Walt Disney’s “Fantasia” was a marvel when it was released to theaters in 1940. Not only was it the first commercial film shown in stereo (custom sound systems, branded “Fantasound,” had to be leased to participating theaters), but the mere idea of an entire, two-hour film based on eight classical music animated segments seems utterly outlandish. Nevertheless, it ranks as the 23rd highest grossing film ever in the United States.
Almost a quarter century ago, Disney released a follow-up, “Fantasia 2000.” Though not as iconic as the original, the new film updated the concept with modern film technology and mainstream celebrity cameos such Steve Martin, Bette Midler, and James Earl Jones. It squeezed out a small profit, making $90 million worldwide on a $80-85 million budget.
Walt Disney originally intended “Fantasia” as an ongoing project, with new releases every few years set to music such as Wagner’s “Ride of the Valkyries,” Sibelius’ “The Swan of Tuonela,” and more. This is a tantalizing thought for any classical music fan — what if Disney made a “Fantasia 2024” in an attempt to recapture some of the brilliance (and profits) of the original? What music could a new entry in the franchise include?
Before considering what music could inspire “Fantasia 2024,” let’s recall the music from the first two films. “Fantasia” included:
- Bach: Toccata and Fugue in D minor
- Tchaikovsky: “The Nutcracker” Suite
- Dukas: “The Sorcerer’s Apprentice”
- Stravinsky: “The Rite of Spring”
- Beethoven: Symphony No. 6
- Ponchielli: “Dance of the Hours”
- Mussorgsky: “Night on Bald Mountain”
- Schubert: “Ave Maria”
“Fantasia 2000” included:
- Beethoven: Symphony No. 5
- Respighi: “The Pines of Rome”
- Gershwin: “Rhapsody in Blue”
- Shostakovich: Piano Concerto No. 2
- Saint-Saëns: “The Carnival of the Animals”
- Dukas: “The Sorcerer’s Apprentice”
- Elgar: “Pomp and Circumstance” Marches
- Stravinsky: “Firebird” Suite (1919)
Both films are anchored by familiar classics (Bach, Beethoven, Tchaikovsky, and Gershwin), plus a smattering of easily digestible lesser known works. Disney adds in some modern pieces (Stravinsky and Shostakovich) to push the envelope (slightly). Using this as our model, let’s propose our ideal “Fantasia 2024”:
1. Bach: “Goldberg Variations” (Aria and Variation I)
Like the original “Fantasia,” Bach will anchor our 2024 update with his gorgeous and deceptively simple “Goldberg Variations.” The Aria will reset the audience’s mood after the usual overly loud and obnoxious trailers that precede the main attraction, and the first variation will then rocket listeners into the world of classic music with joy and optimism. We can easily imagine Disney’s animated characters dancing and frolicking on screen to Bach’s burst of energy.
2. Brahms: Symphony No. 3
Next up, the unbridled romanticism of Brahms’ Third Symphony will greet viewers with its first movement — and maybe a medley with elements of the other movements, too. Many audience members won’t recognize this music, but they will identify with its passion. And just think of the animated storytelling that can unfold on screen to this music!
3. Mozart: Symphony No. 41, Movement IV
From the romanticism of Brahms to the joyful sunlight of the finale of Mozart’s Symphony No. 41. We can imagine each part of the fugue being represented by a different Disney character, dancing, prancing, and delighting in the extraordinary energy of Mozart’s final symphony.
4. Sibelius: Symphony No. 5
The great swan theme in Sibelius’ Fifth Symphony is begging to be set to animation. The vastness of Sibelius’ writing is sure to move audiences that have never heard this work before, especially as an unexpected follow-up to the joyous Mozart in the previous segment. This will also serve as a natural midpoint of the film, where an “intermission” can introduce some of the dialogue and humor that were part of the first two films.
5. Adams: “Short Ride in a Fast Machine”
We start the second half with a bang: Adams’ “Short Ride in a Fast Machine” serves as the (slightly) envelope-pushing modern work that Stravinsky and Shostakovich servied in the previous films. It also introduces the audience to minimalism that is easy to digest and, frankly, a lot of fun. Maybe we’ll see a race with the characters from Disney’s “Cars?”
6. Vivaldi: Concerto for Four Violins
Following the Adams, the audience may want to revert back to more traditional sounds, which brings us to Vivaldi. It’s amazing that the Red Priest was passed over in the first two films — maybe because “The Four Seasons” is too associated with specific times of the year, and so much of his other great music is vocal — so we had to choose the Concerto for Four Violins as representative of his style. Perhaps Mickey, Minnie, Goofy, and Donald can bust out their fiddles.
7. Prokofiev: “Romeo and Juliet” excerpts
The second half of our “Fantasia 2024” has included a lot of music that is likely unfamiliar to audiences, so let’s bring them back with something they might know from countless TV commercials: highlights from Prokofiev’s ballet music for “Romeo and Juliet.” It’s exceptional music, and we just know Mickey’s nemesis Pete wants a shot at “The Dance of the Knights.”
8. Tchaikovsky: Symphony No. 4, Movement IV
We end with a bang, the explosive finale of Tchaikovsky Fourth Symphony. Like fireworks over Sleeping Beauty’s Castle after a long day at Disneyland, this brings the film to an end with thrilling drama and ecstastic bursts of celebration. Audiences will be on their feet as the credits roll!
What do you think — did our “Fantasia 2024” hit the mark or miss it? What eight works would you include in your “Fantasia 2024?”
