Fantasia

1 00:00:06,000 --> 00:00:12,074 Watch Online Movies and Series for FREE www.osdb.link/lm 2 00:02:21,659 --> 00:02:23,702 How do you do? 3 00:02:23,787 --> 00:02:25,579 My name is Deems Taylor, 4 00:02:25,604 --> 00:02:28,892 and it's my very pleasant duty to welcome you here 5 00:02:28,917 --> 00:02:32,020 on behalf of Walt Disney, Leopold Stokowski 6 00:02:32,045 --> 00:02:35,690 and all the other artists and musicians whose combined talents 7 00:02:35,715 --> 00:02:39,794 went into the creation of this new form of entertainment, Fantasia. 8 00:02:42,305 --> 00:02:43,972 What you're going to see 9 00:02:44,116 --> 00:02:46,830 are the designs and pictures and stories 10 00:02:46,855 --> 00:02:50,272 that music inspired in the minds and imaginations 11 00:02:50,297 --> 00:02:52,499 of a group of artists. 12 00:02:52,524 --> 00:02:54,158 In other words, these are not going to be 13 00:02:54,183 --> 00:02:56,920 the interpretations of trained musicians. 14 00:02:56,945 --> 00:02:59,130 Which I think is all to the good. 15 00:02:59,322 --> 00:03:02,603 Now, there are three kinds of music on this Fantasia program. 16 00:03:02,784 --> 00:03:05,376 First is the kind that tells a definite story. 17 00:03:05,788 --> 00:03:08,790 Then there's the kind that, while it has no specific plot, 18 00:03:08,915 --> 00:03:12,501 does paint a series of, more or less, definite pictures. 19 00:03:12,585 --> 00:03:14,127 Then there's a third kind, 20 00:03:14,152 --> 00:03:17,321 music that exists simply for its own sake. 21 00:03:17,465 --> 00:03:20,509 Now, the number that opens our Fantasia program, 22 00:03:20,635 --> 00:03:24,256 the Toccata and Fugue, is music of this third kind, 23 00:03:24,281 --> 00:03:26,471 what we call absolute music. 24 00:03:26,578 --> 00:03:31,082 Even the title has no meaning beyond a description of the form of the music. 25 00:03:31,187 --> 00:03:35,941 What you will see on the screen is a picture of the various abstract images 26 00:03:35,966 --> 00:03:38,145 that might pass through your mind 27 00:03:38,170 --> 00:03:41,181 if you sat in a concert hall listening to this music. 28 00:03:41,781 --> 00:03:44,575 At first you're more or less conscious of the orchestra. 29 00:03:44,659 --> 00:03:47,911 So our picture opens with a series of impressions 30 00:03:47,936 --> 00:03:49,812 of the conductor and the players. 31 00:03:49,956 --> 00:03:53,834 Then the music begins to suggest other things to your imagination. 32 00:03:53,918 --> 00:03:55,201 They might be, 33 00:03:55,225 --> 00:03:57,588 oh, just masses of color. 34 00:03:57,645 --> 00:04:01,064 Or they may be cloud forms or great landscapes 35 00:04:01,089 --> 00:04:06,052 or vague shadows or geometrical objects floating in space. 36 00:04:07,199 --> 00:04:08,658 So now we present 37 00:04:08,683 --> 00:04:12,936 the Toccata and Fugue in D Minor by Johann Sebastian Bach, 38 00:04:13,021 --> 00:04:16,398 interpreted in pictures by Walt Disney and his associates, 39 00:04:16,482 --> 00:04:18,942 and in music by the Philadelphia Orchestra 40 00:04:18,967 --> 00:04:21,927 and its conductor, Leopold Stokowski. 