{"id":3981,"date":"2017-05-11T13:51:43","date_gmt":"2017-05-11T17:51:43","guid":{"rendered":"https:\/\/www.musikalessons.com\/blog\/?p=3981"},"modified":"2023-01-25T13:40:24","modified_gmt":"2023-01-25T18:40:24","slug":"classical-music-in-cartoons-fantasia","status":"publish","type":"post","link":"https:\/\/www.musikalessons.com\/blog\/2017\/05\/classical-music-in-cartoons-fantasia\/","title":{"rendered":"Classical Music in Cartoons: Disney\u2019s Fantasia"},"content":{"rendered":"<p>On November 13, 1940, influential film critics and Hollywood notables gathered in New York\u2019s Broadway Theatre for the premiere of a groundbreaking film &#8211; Disney\u2019s original <em>Fantasia<\/em>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-3982 size-full\" src=\"https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/Fantasia-poster-1940.jpg\" alt=\"Classical Music in Cartoons Fantasia 1940\" width=\"246\" height=\"404\" srcset=\"https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/Fantasia-poster-1940.jpg 246w, https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/Fantasia-poster-1940-183x300.jpg 183w\" sizes=\"(max-width: 246px) 100vw, 246px\" \/><\/p>\n<p>Edwin Schallert of the LA Times declared the film to be \u201ccourageous beyond belief.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Isabel Morse Jones labeled the movie as an \u201c&#8221;enormously varied concert of pictorial ideas,\u201d and Bosley Crowther of the New York Times claimed that \u201cmotion picture history was made last night.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Crowther couldn\u2019t have been more correct.<\/p>\n<p>&nbsp;<\/p>\n<p>Despite complaints from crusty music critics and grumbles from composers like Igor Stravinsky (the only living composer whose work was featured in <em>Fantasia<\/em>), Fantasia achieved monumental success, and it nudged the relationship between classical music and cartoons from a friendship into a full-blown romance.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Fantasia <\/em>was visionary. Just look at the fantastic minds that created the project: Walt Disney, Leopold Stokowski, and Deems Taylor.<\/p>\n<p>&nbsp;<\/p>\n<p>Not long after Fantasia\u2019s inception, other animation greats like Michael Maltese and Chuck Jones started pairing classical music and cartoons too. <em>Fantasia<\/em> took animation&#8211;generally considered a humorous art form&#8211;and merged it with a historically serious genre in a way nobody could have imagined.<\/p>\n<p>&nbsp;<\/p>\n<p>Nobody except for Walt Disney, of course.<\/p>\n<p>&nbsp;<\/p>\n<h2><strong>From <em>The Band Concert<\/em> to <em>The Sorcerer&#8217;s Apprentice<\/em><\/strong><\/h2>\n<p><strong><em>\u00a0<\/em><\/strong><\/p>\n<p>In 1935&#8211;during the heart of Disney\u2019s decade-long run with his <em>Silly Symphonies<\/em>*&#8211;Walt Disney decided to try something new: He conjured up a 15-minute short called <em>The Band Concert<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/4z-agoawRMY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>In the episode, Mickey Mouse played the part of conductor, and Donald Duck and Goofy were among the many familiar faces in the band itself. But although the short film was highly acclaimed for technical reasons, its use of Rossini\u2019s <em>William Tell Overture<\/em> set the standard for using classical music in cartoons.<\/p>\n<p>&nbsp;<\/p>\n<p>Following <em>The Band Concert<\/em> in 1935 and the conclusion of <em>Silly Symphonies<\/em> in 1939, Walt Disney decided to revitalize the \u201ccareer\u201d of his most famous character, Mickey Mouse. His strategy?<\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><em>The Sorcerer\u2019s Apprentice<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p>Disney set <em>The Sorcerer\u2019s Apprentice<\/em> to <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Sorcerer%27s_Apprentice_(Dukas)\">Paul Dukas\u2019 tone poem<\/a> of the same name, and the only thing left was to find a prestigious conductor to lead the studio orchestra; fortunately for Walt Disney, he happened upon a meeting with one of North America\u2019s greatest classical musicians in a Hollywood restaurant soon thereafter.<\/p>\n<p>&nbsp;<\/p>\n<h2><strong>Walt Disney Meets Leopold Stokowski<\/strong><\/h2>\n<p><strong>\u00a0<\/strong><\/p>\n<figure id=\"attachment_3983\" aria-describedby=\"caption-attachment-3983\" style=\"width: 218px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-3983\" src=\"https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/Leopold_Stokowski-218x300.jpg\" alt=\"Conductor Fantasia Stokowski\" width=\"218\" height=\"300\" srcset=\"https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/Leopold_Stokowski-218x300.jpg 218w, https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/Leopold_Stokowski.jpg 435w\" sizes=\"(max-width: 218px) 100vw, 218px\" \/><figcaption id=\"caption-attachment-3983\" class=\"wp-caption-text\">Leopold Stokowski<\/figcaption><\/figure>\n<p>Walt Disney certainly didn\u2019t intend on running into Leopold Stokowski, conductor of the Philadelphia Orchestra, as he sat down to dinner at Chasen\u2019s Restaurant in Hollywood that evening in 1937. Fate had plans for the two creative visionaries, however, and as they talked about Walt Disney\u2019s latest explorations into a music\/animation hybrid, Disney became &#8220;all steamed up over the idea of Stokowski working with us,\u201d he later wrote. Stokowski returned the enthusiasm.