Cuts: None But the Weary Heart 1'20" was cleared, played in the background of the first crew scene.
The Girl With the Flaxen Hair edits of 0'10" and 0'20" were cleared for use.
Releases: The Unexploded Myth: 'In A Covent Garden' LP, 1973 (Polydor Records 2383 210). The BBC’s production paperwork listed the record as “In A Covent Garden Electrophon”.
Availability: currently unavailable. These scenes were released in their entirety on all VHS and DVD versions (BBCV4108 in 1988, ‘complete & unedited’ BBCV5521 in 1995 and BBCDVD1012 in 2000). Simpson, Debussy and Tchaikovsky were all credited on the BBC video and DVD packaging.
Logopolis: Part 4 (tx: 21/03/84)
Symphony No.8 "Unfinished" (Schubert)
Karl Munchinger conducting Vienna Philharmonic Orchestra
Ace of Diamond SDD 130
6 minutes into the episode, heard coming from the headphones worn by the apparent monitor of the Pharos Project, who storms angrily out of the room in search of another cup of tea just before the Master's TARDIS lands in the corner.
The Five Doctors (tx: 25/11/83)
In Fiction: idly punting down the Cam, the fourth Doctor and Romana are calmly listening to a gramophone record and discussing famous historical inhabitants of Cambridge... unaware that the time scoop is just over their shoulders...
In Fact: the music in the background of this scene was, allegedly, a piece by German composer Paul Lincke (1866-1946) entitled 'Whirl of the Waltz'. Lincke was most recognised for the march 'Berliner Luft' from his 1899 operetta 'Frau Luna', and as the originator of the Berlin School of operetta.
When the story was re-edited and re-mixed into 5.1 Dolby Surround Sound in 1995, some dedicated research went into retrieving the original record. "Only one document in the production file indicated what it was," producer Paul Vanezis told Doctor Who Magazine. "When I tried to order the disc from the music library I was told it was an archive recording on a 78 and I could only use it if it were transferred to audio tape."
Releases (speculative!): there seems to be very, very few commercial releases of this piece of music; indeed, the only release we at TME have been able to find is an American 78 released before 1921 (which sounds like it could well be the one used by the original production team but, in the absence of the actual BBC paperwork, we are unfortunately only guessing). This 78rpm, 11.5" vertical record (Pathe 40071), with 'On the Bosphorus: Turkish Intermezzo', also composed by Lincke, on the reverse, was released sometime between 1915-21 (when the 40000 series of Pathe 78s were produced). Both sides were performed by the Imperial Symphony Orchestra.
Availability: forget it! We can't even be entirely certain that this was a commerically-available record in the first place - it could well have been a music library stock release.
Replacements: the song was not replaced, but was substantially mis-timed, on the 1995 Special Edition of the story, released on VHS (BBCV5734) and on DVD in 1999 (BBCDVD1006). The music starts at a different point, and, owing to an edit on the originally-transmitted version that is not repeated in the Special Edition, ends substantially later - continuing right up until the time scoop takes the Doctor and Romana, and then falling silent on the shot of the empty boat... making it seem as though the scoop also took the gramophone! Approximately 1'09" was heard in the original version; approximately 1'37" is heard in the special edition.
Silver Nemesis: Part One (tx: 23/11/88)
In Fiction: Herr de Flores, a nasty-piece-of-work who plans to resurrect the Third Reich, begins this story at home in South America, listening to German composer Richard Wagner on his vintage gramophone.
In Fact: Hitler was a huge admirer of Richard Wagner’s (1813 - 1883) music and literature, drawing inspiration from the composer’s anti-Semitism and interest in the occult; he even collected the composer’s original manuscripts, many of which perished with him in his Berlin bunker in the final days of World War II, so Herr de Flores is definately getting in the right mood.
The famous Ride of the Valkyries hails from the opera Die Walkure, the second in a trilogy of compositions called The Ring that was based upon a conflation of Teutonic and Scandinavian legends concerning the conflict and struggle for power between the Nibelung dwarfs, the giants and the gods. With the help of his young patron King Ludwig II of Bavaria, Wagner was able to establish his own operatic kingdom, realising his revolutionary ideas of music-drama. The Valkyries were nine warrior maidens, who bore the bodies of fallen heroes back to their castle, to live again and aid in its defence...
Cuts: 0’30” is heard in the story, playing immediately after the opening titles.
