love Goes Round"), and  Track 10 ("The Wounds of Love").  This soundtrack
is mostly lushly romantic as is the story of the doomed love affair of Oscar Wilde. Included are several
arrangements of "Ah, Leave Me Not to Pine" by Gilbert and Sullivan. The notes in the 8 page booklet are by John
Williams (not the composer), editor of Music from the Movies.   Unfortunately, his notes and information about
Debbie Wiseman are made harder to read over the fuzzy photos, which would be better utilizied if you could
actually see them apart from the text. But Wiseman's lovely romantic score is what makes this CD release a
winner.  Recommended.

FILM MUSIC REVIEW - The Web Magazine

Listed as one of the top 10 most interesting independent film scores of the past four years according to the 
editors of Film Score Monthly

A  moving orchestral work by Debbie Wiseman (Haunted, Postcards From The Edge and the Oscar-nominated 
score for Tom & Viv). A truly impressive work.

EMPIRE Magazine

Wiseman's inexpressibly touching melody rises and falls with gentle nobility; its tenderness and warmth place 
at the very heart of the score.

Paul Tonks

After their successful collaboration on Tom & Viv, director Brian Gibson and composer Debbie Wiseman
reteamed for this elaborate Oscar Wilde biopic...  This is Wiseman's third score to be released on CD, and they
are all absolutely extraordinary. With Wilde, she surpasses herself, creating enough glorious, emotional themes
for a dozen other films. Though difficult to find, this is well worth the effort of tracking down and certainly
deserves Oscar consideration in the upcoming year.  As usual, the piano, often played by Wiseman herself,
frequently takes center stage and establishes most of the melodies. The primary themes are established in the
main title cue, a tour de force of epic scoring that sweeps the listener directly into the emotionally turbulent
atmosphere of Victorian England. Diverging from the academic approach of Tom & Viv, Wiseman unleashes a
torrent of beauty and sorrow which perfectly complements Wilde's soaring literary accomplishments and
devastating personal tragedies.  Also, appreciative thanks to Wiseman for giving citations when she quotes from
other composers.  After nods to Gershwin and Strauss in her two previous released scores, here she
incorporates passages from Victorian contemporaries Gilbert & Sullivan to surprisingly elegant effect.  Unlike a
number of other composers who feel free to swipe from the classical canon without giving credit, Wiseman
acknowledges her predecessors, and she's all the classier for it.  Incidentally, be sure to read the informative
but amusingly pompous liner notes by Music from the Movies' John Williams, which are overstated enough to
have pleased Oscar himself.  Grade: A+.