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How do you do?

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My name is Deems Taylor,

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and it's my very pleasant duty
to welcome you here

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on behalf of Walt Disney,
Leopold Stokowski

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and all the other artists and musicians
whose combined talents

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went into the creation of this
new form of entertainment, Fantasia.

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What you're going to see

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are the designs
and pictures and stories

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that music inspired
in the minds and imaginations

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of a group of artists.

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In other words,
these are not going to be

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the interpretations
of trained musicians.

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Which I think is all to the good.

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Now, there are three kinds of music
on this Fantasia program.

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First is the kind that tells
a definite story.

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Then there's the kind that,
while it has no specific plot,

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does paint a series of, more or less,
definite pictures.

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Then there's a third kind,

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music that exists simply
for its own sake.

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Now, the number that opens
our Fantasia program,

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the Toccata and Fugue,
is music of this third kind,

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what we call absolute music.

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Even the title has no meaning beyond
a description of the form of the music.

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What you will see on the screen is a
picture of the various abstract images

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that might pass through your mind

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if you sat in a concert hall
listening to this music.

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At first you're more or less
conscious of the orchestra.

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So our picture opens
with a series of impressions

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of the conductor and the players.

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Then the music begins to suggest
other things to your imagination.

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They might be, oh, just masses of color.

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Or they may be cloud forms
or great landscapes

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or vague shadows or geometrical objects
floating in space.

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So now we present

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the Toccata and Fugue in D Minor
by Johann Sebastian Bach,

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interpreted in pictures
by Walt Disney and his associates,

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and in music
by the Philadelphia Orchestra

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and its conductor, Leopold Stokowski.

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You know, it's funny how wrong
an artist can be about his own work.

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Now, the one composition of
Tchaikovsky's that he really detested

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was his Nutcracker Suite,

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which is probably the most
popular thing he ever wrote.

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It's a series of dances
taken out of a full-length ballet

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called The Nutcracker

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that he once composed
for the St. Petersburg opera house.

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It wasn't much of a success
and nobody performs it nowadays,

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but I'm pretty sure you'll recognize the
music of the Suite when you hear it.

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Incidentally, you won't see
any nutcracker on the screen.

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There's nothing left
of him but the title.

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And now we're going to hear a piece of
music that tells a very definite story.

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As a matter of fact, in this case,
the story came first

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00:28:57,986 --> 00:29:01,364
and the composer wrote the music
to go with it.

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It's a very old story,
one that goes back almost 2,000 years.

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00:29:05,577 --> 00:29:09,080
A legend about a sorcerer
who had an apprentice.

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He was a bright young lad,
very anxious to learn the business.

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As a matter of fact,
he was a little bit too bright

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because he started practicing
some of the boss's best magic tricks

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before learning how to control them.

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One day, for instance,
when he'd been told by his master

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to carry water to fill a cauldron,
he had the brilliant idea

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of bringing a broomstick to life
to carry the water for him.

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Well, this worked very well, at first.

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Unfortunately, however,
having forgotten the magic formula

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that would make the broomstick
stop carrying the water,

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he found he'd started something
he couldn't finish.

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Mr. Stokowski. Mr. Stokowski.

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My congratulations, sir.

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Congratulations to you, Mickey.

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Gee, thanks.

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Well, so long. I'll be seein' ya.

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Goodbye.

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When Igor Stravinsky wrote his ballet,
The Rite of Spring...

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I repeat,

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when Igor Stravinsky wrote his ballet,
The Rite of Spring,

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his purpose was, in his own words,
to "express primitive life."

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And so Walt Disney and his fellow
artists have taken him at his word.

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Instead of presenting the ballet
in its original form,

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as a simple series of tribal dances,
they have visualized it as a pageant,

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as the story of the growth
of life on Earth.

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And that story,
as you're going to see it,

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isn't the product
of anybody's imagination.

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It's a coldly accurate reproduction
ofwhat science thinks went on

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during the first few billion years
of this planet's existence.

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Science, not art,
wrote the scenario of this picture.

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According to science,
the first living things here

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were single-celled organisms,

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tiny little white or green blobs
of nothing in particular

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that lived under the water.

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And then, as the ages passed,
the oceans began to swarm

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with all kinds of marine creatures.