<\/p>\n<p>&nbsp;<\/p>\n<p>Stokowski was also \u201csteamed up\u201d over the idea of putting classical music in cartoons. He loved it so much, in fact, that he offered his conducting services for free, and after the success of the initial <em>Sorcerer\u2019s Apprentice<\/em> project, Stokowski agreed to sign on for a feature-length movie with the same goal &#8212; to pair great classical works with animated moving pictures.<\/p>\n<p>&nbsp;<\/p>\n<p>But what if the subject matter was too profound for American households? Could an audience enjoy a feature-length cartoon set to a classical score if they didn\u2019t already know the music? Stokowski and Disney agreed that a well-known, successful host was in order.<\/p>\n<p>&nbsp;<\/p>\n<h2><strong>Music Critic <em>Deems Taylor<\/em> Would Introduce Cartoon Fans to Classical Music<\/strong><\/h2>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Deems Taylor found success as a composer in the first half of the 20th century&#8211;his first professional composition gig was a <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_King%27s_Henchman\">commission<\/a> by the Metropolitan Opera&#8211;but his lasting fame arose from his work as a commentator and critic.<\/p>\n<p>&nbsp;<\/p>\n<p>He labored as Music Critic for the <a href=\"https:\/\/en.wikipedia.org\/wiki\/New_York_World\">New York World<\/a> throughout the 1920s, and he even held the post of Editor for <a href=\"https:\/\/www.musicalamerica.com\/\">Musical America<\/a> for two years.<\/p>\n<p>&nbsp;<\/p>\n<p>The pivotal moment of Taylor\u2019s career, however, came while he was performing radio commentary during intermission of a New York Philharmonic concert; Walt Disney, then mulling over whom to cast as the \u201chost\u201d character in his yet-to-come <em>Fantasia<\/em>, heard one of the broadcasts. He was sold on Deems Taylor.<\/p>\n<p>&nbsp;<\/p>\n<p>Within a few days of a phone call on September 3, 1938, Deems Taylor had traveled by rail to Hollywood, where he began to enthusiastically compile a program for Disney\u2019s new motion picture.<\/p>\n<p>&nbsp;<\/p>\n<h2><strong>The Finished Product<\/strong><\/h2>\n<p><strong>\u00a0<\/strong><\/p>\n<p>After extensive collaboration and trial and error, the three leaders of the project arrived at the following program for <em>Fantasia<\/em>:<\/p>\n<p>&nbsp;<\/p>\n<ol>\n<li style=\"text-align: center;\"><em>Toccata and Fugue in D Minor<\/em> by Johann Sebastian Bach: In Leopold Stokowski\u2019s <a href=\"http:\/\/www.classicalmpr.org\/story\/2015\/02\/27\/bach-toccata-fugue-fantasia\">words to Disney<\/a>, &#8220;The Toccata starts off with three phrases which are like the playing of immense trumpets to call you to attention. For that reason, this composition is a wonderful selection with which to begin your picture.&#8221;<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/z4MQ7GzE6HY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<ol style=\"text-align: center;\" start=\"2\">\n<li><em>Nutcracker Suite<\/em> by Pyotr Ilyich Tchaikovsky: The programmatic nature of Tchaikovsky\u2019s holiday season masterpiece provided a perfect way to feature classical music in cartoons.<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/8At8zfh_o3E?list=PLktVemlocoW5XmeUqHZ-8fd8k2faSNjoy\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">\n<ol style=\"text-align: center;\" start=\"3\">\n<li><em>The Sorcerer&#8217;s Apprentice<\/em> by Paul Dukas: It was only fitting for Mickey Mouse as the <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Sorcerer%27s_Apprentice_(Dukas)\">Sorcerer&#8217;s Apprentice<\/a>, the idea that kicked off the whole idea in the first place, to be included in <em>Fantasia<\/em>.<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/Rrm8usaH0sM\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">\n<ol style=\"text-align: center;\" start=\"4\">\n<li><em>Rite of Spring<\/em> by Igor Stravinsky: Disney, Stokowski, and Taylor initially chose Stravinsky\u2019s <em>Firebird<\/em>, but Rite of Spring proved to be a better fit in the end.<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/G3VqcTDf6l4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">\n<ol style=\"text-align: center;\" start=\"5\">\n<li>The <em>Pastoral Symphony<\/em> by Ludwig van Beethoven: Disney\u2019s team was attracted to the mythical inspiration behind Beethoven\u2019s <a href=\"https:\/\/en.wikipedia.org\/wiki\/Symphony_No._6_(Beethoven)\"><em>Symphony No. 6<\/em><\/a><em><em>.