_________________________________
(INSTRUMENTS TUNING)
_________________________________
(INSTRUMENTAL MEDLEY)
_________________________________
(CROWD MURMURING)
_________________________________
(TUNING CONTINUES)
_________________________________
How do you do?
_________________________________
(INSTRUMENTS TUNING)
_________________________________
(INSTRUMENTAL MEDLEY)
_________________________________
(CROWD MURMURING)
_________________________________
(TUNING CONTINUES)
_________________________________
How do you do?
_________________________________
My name is Deems Taylor,
_________________________________
_________________________________
and it's my very pleasant duty
to welcome you here
_________________________________
_________________________________
on behalf of Walt Disney,
Leopold Stokowski
_________________________________
_________________________________
and all the other artists and musicians
whose combined talents
_________________________________
_________________________________
went into the creation of this
new form of entertainment, Fantasia.
_________________________________
new form of entertainment, Fantasia.
_________________________________
What you are going to see
_________________________________
_________________________________
are the designs
and pictures and stories
_________________________________
_________________________________
that music inspired
in the minds and imaginations
_________________________________
in the minds and imaginations
_________________________________
of a group of artists.
_________________________________
_________________________________
In other words,
these are not going to be
_________________________________
_________________________________
the interpretations of trained musicians.
_________________________________
_________________________________
Which I think is all to the good.
_________________________________
_________________________________
Now, there are three kinds of music
on this Fantasia programme.
_________________________________
_________________________________
First is the kind that tells
a definite story.
_________________________________
a definite story.
_________________________________
Then there's the kind that,
while it has no specific plot,
_________________________________
_________________________________
does paint a series of, more or less,
definite pictures.
_________________________________
definite pictures.
_________________________________
Then there's a third kind,
_________________________________
_________________________________
music that exists simply
for its own sake.
_________________________________
for its own sake.
_________________________________
Now, the number that opens
our Fantasia programme,
_________________________________
_________________________________
the "Toccata and Fugue,"
is music of this third kind,
_________________________________
_________________________________
what we call absolute music.
_________________________________
_________________________________
Even the title has no meaning beyond
a description of the from of the music.
_________________________________
a description of the from of the music.
_________________________________
What you will see on the screen is a
picture of the various abstract images
_________________________________
picture of the various abstract images
_________________________________
that might pass through your mind
_________________________________
_________________________________
if you sat in a concert hall
listening to this music.
_________________________________
_________________________________
At first, you're more or less
conscious of the orchestra.
_________________________________
_________________________________
So our picture opens
with a series of impressions
_________________________________
_________________________________
of the conductor and the players.
_________________________________
_________________________________
Then the music begins to suggest
other things to your imagination.
_________________________________
other things to your imagination.
_________________________________
They might be, oh,
just masses of colour.
_________________________________
just masses of colour.
_________________________________
Or they may be cloud forms
or great landscapes
_________________________________
or great landscapes
_________________________________
or vague shadows or geometrical
objects floating in space.
_________________________________
objects floating in space.
_________________________________
So now we present
_________________________________
_________________________________
the "Toccata and Fugue in D minor"
by Johann Sebastian Bach,
_________________________________
_________________________________
interpreted in pictures
by Walt Disney and his associates,
_________________________________
_________________________________
and the music
by the Philadelphia Orchestra
_________________________________
by the Philadelphia Orchestra
_________________________________
and its conductor Leopold Stokowski.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
You know, it's funny how wrong
an artist can be about his own work.
_________________________________
an artist can be about his own work.
_________________________________
Now, the one composition of
Tchaikovsky's that he really detested
_________________________________
Tchaikovsky's that he really detested
_________________________________
was his "Nutcracker Suite,"
_________________________________
_________________________________
Which is probably the most
popular thing he ever wrote.
_________________________________
popular thing he ever wrote.
_________________________________
It's a series of dances
taken out of a full-length ballet
_________________________________
called The Nutcracker
taken out of a full-length ballet
_________________________________
called The Nutcracker
_________________________________
that he once composed
that he once composed
for the St. Petersburg Opera House.
_________________________________
_________________________________
It wasn't much of a success
and nobody performs it nowadays,
_________________________________
_________________________________
but I'm pretty sure you'll recognize the
music of the "Suite" when you hear it.
music of the "Suite" when you hear it.