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Finally, after about a billion years,

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certain fish, more ambitious
than the rest,

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crawled up on land and became
the first amphibians.

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And then,
several hundred million years ago,

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nature went off on another tack
and produced the dinosaurs.

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Now, the name "dinosaur"
comes from two Greek words

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meaning "terrible lizard."

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And they certainly were all of that.

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They came in all shapes and sizes,

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from little, crawling horrors
about the size of a chicken

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to hundred-ton nightmares.

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They were not very bright.

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Even the biggest of them
had only the brain of a pigeon.

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They lived in the air and water
as well as on land.

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As a rule, they were vegetarians,

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rather amiable
and easy to get along with.

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However, there were bullies
and gangsters among them.

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The worst of the lot,
a brute named tyrannosaurus rex,

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was probably the meanest killer
that ever roamed the Earth.

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The dinosaurs were lords of creation
for about 200 million years.

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And then... Well,
we don't exactly know what happened.

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Some scientists think that
great droughts and earthquakes

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turned the whole world
into a gigantic dustbowl.

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In any case,
the dinosaurs were wiped out.

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That is where our story ends.

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Where it begins is at a time
infinitely far back,

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when there was no life at all on Earth.

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Nothing but clouds of steam,

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boiling seas and exploding volcanoes.

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So now,
imagine yourselves out in space

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billions and billions of years ago,

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looking down on this lonely,
tormented little planet,

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spinning through
an empty sea of nothingness.

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And now we'll have
a 15-minute intermission.

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Before we get into
the second half of the program,

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I'd like to introduce somebody to you,

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somebody who's very important
to Fantasia.

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He's very shy and very retiring.

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I just happened to run across him
one day at the Disney studios.

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But when I did, I suddenly realized

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that here was not only an indispensable
member of the organization,

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but a screen personality whose
possibilities nobody around the place

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had ever noticed.

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And so I'm very happy to have
this opportunity to introduce to you

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the soundtrack.

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All right. Come on.

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That's all right. Don't be timid.

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Atta soundtrack.

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01:09:29,541 --> 01:09:32,042
Now, watching him, I discovered
that every beautiful sound

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also creates
an equally beautiful picture.

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Now, look. Will the soundtrack
kindly produce a sound?

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Go on, don't be nervous.
Go ahead. Any sound.

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Well, that isn't quite
what I had in mind.

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Suppose we hear and see the harp.

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01:10:13,835 --> 01:10:18,005
Now one of the strings, say, the violin.

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01:10:39,402 --> 01:10:43,155
And now... now, one of the woodwinds,
a flute.

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Very pretty.

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01:10:51,164 --> 01:10:54,291
Now, let's have a brass instrument,
the trumpet.

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01:11:11,684 --> 01:11:16,021
All right. Now, how about
a low instrument, the bassoon?

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01:11:26,574 --> 01:11:30,160
Go on. Go on.
Drop the other shoe, will you?

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01:11:35,583 --> 01:11:39,378
Well, now to finish, suppose we see
some of the percussion instruments,

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beginning with the bass drum.

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01:12:07,573 --> 01:12:09,741
Thanks a lot, old man.

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01:12:15,707 --> 01:12:18,709
The symphony that Beethoven
called the Pastoral,

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his sixth, is one of the few pieces
of music he ever wrote

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that tells something
like a definite story.

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01:12:24,757 --> 01:12:27,676
He was a great nature lover,
and in this symphony,

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he paints a musical picture
of a day in the country.

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01:12:30,930 --> 01:12:32,931
Now, of course,
the country that Beethoven described

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01:12:33,016 --> 01:12:35,684
was the countryside
with which he was familiar.

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But his music covers
a much wider field than that,

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so Walt Disney has given the Pastoral
Symphony a mythological setting.

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And that setting is of Mt. Olympus,
the abode of the gods.

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01:12:47,155 --> 01:12:50,532
And here, first of all,
we meet a group of fabulous creatures

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01:12:50,616 --> 01:12:52,451
of the field and forest,

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01:12:52,535 --> 01:12:56,538
unicorns, fauns,
Pegasus, the flying horse,

167
01:12:56,622 --> 01:12:59,291
and his entire family,
the centaurs,

168
01:12:59,375 --> 01:13:03,795
those strange creatures
that are half-man and half-horse.

169
01:13:03,880 --> 01:13:06,882
And their girlfriends,
the centaur-ettes.

