1 00:00:56,200 --> 00:00:58,031 How do you do? 2 00:00:58,160 --> 00:01:01,118 It's my very pleasant duty to welcome you here... 3 00:01:01,240 --> 00:01:04,118 on behalf of Walt Disney, Leopold Stokowski... 4 00:01:04,240 --> 00:01:07,676 and all the other artists and musicians whose combined talents... 5 00:01:07,800 --> 00:01:12,032 went into the creation of this new form of entertainment, Fantasia. 6 00:01:14,080 --> 00:01:15,832 What you're going to see... 7 00:01:15,960 --> 00:01:18,394 are the designs and pictures and stories... 8 00:01:18,520 --> 00:01:21,637 that music inspired in the minds and imaginations... 9 00:01:21,760 --> 00:01:23,751 of a group of artists. 10 00:01:23,880 --> 00:01:25,711 In other words, these are not going to be... 11 00:01:25,840 --> 00:01:28,070 the interpretations of trained musicians. 12 00:01:28,200 --> 00:01:30,191 Which I think is all to the good. 13 00:01:30,320 --> 00:01:31,833 So now we present... 14 00:01:31,960 --> 00:01:35,999 the Tocatta and Fugue in D-Minor by Johann Sebastian Bach... 15 00:01:36,120 --> 00:01:39,112 interpreted in pictures by Walt Disney and his associates... 16 00:01:39,240 --> 00:01:41,390 and in music by the Philadelphia Orchestra... 17 00:01:41,520 --> 00:01:44,910 and its conductor, Leopold Stokowski. 18 00:11:09,640 --> 00:11:14,077 You know, it's funny how wrong an artist can be about his own work. 19 00:11:14,200 --> 00:11:17,351 Now, the one composition of Tchaikovsky's that he really detested... 20 00:11:17,480 --> 00:11:19,198 was his Nutcracker Suite... 21 00:11:19,320 --> 00:11:21,595 which is probably the most popular thing he ever wrote. 22 00:11:21,720 --> 00:11:25,030 Incidentally, you won't see any nutcracker on the screen. 23 00:11:25,160 --> 00:11:27,628 There's nothing left of him but the title. 24 00:25:23,200 --> 00:25:27,034 And now we're going to hear a piece of music that tells a very definite story. 25 00:25:27,160 --> 00:25:31,039 It's a very old story. One that goes back almost 2,000 years. 26 00:25:31,160 --> 00:25:34,072 A legend about a sorcerer who had an apprentice. 27 00:25:34,720 --> 00:25:37,632 He was a bright young lad very anxious to learn the business. 28 00:25:37,760 --> 00:25:40,069 As a matter of fact, he was a little bit too bright... 29 00:25:40,200 --> 00:25:43,875 uh, because he started practising some of the boss's best magic tricks... 30 00:25:44,000 --> 00:25:46,070 before learning how to control them. 31 00:34:44,920 --> 00:34:47,229 Mr. Stokowski. Mr. Stokowski. 32 00:34:50,480 --> 00:34:52,710 My congratulations, sir. 33 00:34:53,320 --> 00:34:55,675 Congratulations to you, Mickey. 34 00:34:55,800 --> 00:34:57,552 Gee, thanks. 35 00:34:57,680 --> 00:35:00,956 Well, so long. I'll be seein' ya. 36 00:35:02,120 --> 00:35:03,678 Bye. 37 00:35:09,240 --> 00:35:12,630 When Igor Stravinsky wrote his ballet, The Rite of Spring... 38 00:35:12,760 --> 00:35:15,991 his purpose was, in his own words, to ''express primitive life. '' 39 00:35:16,120 --> 00:35:19,874 So Walt Disney and his fellow artists have taken him at his word. 40 00:35:20,000 --> 00:35:22,594 Instead of presenting the ballet in its original form... 41 00:35:22,720 --> 00:35:26,872 as a simple series of tribal dances, they have visualized it as a pageant-- 42 00:35:27,000 --> 00:35:30,390 as the story of the growth of life on Earth. 43 00:35:30,520 --> 00:35:33,557 It's a coldly accurate reproduction of what science thinks went on... 44 00:35:33,680 --> 00:35:36,672 during the first few billion years of this planet's existence. 45 00:35:36,800 --> 00:35:40,349 So now imagine yourselves out in space... 46 00:35:40,480 --> 00:35:42,948 billions and billions of years ago... 47 00:35:43,080 --> 00:35:46,277 looking down on this lonely, tormented little planet... 48 00:35:46,400 --> 00:35:49,233 spinning through an empty sea of nothingness. 49 00:58:49,040 --> 00:58:52,191 Uh, before we get into the second half of the programme... 