DOCSLIB.ORG

FOR IMMEDIATE RELEASE WSO Presents Disney's FANTASIA, Live in Concert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FOR IMMEDIATE RELEASE WSO Presents Disney's FANTASIA, Live in Concert FOR IMMEDIATE RELEASE WSO Presents Disney’s FANTASIA, Live in Concert Winnipeg, MB – April 22, 2016 – The Winnipeg Symphony Orchestra (WSO) conjures the Sorcerer’s magic to bring Disney’s crown jewels – FANTASIA and FANTASIA 2000 – to Winnipeg audiences. The most iconic classical masterpieces will be performed live by the WSO to accompany timeless animated selections from both films for two performances at the Centennial Concert Hall, April 30-May 1. Concertgoers are in for a nostalgic ride beginning in 1940, when the first FANTASIA was released. FANTASIA is the brainchild of Walt Disney himself and legendary British conductor Leopold Stokowski, who can be seen in silhouette with Mickey Mouse in The Sorcerer's Apprentice. The creative team, including the talents of over a 1,000 artists, musicians and engineers, were behind producing the very first commercial film with “Fantasound,” which is stereophonic sound that is used to create the impression of sound coming from multiple directions. The goal for FANTASIA was to have an ongoing series of “Concert Features” that would continuously be swapped out for newer segments. But, with the high expense of implementing the “Fantasound” audio systems in theatres, FANTASIA was a stand-alone visionary milestone until Walt’s nephew, Roy E. Disney, initiated the creation of FANTASIA 2000 in 1999. There are two ways to take in the Disney’s FANTASIA with the WSO - Saturday, April 30 at 7:30 pm is the full two-hour concert, followed by a one-hour Great-West Life Kids Concert on Sunday, May 1 at 2:00 pm. Musical selections include Beethoven’s Symphony No. 5, Tchaikovsky’s Nutcracker Suite, Sir Edward Elgar’s Pomp and Circumstance, Stravinsky’s The Firebird Suite, Paul Dukas’ The Sorcerer's Apprentice and more. Hear FANTASIA and FANTASIA 2000 the way they were meant to be heard - with the score performed live in a perfect marriage of classical music and animation! SoundBytes Disney FANTASIA: Live in Concert Saturday, April 30 - 7:30 PM Centennial Concert Hall Julian Pellicano, conductor MUSICIANS IN THE MAKING Pre-concert performance on the Piano Nobile. Saturday, 6:45 PM Manitoba Conservatory of Music & Arts Tickets are available through the WSO Box Office: 204.949.3999 or wso.ca or Ticketmaster: 1.855.985.ARTS and Ticketmaster.ca Great-West Life Concerts for Kids Disney FANTASIA: Live in Concert Sunday, May 1 – 2:00 p.m. Pre-Concert Activities – 1:00 p.m. Centennial Concert Hall Julian Pellicano, conductor PRE-CONCERT ACTIVITIES Children can participate in musical activities such as crafts, rhythm ensembles and round- singing. They can visit the Conducting Station where they will get the chance to conduct a group of musicians or visit the Instrument Petting Zoo to touch and play orchestral instruments. These activities are presented in partnership with Music for Young Children. Pre-Concert Activities begin at 1:00 PM. Concerts for Kids Series Sponsor: Official Media Sponsor of the WSO Kids Concerts: Pre-Concert Activities Partner: Instrument Petting Zoo Sponsor: Tickets start at $15 and are available through the WSO Box Office: 204.949.3999 or wso.ca or Ticketmaster: 1.855.985.ARTS and Ticketmaster.ca About WSO: The WSO is integral to Winnipeg's rich cultural life, delighting more than 100,000 audience members each year with innovative programming and musical excellence. The WSO presents educational programs for more than 40,000 students annually and tours to communities across Manitoba. -30- MEDIA: For more information or to schedule an interview, please contact: Sarah Panas, Marketing & Communications Coordinator p. (204) 949-3970 e: [email protected] .