_________________________________
Incidentally, you won't see
any nutcracker on the screen.
_________________________________
_________________________________
There is nothing like
to him but the title.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
to him but the title.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
And now we're going to hear a piece of
music that tells a very definite story.
_________________________________
music that tells a very definite story.
_________________________________
As a matter of fact, in this case,
the story came first
_________________________________
_________________________________
and the composer wrote the music
to go with it.
_________________________________
_________________________________
It's a very old story,
one that goes back almost 2,000 years.
_________________________________
_________________________________
A legend about a sorcerer
who had an apprentice.
_________________________________
_________________________________
He was a bright young lad,
very anxious to learn the business.
_________________________________
_________________________________
As a matter of fact,
he was a little bit too bright
_________________________________
_________________________________
because he started practicing
some of the boss's best magic tricks
_________________________________
_________________________________
before learning how to control them.
_________________________________
_________________________________
One day, for instance,
when he'd been told by his master
_________________________________
when he'd been told by his master
_________________________________
to carry water to fill a cauldron,
he had the brilliant idea
_________________________________
_________________________________
of bringing a broomstick to life
to carry the water for him.
_________________________________
to carry the water for him.
_________________________________
Well, this worked very well at first.
_________________________________
_________________________________
Unfortunately, however,
having forgotten the magic formula
_________________________________
having forgotten the magic formula
_________________________________
that would make the broomstick
stop carrying the water,
_________________________________
_________________________________
he found he'd started something
he couldn't finish.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS WITH A FLOURISH)
_________________________________
he couldn't finish.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS WITH A FLOURISH)
_________________________________
(PANTING)
Mr. Stokowski. Mr. Stokowski.
_________________________________
(WHISTLES)
_________________________________
Mr. Stokowski. Mr. Stokowski.
_________________________________
(WHISTLES)
_________________________________
-My congratulations, sir.
-(CHUCKLES)
_________________________________
-(CHUCKLES)
_________________________________
Congratulations to you, Mickey.
_________________________________
_________________________________
Gee, thanks. (LAUGHS)
_________________________________
_________________________________
Well, so long. I'll be seein' ya.
_________________________________
_________________________________
-Goodbye.
-(APPLAUSE)
_________________________________
-(APPLAUSE)
_________________________________
When Igor Stravinsky wrote his ballet,
The Rite of Spring...
_________________________________
(CHIMES CLATTERING)
_________________________________
(CROWD MURMURING,
CHUCKLING)
_________________________________
_________________________________
(CHIMES CLATTERING)
_________________________________
(CROWD MURMURING,
CHUCKLING)
_________________________________
I repeat,
_________________________________
when Igor Stravinsky wrote his ballet,
The Rite of Spring,
_________________________________
_________________________________
when Igor Stravinsky wrote his ballet,
The Rite of Spring,
_________________________________
his purpose was, in his own words,
"to express primitive life."
_________________________________
_________________________________
And so Walt Disney and his fellow
artists have taken him at his word.
_________________________________
artists have taken him at his word.
_________________________________
Instead of presenting the ballet
in its original form,
_________________________________
_________________________________
as a simple series of tribal dances,
they've visualized it as a pageant,
_________________________________
_________________________________
as the story of the growth
of life on Earth.
_________________________________
_________________________________
And that story,
as you're going to see it,
_________________________________
_________________________________
isn't the product
of anybody's imagination.
_________________________________
_________________________________
It's a coldly accurate reproduction
of what science thinks went on
_________________________________
_________________________________
during the first few billion years
of this planet's existence.
_________________________________
of this planet's existence.
_________________________________
Science, no art,
wrote the scenario of this picture.
_________________________________
wrote the scenario of this picture.
_________________________________
According to science,
the first living things here
_________________________________
_________________________________
were single-celled organisms,
_________________________________
_________________________________
tiny little white or green blobs
of nothing in particular
_________________________________
_________________________________
that lived under the water.
_________________________________
_________________________________
And then, as ages passed,
the oceans began to swarm
_________________________________
_________________________________
with all kinds of marine creatures.
_________________________________
_________________________________
Finally, after about a billion years,
_________________________________
_________________________________
certain fish, more ambitious
than the rest,
_________________________________
_________________________________
crawled up on land and became
the first amphibians.
