{"id":3989,"date":"2017-05-17T17:33:48","date_gmt":"2017-05-17T21:33:48","guid":{"rendered":"https:\/\/www.musikalessons.com\/blog\/?p=3989"},"modified":"2023-01-25T13:40:24","modified_gmt":"2023-01-25T18:40:24","slug":"warner-bros-and-classical-music","status":"publish","type":"post","link":"https:\/\/www.musikalessons.com\/blog\/2017\/05\/warner-bros-and-classical-music\/","title":{"rendered":"Warner Bros. and Classical Music: The Anti-Fantasia Movement"},"content":{"rendered":"

\"LooneyIn 1943, while the classical music and animation communities were still buzzing about Walt Disney\u2019s Fantasia<\/em><\/a>, Warner Bros. decided to tilt that conversation in their favor; they began to release animated shorts parodying Fantasia\u2019s<\/em> use of classical music.<\/p>\n

 <\/p>\n

First came Corny Concerto<\/em> and Pigs in a Polka<\/em> in 1943, followed Michael Maltese\u2019s Herr Meets \u201cHare<\/em>\u201d in 1945. Rabbit of Seville <\/em>(directed by Chuck Jones) remains one of the most popular Warner Bros. cartoons of all time.<\/p>\n

 <\/p>\n

By focusing on parody rather than pomp, Warner Bros. was onto something that would, in fact, change the conversation.<\/p>\n

 <\/p>\n

As the classical-music-in-cartoons conversation shifted towards comedy, so did the entire face of Warner Bros–and two men in particular, Chuck Jones and Michael Maltese, rose to the surface.<\/p>\n

 <\/p>\n

\u00a0<\/strong><\/p>\n

Who is Chuck Jones?<\/strong><\/h2>\n

\u00a0<\/strong><\/p>\n

Have you seen the Disney-produced masterpiece, Fantasia <\/em>(1940)? That ground-breaking work featured seven classical pieces of music, each performed by the Philadelphia Orchestra and conducted by Leopold Stokowski. It was serious, beautiful, and artistic.<\/p>\n

\"Chuck
Chuck Jones<\/figcaption><\/figure>\n

Ironically, Disney\u2019s grave use of classical music may have been the spark plug that ignited Warner Bros.\u2019 classical music parodies. Chuck Jones enjoyed a rivalry with Disney Studios; Chuck likely composed his first operatic cartoon, \u201cRabbit of Seville<\/em>,\u201d to thumb his nose at Disney.<\/p>\n

 <\/p>\n

\u201cThere\u2019s no doubt Chuck Jones teases classical music. It\u2019s high-falutin\u2019, and Bugs isn\u2019t that,\u201d says William Gadea, founder of Idea Rocket Animation<\/a> in NYC.<\/p>\n

 <\/p>\n

The Warner Bros. cartoons certainly weren\u2019t devoid of artistic feeling, though. \u201cWhen Bugs conducts in Long-Haired Hare<\/em> and Baton Bunny<\/em>, he really feels the music! It\u2019s genuine,\u201d adds Gadea.<\/p>\n

 <\/p>\n

If you\u2019re familiar with Wile E. Coyote, Pepe le Pew, Elmer Fudd, Marvin the Martian, or Michigan J. Frog, then you\u2019ll recognize the sharp wit and endless creativity of Chuck Jones. He burst onto the animation scene in the 1930s with Leon Schlesinger Productions—Schlesinger produced Looney Tunes—before continuing with the company after Schlesinger sold to Warner Bros.<\/p>\n

 <\/p>\n

During WWII, Chuck Jones worked with Theodor Geisel, aka \u201cDr. Seuss,\u201d eventually collaborating on the animated \u201cHow the Grinch Stole Christmas<\/em>.\u201d But despite Jones\u2019 many accomplishments, we\u2019re interested in his use of classical music–we\u2019ll get to that right after we discuss the next classical music \u201cguru\u201d at Warner Bros., Michael Maltese.<\/p>\n

 <\/p>\n

\u00a0<\/strong><\/p>\n

Who is Michael Maltese?<\/strong><\/h2>\n

 <\/p>\n

\"Looney
Michael Maltese<\/figcaption><\/figure>\n

The year 1940 brought about a classic Warner Bros. cartoon, You Ought to be in Pictures<\/em><\/a>. While that picture probably isn\u2019t top-of-mind, you might remember the live-action guard who has to chase Porky Pig.<\/p>\n

 <\/p>\n

That was acclaimed animation screenwriter Michael Maltese.<\/p>\n

 <\/p>\n

Maltese wasn\u2019t a live-action actor by trade; he started screenwriting for Schlesinger Productions (later Warner Bros.) in 1941, and later worked with Chuck Jones.<\/p>\n

 <\/p>\n

When it comes to pairing classical music with animation, Maltese actually beat Chuck Jones to the punch.<\/p>\n

 <\/p>\n

Show Me the Cartoons<\/strong><\/h2>\n

\u00a0<\/strong><\/p>\n

Michael Maltese started working with the classical music\/cartoon hybrid before Chuck Jones, and the two visionaries eventually came together to produce some of the industry\u2019s most notable projects.<\/p>\n

 <\/p>\n

Here is a chronological list of the greatest classical music-related cartoons involving Chuck Jones, Michael Maltese, or both. Some of the links take you to full showings, but due to copyright laws, some of them lead to Amazon or short clips. Sorry!<\/p>\n

\u00a0<\/strong><\/p>\n

1941: Rhapsody in Rivets<\/strong><\/h2>\n

Written by<\/em><\/strong>: Michael Maltese<\/em><\/p>\n

 <\/p>\n

\"RhapsodyRhapsody in Rivets<\/em>, directed by Warner Bros. fixture Friz Freleng, used Hungarian Rhapsody No. 2<\/em> by Franz Liszt as its musical foundation. The cartoon focused on a group of construction workers making music with their various tools and machines.<\/p>\n

 <\/p>\n

Rhapsody in Rivets<\/em> was nominated for an Academy Award, although it ultimately lost to Lend a Paw<\/em><\/a> from Disney.<\/p>\n

 <\/p>\n

Unfortunately, you can\u2019t find this cartoon on YouTube; you can <\/em>buy it for $10 (as part of a collection) on Amazon<\/a>, though.<\/p>\n

 <\/p>\n

\u00a01945: Herr Meets Hare<\/strong><\/h2>\n

Written by<\/em><\/strong>: Michael Maltese<\/p>\n

 <\/p>\n

This Warner Bros. cartoon, in which Bugs visits Germany, was released shortly before the end of World War II, and like Rhapsody in Rivets<\/em>, it was directed by Friz Freleng. Composer Carl Stalling featured the music of Offenbach, Strauss, and Wagner, thus continuing Warner Bros.\u2019 connection to classical music.<\/p>\n

 <\/p>\n

You can listen to this one on Youtube, although the quality is awful due to licensing issues. You might be better off buying Herr Meets Hare here<\/a>.<\/p>\n

 <\/p>\n