Load more

Recommended publications
  • Film Essay for "This Is Cinerama"
    This Is Cinerama By Kyle Westphal “The pictures you are now going to see have no plot. They have no stars. This is not a stage play, nor is it a feature picture not a travelogue nor a symphonic concert or an opera—but it is a combination of all of them.” So intones Lowell Thomas before introduc- ing America to a ‘major event in the history of entertainment’ in the eponymous “This Is Cinerama.” Let’s be clear: this is a hyperbol- ic film, striving for the awe and majesty of a baseball game, a fireworks show, and the virgin birth all rolled into one, delivered with Cinerama gave audiences the feeling they were riding the roller coaster the insistent hectoring of a hypnotically ef- at Rockaway’s Playland. Courtesy Library of Congress Collection. fective multilevel marketing pitch. rama productions for a year or two. Retrofitting existing “This Is Cinerama” possesses more bluster than a politi- theaters with Cinerama equipment was an enormously cian on the stump, but the Cinerama system was a genu- expensive proposition—and the costs didn’t end with in- inely groundbreaking development in the history of motion stallation. With very high fixed labor costs (the Broadway picture exhibition. Developed by inventor Fred Waller from employed no less than seventeen union projectionists), an his earlier Vitarama, a multi-projector system used primari- unusually large portion of a Cinerama theater’s weekly ly for artillery training during World War II, Cinerama gross went back into the venue’s operating costs, leaving sought to scrap most of the uniform projection standards precious little for the producers.
    [Show full text]
  • Fantasias Music History Through Animation Background
    Disney’s Two Fantasias Music History Through Animation Background “The beauty and inspiration of music must not be restricted to a privileged few, but must be made available to every man, woman and child.” - Leopold Stokowski, 1940 “Fantasia is.. the beginning of a new technique for the screen.. and a greater development of sound recording and reproduction.” - Walt Disney, 1940 - Disney’s idea of marrying animation and music had begun in 1929 with the Silly Symphonies series (The Skeleton Dance, 1929, Flowers and Trees, 1932, first Technicolor release, The Old Mill, 1937, first multi-plane animation). Mickey was purposely left out. - by late-1930’s, Mickey’s popularity was failing, so Disney conceived the idea of starring Mickey in a Silly Symphony based on Paul Dukas’ The Sorcerer’s Apprentice - Disney ran into Stokowski in a Beverly Hills restaurant and discussed the idea with him. They soon elaborated it into a feature length film consisting of several contrasting musical works. Disney at first called it The Concert Feature. - Stokowski suggested Fantasia, a musical term meaning “a composition unrestricted by formal design, free reign for fantasy and imagination” - originally conceived as a continually changing concert program, with new pieces added and old ones withdrawn on a continuing basis. Leopold Stokowski • born in London, 1882 emigrated to New York in 1905 • 1912 conductor of Philadelphia Orchestra • an early champion of recorded orchestra music - • “The recording process will one day reproduce music better than heard in the concert hall” • experiments with 3-channel stereo sound at Bell Labs • Philadelphia Orchestra transmitted over three phone lines to Washington, DC • unconventional positioning of instruments in order to produce a better recording • conducted without a baton (hands only), as shown in Fantasia and parodied in Long Haired Hare • by 1937 was well known to American audiences through film & radio appearances • had developed a 9 microphone recording system (mixed to mono) for earlier film recording.
    [Show full text]
  • Chapter Template
    Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.
    [Show full text]
  • THE SORCERER's APPRENTICES: AUTHORSHIP and SOUND AESTHETICS in WALT DISNEY's FANTASIA by Daniel Fernandez a Thesis Submitted
    THE SORCERER’S APPRENTICES: AUTHORSHIP AND SOUND AESTHETICS IN WALT DISNEY’S FANTASIA by Daniel Fernandez A Thesis Submitted to the Faculty of the Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Masters of Arts Florida Atlantic University Boca Raton, FL May 2017 Copyright by Daniel Fernandez 2017 ii ACKNOWLEDGEMENTS I would like to thank my committee members for all of their guidance and support, especially to my advisor Anthony Guneratne for his helpful suggestions during the writing of this manuscript. I am also grateful to a number of archival collections, particularly those of Yale University for providing me with some of the primary sources used for this manuscript. Likewise, I would like to acknowledge Stephanie Flint for her contribution to the translation of German source material, as well as Richard P. Huemer, Didier Ghez, Jennifer Castrup, the Broward County Library, the University of Maryland, the Fales Library at New York University, and Zoran Sinobad of the Library of Congress, for the advice, material assistance, and historical information that helped shape this project. iv ABSTRACT Author: Daniel Fernandez Title: The Sorcerer’s Apprentices: Authorship and Sound Aesthetics in Walt Disney’s Fantasia Institution: Florida Atlantic University Thesis Advisor: Dr. Anthony Guneratne Degree: Masters of Arts in Communications Year: 2017 This thesis makes three claims new to the critical literature on Walt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements.