41 00:14:04,540 --> 00:14:08,960 You know, it's funny how wrong an artist can be about his own work. 42 00:14:08,985 --> 00:14:12,690 Now, the one composition of Tchaikovsky's that he really detested 43 00:14:12,715 --> 00:14:14,341 was his Nutcracker Suite, 44 00:14:14,425 --> 00:14:17,051 which is probably the most popular thing he ever wrote. 45 00:14:17,167 --> 00:14:20,655 Incidentally, you won't see any nutcracker on the screen. 46 00:14:20,680 --> 00:14:22,889 There's nothing left of him but the title. 47 00:28:51,988 --> 00:28:55,908 And now we're going to hear a piece of music that tells a very definite story. 48 00:28:56,048 --> 00:29:00,093 It's a very old story, one that goes back almost 2,000 years. 49 00:29:00,177 --> 00:29:03,680 A legend about a sorcerer who had an apprentice. 50 00:29:03,947 --> 00:29:07,076 He was a bright young lad, very anxious to learn the business. 51 00:29:07,101 --> 00:29:09,686 As a matter of fact, he was a little bit too bright 52 00:29:09,711 --> 00:29:13,588 because he started practicing some of the boss's best magic tricks 53 00:29:13,748 --> 00:29:16,109 before learning how to control them. 54 00:38:37,025 --> 00:38:39,974 Mr. Stokowski. Mr. Stokowski. 55 00:38:42,880 --> 00:38:45,798 My congratulations, sir. 56 00:38:45,883 --> 00:38:48,384 Congratulations to you, Mickey. 57 00:38:48,469 --> 00:38:50,303 Gee, thanks. 58 00:38:50,387 --> 00:38:53,640 Well, so long. I'll be seein' ya. 59 00:38:54,950 --> 00:38:56,450 Goodbye. 60 00:39:01,460 --> 00:39:05,133 When Igor Stravinsky wrote his ballet, The Rite of Spring... 61 00:39:05,218 --> 00:39:08,554 his purpose was, in his own words, to "express primitive life." 62 00:39:08,638 --> 00:39:12,641 And so Walt Disney and his fellow artists have taken him at his word. 63 00:39:12,726 --> 00:39:15,561 Instead of presenting the ballet in its original form, 64 00:39:15,586 --> 00:39:20,135 as a simple series of tribal dances, they have visualized it as a pageant, 65 00:39:20,160 --> 00:39:23,196 as the story of the growth of life on Earth. 66 00:39:23,373 --> 00:39:27,010 It's a coldly accurate reproduction of what science thinks went on 67 00:39:27,035 --> 00:39:30,122 during the first few billion years of this planet's existence. 68 00:39:30,197 --> 00:39:34,158 So now, imagine yourselves out in space 69 00:39:34,215 --> 00:39:36,716 billions and billions of years ago, 70 00:39:36,774 --> 00:39:40,151 looking down on this lonely, tormented little planet, 71 00:39:40,290 --> 00:39:42,883 spinning through an empty sea of nothingness. 72 01:03:39,509 --> 01:03:42,257 Before we get into the second half of the program, 73 01:03:42,417 --> 01:03:44,410 I'd like to introduce somebody to you, 74 01:03:44,651 --> 01:03:46,920 somebody who's very important to Fantasia. 75 01:03:46,991 --> 01:03:48,970 He's very shy and very retiring. 76 01:03:48,995 --> 01:03:51,953 I just happened to run across him one day at the Disney studios. 77 01:03:52,044 --> 01:03:53,383 But when I did, 78 01:03:53,408 --> 01:03:57,232 I realized that here was not only an indispensable member of the organization, 79 01:03:57,325 --> 01:03:58,879 but a screen personality. 80 01:03:59,008 --> 01:04:02,700 And so I'm very happy to have this opportunity to introduce to you 81 01:04:02,725 --> 01:04:04,067 the soundtrack. 82 01:04:07,787 --> 01:04:09,624 Come on. Don't be timid. 83 01:04:12,660 --> 01:04:14,369 Atta soundtrack. 