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01:13:06,966 --> 01:13:10,177
Later on, we meet our old friend,
Bacchus, the god ofwine,

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presiding over a bacchanal.

172
01:13:12,472 --> 01:13:14,347
The party is interrupted by a storm.

173
01:13:14,432 --> 01:13:17,100
And now, we see Vulcan
forging thunderbolts

174
01:13:17,185 --> 01:13:20,145
and handing them over to the
king of all the gods, Zeus,

175
01:13:20,229 --> 01:13:22,397
who plays darts with them.

176
01:13:22,482 --> 01:13:26,234
As the storm clears, we see Iris,
the goddess of the rainbow.

177
01:13:26,319 --> 01:13:30,155
And Apollo, driving
his sun chariot across the sky.

178
01:13:30,239 --> 01:13:32,199
And then Morpheus, the god of sleep,

179
01:13:32,283 --> 01:13:34,951
covers everything
with his cloak of night,

180
01:13:35,036 --> 01:13:37,996
as Diana, using the new moon as a bow,

181
01:13:38,081 --> 01:13:42,501
shoots an arrow of fire
that spangles the sky with stars.

182
01:36:12,725 --> 01:36:16,812
Now we're going to do one of the most
famous and popular ballets ever written,

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01:36:16,896 --> 01:36:20,441
The Dance of the Hours
from Ponchielli's opera La Gioconda.

184
01:36:20,525 --> 01:36:23,193
It's a pageant of the hours of the day.

185
01:36:23,278 --> 01:36:26,447
We see first a group
of dancers in costumes

186
01:36:26,531 --> 01:36:28,824
to suggest the delicate light of dawn.

187
01:36:28,908 --> 01:36:30,367
Then a second group enters

188
01:36:30,452 --> 01:36:33,537
dressed to represent
the brilliant light of noon day.

189
01:36:33,621 --> 01:36:36,331
As these withdraw, a third group enters

190
01:36:36,416 --> 01:36:40,878
in costumes that suggest
the delicate tones of early evening.

191
01:36:40,962 --> 01:36:45,549
Then a last group, all in black,
the somber hours of the night.

192
01:36:45,633 --> 01:36:48,302
Suddenly, the orchestra
bursts into a brilliant finale

193
01:36:48,386 --> 01:36:53,140
in which the hours of darkness
are overcome by the hours of light.

194
01:36:53,224 --> 01:36:57,019
All this takes place in the great hall
with its garden beyond,

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01:36:57,103 --> 01:37:00,772
of the palace of Duke Alvise,
a Venetian nobleman.

196
01:49:23,974 --> 01:49:26,434
The last number on our Fantasia program

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01:49:26,518 --> 01:49:29,562
is a combination of two pieces
of music so utterly different

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01:49:29,647 --> 01:49:34,234
in construction and mood
that they set each other off perfectly.

199
01:49:34,318 --> 01:49:36,736
The firstis A Night on Bald Mountain,

200
01:49:36,820 --> 01:49:40,907
by one of Russia's greatest composers,
Modest Mussorgsky.

201
01:49:40,991 --> 01:49:45,078
The second is Franz Schubert's
world-famous Ave Maria.

202
01:49:45,162 --> 01:49:47,956
Musically and dramatically,
we have here a picture

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01:49:48,040 --> 01:49:50,583
of the struggle
between the profane and the sacred.

204
01:49:50,668 --> 01:49:53,419
Bald Mountain, according to tradition,

205
01:49:53,504 --> 01:49:56,756
is the gathering place
of Satan and his followers.

206
01:49:56,840 --> 01:50:00,802
Here on Walpurgis Night, which is
the equivalent of our own Halloween,

207
01:50:00,886 --> 01:50:04,722
the creatures of evil gather
to worship their master.

208
01:50:04,807 --> 01:50:07,433
Under his spell, they dance furiously

209
01:50:07,518 --> 01:50:10,311
until the coming of dawn
and the sounds of church bells

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01:50:10,396 --> 01:50:15,275
send the infernal army slinking back
into their abodes of darkness.

211
01:50:15,359 --> 01:50:18,861
And then we hear the Ave Maria,
with its message of the triumph

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01:50:18,946 --> 01:50:23,032
of hope and life over the powers
of despair and death.