_________________________________
_________________________________
And then,
several hundred million years ago,
_________________________________
several hundred million years ago,
_________________________________
nature went off on another tack
and produced the dinosaurs.
_________________________________
_________________________________
Now, the name "dinosaur"
comes from two Greek words
_________________________________
_________________________________
meaning "terrible lizard."
_________________________________
_________________________________
And they certainly were all of that.
_________________________________
_________________________________
They came in all shapes and sizes,
_________________________________
_________________________________
from little crawling horrors
about the size of a chicken
_________________________________
_________________________________
to hundred-ton nightmares.
_________________________________
_________________________________
They were not very bright.
_________________________________
_________________________________
Even the biggest of them
had only the brain of a pigeon.
_________________________________
_________________________________
They lived in the air and the water
as well as on land.
_________________________________
as well as on land.
_________________________________
As a rule, they were vegetarians,
_________________________________
_________________________________
rather amiable
and easy to get along with.
_________________________________
and easy to get along with.
_________________________________
However, there were bullies
and gangsters among them.
_________________________________
_________________________________
The worst of the lot,
a brute named tyrannosaurus rex,
_________________________________
_________________________________
was probably the meanest killer
that ever roamed the Earth.
_________________________________
_________________________________
The dinosaurs were lords of creation
for about 200 million years.
_________________________________
_________________________________
And then... Well,
we don't exactly know what happened.
_________________________________
we don't exactly know what happened.
_________________________________
Some scientists think that
great droughts and earthquakes
_________________________________
great droughts and earthquakes
_________________________________
turned the whole world
into a gigantic dustbowl.
_________________________________
_________________________________
In any case,
the dinosaurs were wiped out.
_________________________________
the dinosaurs were wiped out.
_________________________________
That is where our story ends.
_________________________________
_________________________________
Where it begins is at a time
infinitely far back,
_________________________________
_________________________________
when there was no life at all on Earth,
_________________________________
_________________________________
nothing but clouds of steam,
_________________________________
_________________________________
boiling seas and exploding volcanoes.
_________________________________
_________________________________
So now,
imagine yourselves out in space
_________________________________
imagine yourselves out in space
_________________________________
billions and billions of years ago,
_________________________________
_________________________________
looking down on this lonely,
tormented little planet,
_________________________________
_________________________________
spinning through
an empty sea of nothingness.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
an empty sea of nothingness.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
And now we'll have
a 15-minute intermission.
_________________________________
(LIGHT AUDIENCE CHATTER)
_________________________________
(INDIVIDUAL
INSTRUMENTS PLAY)
_________________________________
-(CHATTER)
-(INSTRUMENTS TUNING)
_________________________________
(PLAYING JAZZ MUSIC)
_________________________________
Oh, yeah. (CLEARS THROAT)
_________________________________
-(AUDIENCE LAUGHS)
-(CHUCKLES)
_________________________________
Before we get into
the second half of the programme,
_________________________________
a 15-minute intermission.
_________________________________
(LIGHT AUDIENCE CHATTER)
_________________________________
(INDIVIDUAL
INSTRUMENTS PLAY)
_________________________________
-(CHATTER)
-(INSTRUMENTS TUNING)
_________________________________
(PLAYING JAZZ MUSIC)
_________________________________
Oh, yeah. (CLEARS THROAT)
_________________________________
-(AUDIENCE LAUGHS)
-(CHUCKLES)
_________________________________
Before we get into
the second half of the programme,
_________________________________
I'd like to introduce somebody to you,
_________________________________
_________________________________
somebody who's very important
to Fantasia.
_________________________________
_________________________________
He is 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,
_________________________________
_________________________________
that here was not only an indispensable
member of the organization,
_________________________________
but a screen personality whose
possibilities nobody around the place
_________________________________
had ever noticed.
_________________________________
_________________________________
had ever noticed.
_________________________________
And so I'm very happy to have
this opportunity to introduce to you
_________________________________
this opportunity to introduce to you
_________________________________
the soundtrack.
_________________________________
_________________________________
TAYLOR: All right. Come on.
_________________________________
_________________________________
That's all right. Don't be timid.
_________________________________
_________________________________
Atta soundtrack.