    [Show full text]
  • WIDE SCREEN MOVIES CORRECTIONS - Rev
    WIDE SCREEN MOVIES CORRECTIONS - Rev. 2.0 - Revised December, 2004. © Copyright 1994-2004, Daniel J. Sherlock. All Rights Reserved. This document may not be published in whole or in part or included in another copyrighted work without the express written permission of the author. Permission is hereby given to freely copy and distribute this document electronically via computer media, computer bulletin boards and on-line services provided the content is not altered other than changes in formatting or data compression. Any comments or corrections individuals wish to make to this document should be made as a separate document rather than by altering this document. All trademarks belong to their respective companies. ========== COMMENTS FOR VERSION 1.0 (PUBLISHED APRIL, 1994): The following is a list of corrections and addenda to the book Wide Screen Movies by Robert E. Carr and R.M. Hayes, published in 1988 by McFarland & Company, Inc., Jefferson, NC and London; ISBN 0-89950-242-3. This document may be more understandable if you reference the book, but it is written so that you can read it by itself and get the general idea. This document was written at the request of several individuals to document the problems I found in the book. I am not in the habit of marking up books like I had done with this particular book, but the number of errors I found was overwhelming. The corrections are referenced with the appropriate page number and paragraph in the book. I have primarily limited my comments to the state of the art as it was when the book was published in 1988.
    [Show full text]
  • Walt Disney : a Study of His Life and Films
    Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/waltdisneystudyoOOIowe WALT DISNEY: A STUDY 0? HIS Lli^S ai:d films f by 4- MARY ANNA LOWE B.A., Kansas Stato University, 19^6 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER 0? ARTS Department of Speech Kansas stats university Manhattan, Kansas 1969 Approved by: Major Professor <AUS ACKNOWLEDGMENTS The author of this study is greatly indebted to the many people who helped make it possible. Sincere appreciation is expressed to Dr. l/illiam L. Burke, major professor, for his guidance and assistance in the preparation of this study. Also, thanks must go to Dp. ?. Virginia Howe and Dr. Norma D. Bunton for their time, effort, and encouragement. 'There are others, too numerable to mention, who, although not directly connected with the study, have lent their patience, support, and helpfulness the success of this effort. To these individ- uals is expressed a sincere thank you. • I .. 'ION r It is tlio intention of this study to some t - r Dstions which concern the life and films of Walt . s the man original and unique? His development of bhe methods of animation made him seem go. What did the film critics have to say about Disney's films and the effects of the -pictures on the mass audience? Who was this mass audience that flocked to theatres to see Walt Disney ! s movies? The film critics objected to the films on the grounds that they were shallow and un-intellectual Some of them even went so far as to claim that Disney's products were capable of retarding the social development of certain individuals.
    [Show full text]
  • Evolving Fantasia: Listening for Fun and Education in Walt Disney's Dynamic Commodity
    EVOLVING FANTASIA: LISTENING FOR FUN AND EDUCATION IN WALT DISNEY'S DYNAMIC COMMODITY by William Daniel Rosenmund Bachelor of the Arts, University of Virginia, 2012 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This thesis was presented by William Daniel Rosenmund It was defended on April 10, 2015 and approved by Dr. Rachel Mundy, Assistant Professor, Department of Music Dr. Emily Zazulia, Assistant Professor, Department of Music Thesis Director: Dr. Anna Nisnevich, Assistant Professor, Department of Music ii Copyright © by William Daniel Rosenmund 2015 iii EVOLVING FANTASIA: LISTENING FOR FUN AND PEDAGOGY IN WALT DISNEY'S DYNAMIC COMMODITY William Daniel Rosenmund, M.A. University of Pittsburgh, 2015 Since its first theatrical release in 1940, Walt Disney's Fantasia has become an autonomous brand under the stewardship of the Walt Disney Company. Through the seventy- five years of Fantasia's history, it has spawned multiple re-releases in both the domestic and public sphere, as well as a sequel film, video game, and series of live performances. As such, Fantasia is a dynamic commodity which has remained culturally relevant amongst audiences. From this relevance, pedagogical value can be derived; the film introduces modes of listening such as Michel Chion's audio-viewing and introductions to the role of narrative in Western art music. Utilizing secondary sources for production history, newspaper reviews, and (auto)ethnography, this project delves into reception history of Fantasia as a means to understand the cultural contexts in which Disney's project can simultaneously exist as a populist commodity and pedagogical text.
