The expository scenes between each animation piece are utterly pointless but they’re easy to ignore. As an adult I’m in awe. To those who thrilled to… Fantasia, this album will recall many thrilling and delightful moments.
fantasia 2000 trailer – Symphony No. 6 (Beethoven)
Fantasia Barrino may have won the third season of American Idol with “I Believe,” but it was her passionate take on George Gershwin’s “Summertime” that had everyone talking for weeks. Deems Taylor has explained that the first offering is a flight of sheer fancy on the part of the Disney illustrators. The Bach number is nine minutes of pictorial kaleidoscope, in the course of which various gay and bizarre representations of musical instruments are flashed in grotesque shapes across the screen.
At the end, after the dinosaurs have made their march of death, the world itself seems to come to an end in a dramatic crescendo. At an animators’ meeting, Walt Disney shared his vision for the segment’s conclusion.
Both films are made up of animated scenes to to some of the most famous pieces of classical music. In the 1940s original, the music was performed by the Philadelphia Orchestra and conductor James Stokowski. The composer and music critic Deems Taylor introduced the different segments.
By now the 1940 soundtrack, even with a sprucing up, is a quaint aural relic, thin and murky at the same time, a sound that evokes cathedral radios smelling of furniture polish as the tubes heat up. Yes, the music was written by the Great Composers, but who worships at their feet anymore? Bach, Beethoven and company seem more like soundtrack composers this time around, like Dmitri Tiomkin. The glory of the movie is what drove Disney in the first place: the lost or at least endangered art, craft, and spirit of animation.
Sunflower and Otika are little black centaurettes with donkey bodies. Their appearance resembles a European American in blackface with exaggerated facial features and a stereotypical black female hair style, a common comic caricature of the time. By contemporary standards such depictions are considered racist and they have ultimately been edited out of the film since the 1969 re-release. Their names are also no longer mentioned in the program.
A silhouetted Stokowski takes the podium, lifts his hands (which hold no baton, a Stokowski affectation) and we’re off into Bach’s Toccata and Fugue in D Minor. Extravagantly shadowed shots of the orchestra blend into abstract animation, and as the fugue kicks in we enter Fantasia-land, with spheres pouring through infinite space, lines writhing like a brainwave readout from the creative lobes. It’s interesting, but in an age of computer logos plaiting and effulging at every television station break, it seems stiff and primitive, a self-conscious effort to honor esthetic theory.
Neal Gabler is the award-winning author of several books about Hollywood and the entertainment industry, including Walt Disney: The Triumph of the American Imagination He contributes frequently to the New York Times and the Los Angeles Times, and his work has appeared in Esquire, New York Magazine, Vogue and other publications.
4) In 1946, Fantasia was re-edited to a 115-minute running time. “Toccata and Fugue” was restored, but most of Deems Taylor’s introductions were kept as short as possible. This is the version of Fantasia that is the most familiar to the public, and is referred to as the General Release Version. It omitted Deems Taylor’s mention of an intermission, which occurs right after the end of “The Rite of Spring” in the roadshow release, and since then, the film, when shown in theatres and released on videocassette, has gone straight from the end of “The Rite of Spring” to the jam session and then the “Meet the Soundtrack” segment, with no break whatsoever.
If Stravinsky’s 1913 ballet was the most musically daring among the Fantasia segments, so was the idea of evolution — or at least, the idea of dramatizing it via animation in a family film. Walt Disney originally conceived of following evolution all the way up to “the age of mammals and the first men” and even beyond that to “fire and the triumph of man.” That was ultimately deemed to be too controversial, though, so the segment was written to wrap up with the extinction of the dinosaurs.
On December 19, 2012, Barrino premiered her new single, ” Lose to Win “. During an interview on Steve Harvey ‘s morning radio show, Barrino revealed that the album’s release date would be March 13, 2013. However, on February 28, 2013, via her Facebook page, Barrino announced that her album would be released on April 23, 2013. The album was available for pre-order on March 19, 2013.
Critics may deplore Disney’s lapses of taste, but he trips, Mickey-like, into an art form that immortals from Aeschylus to Richard Wagner have always dreamed of. Title derived from “The Sorcerer’s Apprentice” segment of the film.
Ben Ali Gator is the prince of the Alligators who wears a feather on his hat. He is first seen taking his cape off, jumping off a column and scaring away the Alligators. When he sees the sleeping Hippo he falls in love with her on the spot. They playfully begin a chase which escalates to the final dance. He makes a cameo appearance in Disney’s Bonkers in the season 2 episode “Cartoon Cornered”, in which he scares Sergeant Grating away. His name is never mentioned in the program.
A variation on this type of film was Disney’s own ‘unofficial’ sequel Make Mine Music (1946), its 8th full-length animated feature, that substituted pop music for the classics. Two of its most famous segments (of ten animated vignettes) were (1) Prokofiev’s Peter and the Wolf (narrated by Sterling Holloway) distributed with the re-release of Fantasia in 1947 as an ‘update’, and (2) Casey at the Bat. Another of the segments, Blue Bayou, was originally set to Debussy’s Claire de Lune and was intended to be included in Fantasia, but it was cut due to length.