84 01:04:14,500 --> 01:04:17,362 Now, watching him, I discovered that every beautiful sound 85 01:04:17,387 --> 01:04:19,945 also creates an equally beautiful picture. 86 01:04:20,122 --> 01:04:23,917 Now, look. Will the soundtrack kindly produce a sound? 87 01:04:24,861 --> 01:04:28,488 Go on, don't be nervous. Go ahead. Any sound. 88 01:04:31,716 --> 01:04:34,613 Well, that isn't quite what I had in mind. 89 01:04:35,563 --> 01:04:38,231 Suppose we hear and see the harp. 90 01:04:58,735 --> 01:05:02,456 Now one of the strings, say, the violin. 91 01:05:24,302 --> 01:05:25,597 And now... 92 01:05:25,621 --> 01:05:27,555 now one of the woodwinds, a flute. 93 01:05:34,438 --> 01:05:35,912 Very pretty. 94 01:05:35,937 --> 01:05:38,602 Now, let's have a brass instrument, the trumpet. 95 01:05:56,310 --> 01:06:00,290 All right. Now, how about a low instrument, the bassoon? 96 01:06:08,614 --> 01:06:09,627 Go on. 97 01:06:09,753 --> 01:06:11,846 Go on. Drop the other shoe, will you? 98 01:06:17,609 --> 01:06:21,252 Well, now to finish, suppose we see some of the percussion instruments, 99 01:06:21,277 --> 01:06:22,959 beginning with the bass drum. 100 01:06:47,946 --> 01:06:49,735 Thanks ever so much, old man. 101 01:06:51,600 --> 01:06:55,753 The symphony that Beethoven called the Pastoral, his sixth, 102 01:06:56,193 --> 01:06:58,393 is one of the few pieces of music he ever wrote 103 01:06:58,418 --> 01:07:00,573 that tells something like a definite story. 104 01:07:00,657 --> 01:07:03,576 He was a great nature lover, and in this symphony, 105 01:07:03,660 --> 01:07:06,746 he paints a musical picture of a day in the country. 106 01:07:06,830 --> 01:07:08,924 Now, of course, the country that Beethoven described 107 01:07:08,949 --> 01:07:11,617 was the countryside with which he was familiar. 108 01:07:11,827 --> 01:07:14,696 But his music covers a much wider field than that, 109 01:07:14,721 --> 01:07:18,466 so Walt Disney has given the Pastoral Symphony a mythological setting. 110 01:29:40,825 --> 01:29:44,912 Now we're going to do one of the most famous and popular ballets ever written, 111 01:29:44,996 --> 01:29:48,541 The Dance of the Hours from Ponchielli's opera La Gioconda. 112 01:29:48,625 --> 01:29:50,844 It's a pageant of the hours of the day. 113 01:29:50,924 --> 01:29:54,719 All this takes place in the great hall with its garden beyond, 114 01:29:54,756 --> 01:29:58,138 of the palace of Duke Alvise, a Venetian nobleman. 115 01:42:19,874 --> 01:42:22,707 The last number on our Fantasia program 116 01:42:22,893 --> 01:42:24,989 is a combination of two pieces of music 117 01:42:25,014 --> 01:42:27,668 so utterly different in construction and mood 118 01:42:27,692 --> 01:42:30,134 that they set each other off perfectly. 119 01:42:30,218 --> 01:42:32,544 The firstis A Night on Bald Mountain, 120 01:42:32,569 --> 01:42:36,204 by one of Russia's greatest composers, Modest Mussorgsky. 121 01:42:36,229 --> 01:42:39,330 The second is Franz Schubert's world-famous Ave Maria. 122 01:42:39,875 --> 01:42:41,729 Musically and dramatically, we have here 123 01:42:41,754 --> 01:42:44,943 a picture of the struggle between the profane and the sacred. 123 01:42:45,305 --> 01:43:45,748 Watch Online Movies and Series for FREE www.osdb.link/lm