My Own Private Wolfgang (audio story): Difference between revisions

From Tardis Wiki, the free Doctor Who reference
No edit summary
m (Robot: Cosmetic changes)
Line 10: Line 10:
|companions      = [[Evelyn Smythe]]  
|companions      = [[Evelyn Smythe]]  
|enemy            =  
|enemy            =  
|setting          = [[1856]]<br>[[1791]]
|setting          = [[1856]]<br />[[1791]]
|writer          = [[Robert Shearman]]
|writer          = [[Robert Shearman]]
|director        = [[Nicholas Briggs]]
|director        = [[Nicholas Briggs]]
Line 52: Line 52:
{{BFA monthly}}
{{BFA monthly}}
{{TitleSort}}
{{TitleSort}}
[[Category:Sixth Doctor audio stories]]
[[Category:Sixth Doctor audio stories]]
[[Category:2007 audio stories]]
[[Category:2007 audio stories]]

Revision as of 18:07, 28 April 2012

RealWorld.png

audio stub

My Own Private Wolfgang was a 2007 Big Finish Productions full-cast audio short story, featuring the Sixth Doctor and Dr. Evelyn Smythe.

It had a notably innovative structure for a pseudo-historical story. The story began with a difference between how the audience and the TARDIS crew viewed historical events. It ended with the Doctor unwittingly changing history into a shape the audience recognises. In the beginning, the Doctor and Evelyn accept an exceptionally long-lived Mozart as being the norm for their time stream, but they change history so that Mozart died a young man in 1791.

Publisher's summary

Wolfgang Amadeus Mozart. Born in 1756, a veritable wonderkind - playing music for the crowned heads of Europe as an infant, composing by the time he was five years old. But it's tempting to wonder whether his amazing longevity has overshadowed his creative genius - would Mozart's music be better respected, maybe, if he'd died as a young man? Would he be a legend of music, rather than of scientific curiosity, if he'd never lived to compose the film score for the remake of The Italian Job?

Plot

to be added

Cast

References

  • Mozart's real-life compositions, The Magic Flute and Requiem, are mentioned here. "Flute" just gets touched on in passing, while much of the last half of the play is concerned with the composition of his Requiem.

Notes

to be added

Continuity

Timeline