_________________________________
_________________________________
Now, watching him, I discovered
that every beautiful sound
_________________________________
_________________________________
also creates
an equally beautiful picture.
_________________________________
an equally beautiful picture.
_________________________________
Now look. Will the soundtrack
kindly produces a sound?
_________________________________
_________________________________
Go on, don't be nervous.
Go ahead. Any sound.
_________________________________
(UNPLEASANT SOUND)
_________________________________
_________________________________
(UNPLEASANT SOUND)
_________________________________
TAYLOR: (CHUCKLES) Well, that
isn't quite what I had in mind.
_________________________________
isn't quite what I had in mind.
_________________________________
Suppose we hear and see the harp.
_________________________________
(MIMICS HARP)
_________________________________
_________________________________
(MIMICS HARP)
_________________________________
TAYLOR: Now one of the strings,
say, oh, the violin.
_________________________________
(MIMICS VIOLIN)
_________________________________
_________________________________
(MIMICS VIOLIN)
_________________________________
TAYLOR: And now... Now,
one of the woodwinds, a flute.
_________________________________
(MIMICS FLUTE)
_________________________________
one of the woodwinds, a flute.
_________________________________
(MIMICS FLUTE)
_________________________________
TAYLOR: Very pretty.
_________________________________
_________________________________
Now, let's have a brass instrument,
the trumpet.
_________________________________
(MIMICS TRUMPET)
_________________________________
the trumpet.
_________________________________
(MIMICS TRUMPET)
_________________________________
TAYLOR: All right. Now, how about
a low instrument, the bassoon?
_________________________________
(MIMICS BASSOON)
_________________________________
a low instrument, the bassoon?
_________________________________
(MIMICS BASSOON)
_________________________________
TAYLOR: Go on. Go on.
Drop the other shoe, will you?
_________________________________
(VERY LOW NOTE)
_________________________________
_________________________________
(VERY LOW NOTE)
_________________________________
TAYLOR: Well, now to finish,
_________________________________
suppose we see some of
the percussion instruments,
_________________________________
_________________________________
suppose we see some of
the percussion instruments,
_________________________________
beginning with the base drum.
_________________________________
(IMITATES DRUM)
_________________________________
(CYMBALS CLASHING)
_________________________________
(IMITATES SNARE DRUM)
_________________________________
(DRUMROLL)
_________________________________
(DINGS SOFTLY)
_________________________________
(TAYLOR LAUGHS)
_________________________________
_________________________________
(IMITATES DRUM)
_________________________________
(CYMBALS CLASHING)
_________________________________
(IMITATES SNARE DRUM)
_________________________________
(DRUMROLL)
_________________________________
(DINGS SOFTLY)
_________________________________
(TAYLOR LAUGHS)
_________________________________
Thanks a lot, old man.
_________________________________
_________________________________
The symphony that Beethoven
called the "Pastoral,"
_________________________________
called the "Pastoral,"
_________________________________
his sixth, is one of the few pieces
of music he ever wrote
_________________________________
that tells something like a definite story.
_________________________________
of music he ever wrote
_________________________________
that tells something like a definite story.
_________________________________
He was a great nature lover,
and in this symphony
_________________________________
_________________________________
he paints a musical picture
of a day in the country.
_________________________________
_________________________________
Now, of course,
the country that Beethoven described
_________________________________
the country that Beethoven described
_________________________________
was the countryside
with which he was familiar.
_________________________________
_________________________________
But his music covers
a much wider field than that,
_________________________________
a much wider field than that,
_________________________________
so Walt Disney has given the "Pastoral
Symphony" a mythological setting.
_________________________________
Symphony" a mythological setting.
_________________________________
And that setting is of Mount Olympus,
the abode of the gods.
_________________________________
_________________________________
And here, first of all,
we meet a group of fabulous creatures
_________________________________
we meet a group of fabulous creatures
_________________________________
of the field and forest,
_________________________________
_________________________________
unicorns, fauns, Pegasus,
the flying horse,
_________________________________
the flying horse,
_________________________________
and his entire family, the centaurs,
_________________________________
those strange creatures
those strange creatures
that are half-man and half-horse.
_________________________________
_________________________________
And their girlfriends, the centaur-ettes.
_________________________________
Later on, we meet our old friend,
Baccus, the god of wine,
_________________________________
_________________________________
presiding over a baccchanal.