    [Show full text]
  • Fantasia (1940) and Fantasia 2000 (1999) in This Age of 3D, HD
    Fantasia (1940) and Fantasia 2000 (1999) In this age of 3D, HD, widescreen, 7.1 surround sound — and that’s just in your living room! — it can be hard to fathom how revolutionary Fantasia was upon its theatrical release in 1940. Neither symphony hall concertgoers nor families headed to the movies to catch the latest Disney cartoon were prepared for the breadth and depth of color and sound that poured forth from the screen. Walt Disney (1901–1966) and conductor Leopold Stokowski (1882–1977), in collaboration with the talents of 1,000-plus artists, musicians and engineers at the Walt Disney Studio, the RCA Corporation, composer, author and commentator Deems Taylor (1885–1966), dozens of dancers (including Marge Champion and members of the Ballet Russe de Monte Carlo and Ballet Theatre) and the entire Philadelphia Orchestra, created a watershed cinematic experience that remains a visionary milestone to this day. Sadly, the expense of installing the Fantasound audio playback system in theaters, and the loss of the European market because of World War II, nixed Walt’s dream of an ongoing “Concert Feature,” wherein individual segments would be replaced by new ones. Though the Walt Disney Studio would utilize popular songs in several package films of the ‘40s and ‘50s, it would remain until 1999 and the release of Fantasia 2000, spearheaded by Walt’s nephew, Roy E. Disney, for a Disney-produced feature-length marriage of classical music and animation to once again reach the screen. Ludwig van Beethoven Allegro con brio [mvmt 1] from Symphony No. 5, Op. 67 (1804–08) To begin Fantasia 2000 with a bang, Disney artists chose the opening movement of Beethoven’s Fifth Symphony, its short-short-short-long musical motif immediately grabbing the listener’s ear.
    [Show full text]
  • ABSTRACT Title of Dissertation: SONIC MOVIE MEMORIES: SOUND, CHILDHOOD, and AMERICAN CINEMA Paul James Cote, Doctor of Philosoph
    ABSTRACT Title of Dissertation: SONIC MOVIE MEMORIES: SOUND, CHILDHOOD, AND AMERICAN CINEMA Paul James Cote, Doctor of Philosophy, 2016 Dissertation directed by: Professor Jonathan Auerbach, Department of English Literature Though the trend rarely receives attention, since the 1970s many American filmmakers have been taking sound and music tropes from children’s films, television shows, and other forms of media and incorporating those sounds into films intended for adult audiences. Initially, these references might seem like regressive attempts at targeting some nostalgic desire to relive childhood. However, this dissertation asserts that these children’s sounds are instead designed to reconnect audience members with the multi-faceted fantasies and coping mechanisms that once, through children’s media, helped these audience members manage life’s anxieties. Because sound is the sense that Western audiences most associate with emotion and memory, it offers audiences immediate connection with these barely conscious longings. The first chapter turns to children’s media itself and analyzes Disney’s 1950s forays into television. The chapter argues that by selectively repurposing the gentlest sonic devices from the studio’s films, television shows like Disneyland created the studio’s signature sentimental “Disney sound.” As a result, a generation of baby boomers like Steven Spielberg comes of age and longs to recreate that comforting sound world. The second chapter thus focuses on Spielberg, who incorporates Disney music in films like Close Encounters of the Third Kind (1977). Rather than recreate Disney’s sound world, Spielberg uses this music as a springboard into a new realm I refer to as “sublime refuge” - an acoustic haven that combines overpowering sublimity and soothing comfort into one fantastical experience.
    [Show full text]
  • The New Age of Sound: How Bell Telephone Laboratories and Leopold Stokowski Modernized Music
    The New Age of Sound: How Bell Telephone Laboratories and Leopold Stokowski Modernized Music Gabrielle E. O’Brien A decade-long collaboration between Bell Telephone Laboratories and the Address: conductor Leopold Stokowski laid the foundations for a vibrant future of Institute for Learning & Brain Sciences artistry through sound recording. University of Washington On April 10, 1940, e New York Times ran the headline “Sound Waves ‘Rock’ 1715 NE Columbia Road Carnegie Hall…Tones Near Limit at the Human Ear Can Endure.” “e loudest Portage Bay Building musical sounds ever created crashed and echoed through venerable Carnegie Hall Box 357988 last night as a specially invited audience listened, spellbound, and at times not a Seattle, Washington little terried,” read the paper (Anonymous, 1940, p. 25). 98195-7988 USA e evening before, the psychoacoustician and the Acoustical Society’s rst presi- Email: dent Harvey Fletcher stood at a control panel in Carnegie Hall while recordings of [email protected] the Philadelphia Orchestra playing under the direction of his long-time collabora- tor, the avant-garde conductor Leopold Stokowski, were piped into the auditorium. ey were demonstrating “enhanced” music, in which the dynamic range of the recordings had been drastically expanded during production for a dramatic eect that could literally bowl over an unprepared listener. At Stokowski’s command, the sound level shied across a range of nearly 100 dB; at its loudest, the wall of sound emanating from three loudspeakers positioned on the stage was comparable to the output of 2,000 musicians. “When he wanted a stupefying volume of tone, that in Carnegie Hall seemed to shake the building, he got it instantly,” reported the Times.