<\/em><\/em>&nbsp;<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/l_EDBM1tOEo\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<ol style=\"text-align: center;\" start=\"6\">\n<li><em>Dance of the Hours<\/em> by Amilcare Ponchielli: <a href=\"https:\/\/en.wikipedia.org\/wiki\/Dance_of_the_Hours\">This work<\/a> provided some much-needed \u201ccomic relief\u201d to a soundtrack weighted towards more serious music.<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/MJ7IGnQPZPQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">\n<ol style=\"text-align: center;\" start=\"7\">\n<li><em>Night on Bald Mountain<\/em> by Modest Mussorgsky: Disney chose one of Mussorgsky\u2019s <a href=\"https:\/\/en.wikipedia.org\/wiki\/Night_on_Bald_Mountain\">most dramatic works<\/a> here &#8212; it\u2019s full of demons, magic, and yes, <a href=\"http:\/\/www.backstagepodcast.com\/what-is-the-devil-in-music\/\">the Devil<\/a>.<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/SLCuL-K39eQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">\n<ol start=\"8\">\n<li style=\"text-align: center;\"><em>Ave Maria<\/em> by Franz Schubert: <a href=\"https:\/\/en.wikipedia.org\/wiki\/Ave_Maria_(Schubert)\">This choral rendition<\/a> provided the perfect atmosphere for the animated Roman Catholic imagery during this section of <em>Fantasia<\/em>.<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/zIvuLzIV97M\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>The Philadelphia Orchestra recorded the <em>Fantasia <\/em>soundtrack in the spring of 1939. Stokowski conducted, and the orchestra played in their usual concert hall (at that time), the Academy of Music on South Broad Street.<\/p>\n<p>&nbsp;<\/p>\n<p>Most film critics loved the insertion of classical music in cartoons, while some prominent American classical musicians and composers, on the other hand, reacted negatively to Fantasia.<\/p>\n<p>&nbsp;<\/p>\n<p>Stokowski\u2019s arrangements and orchestrations drew specific criticism from the likes of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Virgil_Thomson\">Virgil Thompson<\/a> and others. The effect of these petty criticisms was negligible however&#8211;Fantasia was a huge success.<\/p>\n<p>&nbsp;<\/p>\n<p>Even though Fantasia\u2019s 1940 premiere came during a hard time in US history, the lasting quality of Disney\u2019s classical music excursion was not lost on the American public. It remained a classic throughout the entire 20th century, and it even <a href=\"https:\/\/en.wikipedia.org\/wiki\/Fantasia_2000\">scored a sequel<\/a> in the year 2000.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<h2><strong>Fantasia\u2019s Impact: A Legacy of Classical Music in Cartoons<\/strong><\/h2>\n<p>&nbsp;<\/p>\n<p>Walt Disney\u2019s love for classical music, which really came to light in 1935 with <em>The Band Concert<\/em>, helped create one of the most influential pieces of animation in film history.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-3984\" src=\"https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/mickey-in-fantasia-300x223.jpg\" alt=\"Mickey Mouse with Stokowski\" width=\"300\" height=\"223\" srcset=\"https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/mickey-in-fantasia-300x223.jpg 300w, https:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2017\/05\/mickey-in-fantasia.jpg 500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n<p>By presenting the music in an artistic and serious way (while also having plenty of fun with the movie), Disney introduced famous classical works to an audience that wouldn\u2019t have listened to them otherwise.<\/p>\n<p>&nbsp;<\/p>\n<p>In addition to promoting classical music, Disney also kicked off an era of classical music features within cartoons; the reign of Chuck Jones and Michael Maltese (Herr Meets Hare, the Rabbit of Seville, Etc) was right around the corner.<\/p>\n<p>&nbsp;<\/p>\n<p>Before Warner Bros. became the foremost purveyor of classical music in cartoons, there was Disney, taking risks in film that Edwin Schallert could only describe as <em>\u201ccourageous beyond belief.\u201d<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On November 13, 1940, influential film critics and Hollywood notables gathered in New York\u2019s Broadway Theatre for the premiere of [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":3982,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,104,332],"tags":[284,9,282,105,283],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Classical Music in Cartoons: Disney\u2019s Fantasia<\/title>\n<meta name=\"description\" content=\"The first in our two part series on the use of Classical Music in Cartoons, this article focuses on the creation and success of Disney&#039;s Fantasia in 1940.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikalessons.com\/blog\/2017\/05\/classical-music-in-cartoons-fantasia\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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