50 00:58:52,320 --> 00:58:54,276 I'd like to introduce somebody to you-- 51 00:58:54,400 --> 00:58:56,516 somebody who's very important to Fantasia. 52 00:58:56,640 --> 00:58:58,596 He's very shy and very retiring. 53 00:58:58,720 --> 00:59:01,473 I just happened to run across him one day at the Disney studios. 54 00:59:01,600 --> 00:59:03,511 But when I did, I realized... 55 00:59:03,640 --> 00:59:06,393 that here was not only an indispensable member of the organization... 56 00:59:06,520 --> 00:59:08,272 but a screen personality. 57 00:59:08,400 --> 00:59:11,551 And so I'm very happy to have this opportunity to introduce to you... 58 00:59:11,680 --> 00:59:12,999 the soundtrack. 59 00:59:16,840 --> 00:59:18,717 Come on. Don't be timid. 60 00:59:21,480 --> 00:59:23,118 That a soundtrack. 61 00:59:23,240 --> 00:59:25,834 Now, watching him, I discovered that every beautiful sound... 62 00:59:25,960 --> 00:59:28,520 also creates an equally beautiful picture. 63 00:59:28,640 --> 00:59:33,031 Now, look. Will the soundtrack kindly produce a sound? 64 00:59:33,160 --> 00:59:36,232 Go on, don't be nervous. Go ahead. Any sound. 65 00:59:39,760 --> 00:59:43,355 Well, that isn't quite what I had in mind. 66 00:59:43,480 --> 00:59:46,358 Uh, suppose we see and hear the harp. 67 01:00:05,760 --> 01:00:09,036 Uh, now one of the strings-- say, the violin. 68 01:00:30,280 --> 01:00:32,555 And now-- now one of the woodwinds-- 69 01:00:32,680 --> 01:00:34,557 a flute. 70 01:00:39,960 --> 01:00:41,473 Very pretty. 71 01:00:41,600 --> 01:00:44,068 Now let's have a brass instrument-- the trumpet. 72 01:01:00,440 --> 01:01:05,230 Oh, all right. Now, uh, how about a low instrument-- the bassoon? 73 01:01:12,800 --> 01:01:15,951 Go on. Go on. Drop the other shoe, will you? 74 01:01:21,400 --> 01:01:24,790 Well, now to finish, suppose we see some of the percussion instruments... 75 01:01:24,920 --> 01:01:26,911 beginning with the bass drum. 76 01:01:50,960 --> 01:01:52,837 Thanks a lot, all of ya. 77 01:01:54,320 --> 01:01:57,392 The symphony that Beethoven called the ''Pastoral''... 78 01:01:57,520 --> 01:02:00,796 his sixth, is one of the few pieces of music he ever wrote... 79 01:02:00,920 --> 01:02:03,115 that tells something like a definite story. 80 01:02:03,240 --> 01:02:05,708 He was a great nature lover, and in this symphony... 81 01:02:05,840 --> 01:02:08,877 he paints a musical picture of a day in the country. 82 01:02:09,000 --> 01:02:10,911 Now, of course, the country that Beethoven described... 83 01:02:11,040 --> 01:02:13,554 was the countryside with which he was familiar. 84 01:02:13,680 --> 01:02:16,433 But his music covers a much wider field than that... 85 01:02:16,560 --> 01:02:18,915 and so Walt Disney has given the ''Pastoral''symphony... 86 01:02:19,040 --> 01:02:20,917 a mythological setting. 87 01:23:41,520 --> 01:23:44,114 Now we're going to do one of the most famous and popular ballets... 88 01:23:44,240 --> 01:23:46,470 ever written-- ''The Dance of the Hours''... 89 01:23:46,600 --> 01:23:48,989 from Ponchielli's opera La Gioconda. 90 01:23:49,120 --> 01:23:51,111 It's a pageant of the hours of the day. 91 01:23:51,240 --> 01:23:53,117 All this takes place in the great hall... 92 01:23:53,240 --> 01:23:54,878 with its garden beyond... 93 01:23:55,000 --> 01:23:58,231 of the palace of Duke Alvise, a Venetian nobleman. 94 01:35:52,040 --> 01:35:54,713 The last number in our Fantasia programme... 95 01:35:54,840 --> 01:35:57,798 is a combination of two pieces of music so utterly different... 96 01:35:57,920 --> 01:36:01,993 in construction and mood that they set each other off perfectly. 97 01:36:02,120 --> 01:36:04,111 The first is ''A Night on Bald Mountain''... 98 01:36:04,240 --> 01:36:07,596 by one of Russia's greatest composers, Modeste Mussorgsky. 99 01:36:07,720 --> 01:36:11,030 The second is Franz Schubert's immortal ''Ave Maria. '' 100 01:36:11,160 --> 01:36:12,878 Musically and dramatically, we have here... 101 01:36:13,000 --> 01:36:16,117 a picture of the struggle between the profane and the sacred.