    [Show full text]
  • Chicago Symphony Orchestra; the Film Was Titled Fantasia 2000 When It Premiered at New York’S Carnegie Hall on December 17, 1999
    Pittsburgh Symphony Orchestra 2014-2015 May 8, 9 and 10, 2015 WARD STARE, CONDUCTOR Disney’s FANTASIA — Live in Concert LUDWIG VAN BEETHOVEN Excerpts from Symphony No. 5 in C minor, Opus 67 § I. Allegro con brio LUDWIG VAN BEETHOVEN Excerpts from Symphony No. 6 in F major, Opus 68, “Pastoral” * III. Merry Assembly of Country Folk: Allegro IV. Thunderstorm: Allegro V. Shepherd’s Song: Happy, Grateful Feelings after the Storm: Allegretto PIOTR ILYICH TCHAIKOVSKY Excerpts from The Nutcracker * I. Dance of the Sugar Plum Fairies II. Chinese Dance III. Dance of the Reed Flutes IV. Arabian Dance V. Waltz of the Flowers — INTERMISSION — PAUL DUKAS The Sorcerer’s Apprentice * AMILCARE PONCHIELLI “Dance of the Hours” from La Gioconda * CLAUDE DEBUSSY Clair de lune (deleted from 1940 Fantasia) EDWARD ELGAR Military March from Pomp and Circumstance, Opus. 39 § IGOR STRAVINSKY Excerpts from The Firebird § I. Introduction and Dance of the Firebird II. Dance of the Princesses III. Infernal Dance of King Kastchei IV. Berceuse V. Finale * Fantasia 1940 § Fantasia 2000 May 8-10, 2015, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA DISNEY’S FANTASIA — LIVE IN CONCERT Walt Disney, one of Hollywood’s greatest innovators, began his career in Kansas City, where he set up the “Laugh-O-Gram” studio to make short animated films. He produced several silent cartoons on fairy tale themes before making Alice’s Wonderland in 1923, which integrated live-action footage with animation (and featured the 22-year-old Disney in the opening scenes). Laugh-O-Gram went under the following year, so Walt followed his older brother, Roy, a banker, to Los Angeles, where they established the Disney Brothers Cartoon Studio to carry on the Alice series.
    [Show full text]
  • [History Of] Motion Picture Sound Recording
    straight-line portion of the negative H & D curve, the print The negative track is recorded on a high gamma positive being made on the straight-line portion of the print H & D type film in contrast to a low negative gamma film for the curve. Light valve recording followed the basic principles variable-density method. Since the major studios had al- of rendering tone values laid down by L. A. Jones of ready installed the ERPI variable-density system, RCA Eastman Kodak Co. [5]. An excellent analysis of straight bought up RKO Pictures and installed its variable-area line and toe records was made by Mackenzie [6] in 1931 system, a refinement of General Electric's earlier efforts and shown in Fig. 4. [7]. Walt Disney Studioslater adopted the RCA system. While the variable-density systems were being intro- After that, variable density dominated the industry until the duced into the motion picture industry, another type of mid-Forties, when the variable-ama method became more track, now known as variable area, was being developed. In popular. Almost every motion picture studio now uses variable area recording. I \ ' _ I ',, I i , I PRINTER H &D CURVES _ I OVERALL HLD CURVES /3 _Z_,_o - '--i _i_<_ _%%,,o Noise Reduction _" --_ ;2 _]"'"'.,._'4 I , The first technical improvement in sound recording was \ \ _--- i I--_' - This was done on variable-density tracks by superimposing [X.,*x_--_---_--_- a biasing current on the ribbons, reducing the spacing from ] _ ..... i i__--__:/:!L-2_- the ihtroduction of ground noise reduction techniques [8].
    [Show full text]