Releases (select releases): written in 1856, this piece was recorded many hundreds of times before 1988. The version heard on screen was taken from the album ‘Classics for Pleasure – Wagner’ an LP released in the summer of 1987 on the EMI Classics for Pleasure label (allegedly coded 4144121, though this does not match any releases we have been able to find), conducted by Karl Anton Rickenbacher.
Availability (select releases): The entire ‘Classics for Pleasure – Wagner’ album was reissued on CD (EMI Classics for Pleasure CDCFP 9008) in July 1993, and the track also appeared on the compilation ‘Unforgettable Classics’ (EMI Classics for Pleasure 73421), June 1999. The scene appeared uncut on VHS in 1993 (BBCV4888).
The Greatest Show in the Galaxy: Part Four (tx: 04/01/89)
as the Doctor struggles to entertain the Gods in their desert-like domain, fumbling with a piece of trick rope and quoting some bad puns, he dances to a little circus tune that plays in the background. Perhaps his previous trick had been to conjure up a small string quartet in the corner?
it is Ethelbert Nevin's Narcissus No. 4 from Water Scenes, Op. 13, performed here by Alfredo Campoli and his Salon Orchestra.
0'51" is heard, 16 minutes into the episode.
Decca F 6464, according to the BBC production paperwork; although a lot of searching has failed to reveal what this record might be.
The Curse of Fenric: Part Two (tx: 01/11/89)
In Fiction: puritan Miss Hardaker has severely reprimanded teenagers Jean and Phyllis for going to Maidens’ Point. They ignore her, turn into vampires, and murder her just as she’s put a record on.
In Fact: the record – rather prophetically, for Miss Hardaker – was a requiem by Gabriel Faure (1745-1924). This opus, composed in 1887 and '88, was written shortly after the deaths of his father and mother in rapid succession. Miss Hardaker is smiling as she puts the record on the turntable, which is a bit grim, considering.
0’20” is heard from the first movement of the requiem, Introit & Kyrie (referred to as Introitus on the BBC’s paperwork).
This particular recording was taken from the LP ‘Requiem’ (Philips 412 743) released in 1985, with Lucia Popp (soprano), Simon Estes (bass), the Leipzig Radio Chorus and the Dresden State Orchestra, conducted by Colin Davis.
the Dresden recording has never been reissued, but other versions are available: for example the Cambridge Singers’ rendition on the CD ‘Faure: Sacred Choral Works’
(COLCD109), released February 1997.
Doctor Who (tx: 27/05/96)
In Fiction: super surgeon Grace Holloway is watching a production of Madame Butterfly whilst on-call; summoned to the hospital to operate on the brutally shot seventh Doctor, she insists on operating with the CD playing in the background... and the poor Doctor regenerates with 'Un Bel Di' stuck in his head.
In Fact: Puccini witnessed David Belasco's theatrical production of John Luther Long's Madame Butterfly in London in 1900, and turned it into an opera that opened in 1904 and took the world by storm. The intimate production, with no subplots and unusually deep characterisations, makes this tragedy one of the most frequently produced and rapturously receieved operas in the entire repertory.
Giacomo Antonia Domenico Michele Secondo Maria Puccini (1858 - 1924) was arguably the last great Italian opera composer, heralded in his own day as the successor to the great Giuseppe Verdi. Yet he was not a talented student, and staged several flops before honing his craft and realising (through failure and disappointment) the importance of a good story, its appropriateness to the stage, and the quality of the musicians, singers and libretto. He became a hands-on composer, involved in every aspect of his productions, and went on to create many perennial favorites of the opera world, including 'La Boheme', 'Tosca' and 'Madama Butterfly'.
Sections from the Act Two aria 'Un Bel Di' feature through the 1996 Anglo-American TV Movie, with the music even incorporated in the plot (as the Doctor's memory starts to return, he hums sections of the Madame Butterfly score and remembers conversations with Puccini). The CD was even shown on-screen several times. This is very likely to have been mocked-up, however; and no-one has ever revealed which recording (out of the many hundreds released in the 90 years since the original production) was used in the film. Alternative versions are, of course, readily available: including an exceptionally good album featuring Maria Callas and the Milan La Scala Orchestra
, released on CD in 1997.
The Impossible Planet (tx: 03/06/2006)
chosen as the night-shift music (apparently a regular jukebox thrill enjoyed by the Sanctuary Base crew) for a drill towards the Devil…
composed in 1928, Maurice Ravel's Bolero - a magnificently bombastic piece of Twentieth Century classical music - has been used time and time again as soundtrack music in films, television and commercials. No credits for the orchestral version used in Doctor Who have ever been revealed, and it is possible that is was recorded specially by the BBC Wales Orchestra.