That said, Disney didn’t want Fantasia to be all bloodthirsty dinosaurs and pious angels. The film’s penultimate segment, set to Ponchielli’s Dance of the Hours ballet, demonstrated just how precisely the animators were able to balance beauty and whimsy.
Leopold Stokowski and James Levine are the conductors in the films with the four families of musical instruments. Matt Sazama and Burk Sharpless will write the script based on the “Night on Bald Mountain” segment of Disney’s 1940 animated film.
Chernabog is also seen as a guest in Disney’s House of Mouse where he is voiced by Corey Burton Here, we can see his legs. He is more than an actual villain. In one particular episode, he sheepishly admits to Clarabelle Cow that he is afraid of the dark and in another during a blackout , he admits that he is “kind of afraid of the dark”. In one episode, he even reenacts a part of the Night on Bald Mountain segment before Pete tries to push him (and Bald Mountain) away with a bulldozer, which provokes the evil spirits that chase the selfish cat out of the club. In the Mickey’s House of Villains direct-to- DVD film, he is shown to have some sort of relationship with Maleficent ‘s dragon form, stating (during the song) that he loves her work. They are seen again together shortly before Mickey’s fight with Jafar , during the sequence that parodies the segment The Rite of Spring.
Reserved for the second part are the Beethoven Pastoral Symphony” and Ponchielli’s Dance of the Hours.” Former is a mythological allegory, employing Zeus and others on Mt. Olympus. Hamilton Luske, Jim Handley and Ford Beebe supervised the execution which is one of the loveliest tales from the Disney plant. In contrast, the studio tackles the Dance of the Hours” in a facetious mood, burlesquing and satirizing the ballet traditions. Among the dancers are elephants, rhinos and ostriches.
Production: Walt Disney. Director Ben Sharpsteen (sup.); Producer Walt Disney; Screenplay Joe Grant, Dick Huemer; Editor Stephen Csillag; Music Edward H. Plumb (dir.). Previewed at Broadway, N.Y., Oct. 11, ’40; regular run starts Nov. 13, ’40, twice daily, $2.20 top.
The first re-modelling of the tone poem took place in 1872, when Mussorgsky revised and recast it for vocal soloists, chorus , and orchestra as part of act 3 that he was assigned to contribute to the collaborative opera-ballet Mlada In this new version the music was to form the basis of the Night on Mount Triglav (Russian: Ночь на горе Триглаве, Noch′ na gore Triglave) scene.
The trick was to let Disney be Disney. For Tchaikovsky’s “Nutcracker” Suite, the animators set the Sugarplum Fairy to scattering Tinkerbell twinkle dust around morning glories. They transformed mushrooms into Chinese dancers with the scrumptious roundness that is a Disney hallmark. Cuteness is rampant. In “The Arab Dance,” a fish swirls around and around, blinking at us through the veil of her transparent tail. She has not only eyelids but eyelashes, sultry ones. Milkweed dervishes whirl through falling leaves, thistles do a Russian dance. In the alchemy of animation, everything is transmutable.
Black Music Month means a great deal to me personally. Most of our sounds, harmonies, and cadences came from places of pain, struggle, and tremendous sacrifice. There’s an authenticity found in Black, soulful music that can’t be imitated or digitally duplicated.
Barrino received two Grammy nominations for her sophomore release, Fantasia and subsequently began work on her third studio album in 2008. She stated on the red carpet of the 2008 Grammy Awards that the style of the new album would be a blending of the avenues she has touched musically, which include American Idol and Broadway. She also revealed that she would be writing some of the album’s songs and would collaborate again with Missy Elliott, The Underdogs , and Midi Mafia , who produced one of her biggest hits, “When I See U”.
The familiar Tchaikovsky Nutcracker Suite” is the second offering, somewhat longer, as it runs 14 minutes. Like its predecessor, the animation was supervised by Samuel Armstrong. Pictorially, it is a series of charming ballets, the leading and supporting characters of which are flowers, fish and fairies that cavort in whimsical surroundings. Some of it is reminiscent of The Water Babies,” a short which Dinsey produced some time ago. The underwater color effects, the impish capers of the flower petals, the grotesque dance of the mushrooms in Chinese costumes and the designs of the fan-tail fishes are striking and amusing.
It wasn’t until after Disney passed away that a second life for Fantasia seemed possible. As was the case for many of the studio’s animated features, Fantasia received theatrical re-releases over the 1940s, 1950s, and 1960s. (The re-release strategy, not unique to this film, was created as much to allow audiences to revisit favorite films, as it was an easy way to goose up profits on older films in the days before home media.) In 1969, Fantasia was put back in theaters with a somewhat more unique way of advertising to a non-obvious audience: hippies.