_________________________________
_________________________________
The party is interrupted by a storm.
_________________________________
_________________________________
And now we see Vulcan
forging thunderbolts
_________________________________
_________________________________
and handing them over to the
king of all the gods, Zeus.
_________________________________
king of all the gods, Zeus.
_________________________________
who plays darts with them.
_________________________________
_________________________________
As the storm clears, we see Iris,
the goddess of the rainbow.
_________________________________
_________________________________
and Apollo, driving
his sun chariot across the sky.
_________________________________
his sun chariot across the sky.
_________________________________
And then Morpheus, the god of sleep,
_________________________________
_________________________________
covers everything
with his cloak of night,
_________________________________
_________________________________
as Diana, using the new moon as a bow,
_________________________________
_________________________________
shoots an arrow of fire
that spangles the sky with stars.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
Now we are going to do
_________________________________
one of the most famous
and popular ballets ever written,
_________________________________
_________________________________
one of the most famous
and popular ballets ever written,
_________________________________
The Dance of the Hours
from Ponchielli's opera La Gioconda.
_________________________________
_________________________________
It's a pageant of the hours of the day.
_________________________________
_________________________________
We see first a group
of dancers in costumes
_________________________________
to suggest the delicate light of dawn.
_________________________________
of dancers in costumes
_________________________________
to suggest the delicate light of dawn.
_________________________________
Then a second group enters
_________________________________
_________________________________
dressed to represent
the brilliant light of noon day.
_________________________________
_________________________________
As these withdraw, a third group enters
_________________________________
_________________________________
in costumes that suggest
the delicate tones of early evening.
_________________________________
_________________________________
Then a last group, all in black,
the sombre hours of the night.
_________________________________
_________________________________
Suddenly, the orchestra bursts
into a brilliant finale
_________________________________
_________________________________
in which the hours of darkness
are overcome by the hours of light.
_________________________________
_________________________________
All this takes place in the great hall
with its garden beyond,
_________________________________
_________________________________
of the palace of Duke Alvise,
a Venetian nobleman.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
The last number
on our Fantasia programme
on our Fantasia programme
_________________________________
is a combination of two pieces
of music so utterly different
_________________________________
in construction and mood
of music so utterly different
_________________________________
in construction and mood
that they set each other off perfectly.
_________________________________
_________________________________
The first is
"A Night on Bald Mountain,"
_________________________________
"A Night on Bald Mountain,"
_________________________________
by one of Russia's greatest composers,
Modeste Moussorgsky.
_________________________________
_________________________________
The second is Franz Schubert's
world-famous "Ave Maria."
_________________________________
_________________________________
Musically and dramatically,
we have here a picture
_________________________________
_________________________________
of the struggle
between the profane and the sacred.
_________________________________
between the profane and the sacred.
_________________________________
"Bald Mountain," according to tradition,
_________________________________
_________________________________
is the gathering place
of Satan and his followers.
_________________________________
_________________________________
Here on Walpurgis Night, which is
the equivalent of our own Halloween,
_________________________________
_________________________________
the creatures of evil gather
to worship their master.
_________________________________
to worship their master.
_________________________________
Under his spell, they dance furiously
_________________________________
_________________________________
until the coming of dawn
and the sounds of church bells
_________________________________
_________________________________
send the infernal army slinking back
into their abodes of darkness.
_________________________________
_________________________________
And then we hear the "Ave Maria,"
with its message of the triumph
_________________________________
and hope of life over the powers
_________________________________
and hope of life over the powers
of despair and death.
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(BELLS TOLLING)
_________________________________
(BELLS CONTINUE TO TOLL)
_________________________________
(SONG BEGINS)
_________________________________
(CHORUS VOCALIZING)
_________________________________
(WOMAN SINGING)
_________________________________
(CHORUS VOCALIZING)
_________________________________
_________________________________
(SONG BEGINS)
_________________________________
(SONG ENDS)
_________________________________
(BELLS TOLLING)
_________________________________
(BELLS CONTINUE TO TOLL)
_________________________________
(SONG BEGINS)
_________________________________
(CHORUS VOCALIZING)
_________________________________
(WOMAN SINGING)
_________________________________
(CHORUS VOCALIZING)
_________________________________
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