victoria-coverFeaturing Original Music By Martin Phipps and Ruth Barrett

Dubois Records, in cooperation with Mammoth Screen and Masterpiece will release the VICTORIA – ORIGINAL SOUNDTRACK digitally on all music streaming platforms to coincide with the US release of the television series on PBS this coming weekend. The album features the limited series’ original score by multi-BAFTA and Ivor Novello winning composer Martin Phipps (Woman In Gold, The Keeping Room) and Ruth Barrett (City Of Tiny Lights, Whitechapel) with vocals from the Mediaeval Baebes. VICTORIA was first aired on ITV in the UK on August 28, 2016.

Phipps says: “The idea was to give Victoria a dynamic voice, an explosive theme through which we could rejoice in her strength & courage. The Mediaeval Baebes were the perfect sound for this. With one foot in the classical world & one in the commercial, they gave Victoria the mixture of refinement & attitude I was after.”
Barrett says: “I started composing from episode 2, weaving in some of Martin’s original themes & creating new ones to track Victoria settling into her life as a young queen, her relationship with Albert, and the changing face of Victorian England” She goes on to say, “The music gets epic towards the end of the season, for the birth of the railway and the first royal heir.”

VICTORIA depicts the tumultuous first few years of the reign of Queen Victoria; a monarch who was raised to be a pawn of her powerful elders, but who wasted no time showing the British Empire who was in charge. The series follows Victoria, played by Jenna Coleman (Doctor Who), from her accession to the thrown at the tender age of eighteen, to her fast-developing friendship and infatuation with the then prime-minister, Lord Melborne, played by Rufus Sewell (The Man in the High Castle), to her courtship and marriage to her cousin Prince Albert, played by Tom Hughes (Dancing on the Edge), with the series ending on the birth of their first child, Victoria.

VICTORIA is a co-production of Mammoth Screen and Masterpiece. It is created, written and executive produced by Daisy Goodwin. The director is Tom Vaughan (He Knew He Was Right). The directors are Sandra Goldbacher and Olly Blackburn. The producer is Paul Frift (Restless). The executive producers are Dan McCulloch and Damien Timmer for Mammoth Screen and Rebecca Eaton for Masterpiece, presented by WGBH Boston. It is distributed internationally by ITV Studios Global Entertainment.

About Martin Phipps:
Coming from a musical background (he is Benjamin Britten’s godson), Martin Phipps read drama at Manchester University. Since scoring his first TV drama in 2002, he has gone on to write music for many of the most interesting series of recent years, including The Weinstein Company’s WAR AND PEACE, PEAKY BLINDERS and THE SHADOW LINE, winning 2 BAFTAs & 3 Ivor Novello Awards.

More recently Martin has moved into film, scoring WOMAN IN GOLD with Hans Zimmer, HARRY BROWN and BRIGHTON ROCK. In 2014 Martin had 2 feature film scores premiering at the Toronto Film Festival; Daniel Barber’s US indie THE KEEPING ROOM, and Morgan Matthew’s X PLUS Y.

About Ruth Barrett:
Composer, programmer and instrumentalist, Ruth Barrett has over the last ten years amassed an impressive number of cinema and drama credits including scores for LEGACY, an intense BBC cold war drama from Dredd 3D Director Pete Travis, TOAST, BBC feature film starring Helena Bonham Carter, WALLANDER, BBC detective series starring Kenneth Brannagh, WHITECHAPEL Series 4, starring Rupert Penryn-Jones, and HARRY BROWN with composer Martin Phipps.

She most recently scored THE DURRELLS, new ITV drama series starring Keely Hawes, CITY OF TINY LIGHTS, a modern film noir set in London directed by Pete Travis and starring Riz Ahmed and LOVE NINA, a BBC comedy series starring Helena Bonham Carter. Other works have included CRITICAL starring Lenny James, REMEMBER ME, a chilling BBC drama starring Michael Palin, and HUNTED, an eight-part modern espionage thriller starring Melissa George, which aired on BBC1 and HBO Cinemax.


  1. Victoria – The Suite
  2. The King Is Dead
  3. Coronation
  4. Lord M
  5. Locomotives
  6. Mirrors
  7. The Wedding
  8. The Royal Birth
  9. Privy Council
  10. A Royal Affair
  11. Victoria Titles


  1. I find the Alleluia theme in Victoria to be obtrusively anachronistic, insipid, and out of place. Why not use the authentic coronation music of the period?

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