Mickey’s sorcerer’s hat from Fantasia appears. The Dukas piece and Goethe poem were also, by way of the film Fantasia, the inspiration of the 2010 Disney movie, The Sorcerer’s Apprentice , starring Nicolas Cage and Jay Baruchel.
If nothing else, what made Fantasia daring was the sense that a purveyor of all-ages entertainment would make a two-hour film comprised of a handful of animated, dialogue-free shorts, all scored to classical music and hosted by an opera commentator. We can argue all we like about whether or not the phrase They don’t make movies like this anymore” is overused in modern culture. But they really don’t make movies like Fantasia anymore.
Chernabog is the massive nocturnal devil in Night on Bald Mountain , who can take peoples hearts and holds power over various restless souls. His name is taken from Chernobog , a deity of Slavic mythology ; the name is Slavic for “black god”. 2 While officially a pagan god, Chernabog might have originally been intended as a representation of Satan : when “Night on Bald Mountain” appeared on the original Wonderful World of Disney , Walt Disney referred to Chernabog as “Satan himself.” 3 Deems Taylor also refers to Chernabog as “Satan” in the film.
introducing the soundtrack Oh, yeah. clears throat chuckles Before we get into the second half of the program, I’d like to introduce somebody to you, somebody who’s very important to Fantasia. He’s very shy and very retiring. I just happened to run across him one day at the Disney Studios. But when I did, I suddenly realized that here was not only an indispensable member of the organization, but a screen personality whose possibilities nobody around the place that had ever noticed. And so I’m very happy to have this opportunity to introduce to you the soundtrack.
The ad campaign for this 1969 re-release landed well with young adults, with journalists dubbing it psychedelic in ways that seem, even now, fundamentally ridiculous in comparison with what Fantasia actually is. But it worked: on this re-release, the film began to make a profit. The success was such that, briefly, Disney animators mused on reviving Fantasia as a new kind of film called Musicana. As author Charles Solomon noted in 1995 in a book on unproduced Disney projects, though, it was shelved in favor of the 20-minute short Mickey’s Christmas Carol, released in the winter of 1983.
But oh what a film it is. Music by the best classical composers ever lived, performed by the Philadelphia Orchestra, hosted by Deems Taylor, featuring some the finest animated segments Disney had ever done. It’s a stone cold classic, was from the very first moment, and it’s a shame it didn’t do so well. Luckily it has gone down in history as one of Disney’s finest and will be watched and appreciated for centuries to come.
The Pastoral Symphony and Dance of the Hours, the next two segment, are to me very similar and while they’re both fine, I cannot admit to liking them all that much. They’re mostly just general gallivanting and while that’s fine and fits the music, it can become a bit boring. The Pastoral Symphony is also the segments that has aged the least gracefully with some really rough character designs.
The film, with a production cost of more than $2 million (about four times more than an average live-action picture), initially failed at the box-office (partially due to the expensive installation of “Fantasound” sound reproduction equipment in theatres), but then its popularity increased and its cult status was assured when the members of the 60’s drug culture adopted it as a favorite hallucinatory experience when it was re-released (alongside other counter-cultural, head-tripping favorites, including 2001: A Space Odyssey (1968) , Easy Rider (1969) , and the re-released Alice in Wonderland (1951) in 1974). Because of the studio’s financial difficulties, its next animated feature, Dumbo (1941), was a low-budget offering.
It is through Rimsky-Korsakov’s version that Night on Bald Mountain achieved lasting fame. Premiering in Saint Petersburg in 1886, the work became a concert favourite. Half a century later, the work obtained perhaps its greatest exposure through the Walt Disney animated film Fantasia (1940), featuring an arrangement by Leopold Stokowski , based on Rimsky-Korsakov’s version. Mussorgsky’s tone poem was not published in its original form until 1968. Although still rarely performed, it has started to gain exposure and become familiar to modern audiences.
Then comes “The Sorcerer’s Apprentice,” in which Mickey Mouse is the Promethean little guy whose magic gets away from him – the broom he enchants into carrying pails of water turns into a horde of brooms, and the water turns into a tidal wave. Some kids get edgy with this one. At the end, Mickey’s master, the sorcerer himself, returns to set everything right, and a moment later we see a shadowy Mickey climb the podium to shake Stokowski’s hand. The conductor as sorcerer, sorcerer as conductor.
The Fantasia 3-LP album set was housed in this distinctive box with an abstract impressionistic design, complete with Fantasia characters subtly etched over the splashes of paint. Released in 1957, this version of the Fantasia soundtrack was a bestseller for many years.
For the final performance of the season, Barrino offered a second performance of “Summertime” that again drew praise from the judges; Simon Cowell remarked that she was the best contestant to ever compete in any competition, including the more than seventy Idol champions crowned nationally and internationally since the show began its first global incarnations. On the finale, over 65 million votes were cast in order to determine the winner on May 26, 2004, up from 24 million in 2003. 11 Barrino defeated runner-up Diana DeGarmo by 1.3 million votes. 12 At age 19, she was the youngest American Idol winner until May 23, 2007, when then 17-year-old Jordin Sparks won the title.