Musical magic

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Who: The St. Louis Symphony conducted by Steven Jarvi
What: Fantasia
When: November 1-3, 2013
Where: Powell Symphony Hall

The first thing you need to know about the symphony's Fantasia program is that it was not a showing of the original 1940 film, but rather a mix of sequences from the original and the sequel, Fantasia 2000.  The second thing you need to know is that the film clips and associated musical selections were very well chosen, resulting in a nicely balanced program that effectively shows off both the Disney animators (past and present) and the virtuoso musicians of the St. Louis Symphony.

Yes, the presence of so many children in the house meant (at least the night we were there) that there was more audience noise than usual.  And the cuts and re-orchestrations in some of the music were a bit disconcerting at times.  But on the whole it was a thoroughly entertaining and worthwhile program—especially for parents looking for a way to introduce younger listeners to the classics. 

Besides, the orchestra played its heart out, from intimate, beautifully executed solos to massive walls of sound. Harpist Allegra Lilly was kept particularly busy, as is pianist Peter Henderson (who doubled on celesta), but everyone sounded in top form. 

This was my first opportunity to see Resident Conductor Steven Jarvi in action.  I found him to be a magnetic and physically exuberant figure on the podium.  I was also impressed by his ability to keep under control the disparate and somewhat contradictory tasks called for by conducting to a film score.  Mr. Jarvi had to do everything a conductor normally does while listening to a click track that keeps him in synch with the film—probably quite a challenge, given some of the eccentric tempo choices in Stokowski's original soundtrack.

My personal favorites included the selections from Stravinsky's Firebird that accompany a story of the coming of spring, volcanic destruction, and rebirth; the fancifully anthropomorphic flora that go with excerpts from Tchaikovsky's Nutcracker; and, of course, the slapstick comedy of The Sorcerer's Apprentice.  The program also includes Debussy's Clair de Lune, which was cut from the original Fantasia and not released it its original form until 1996.  It's a lovely little nocturnal scene in a bayou with a pair of cranes that matches the music perfectly.  I'd never seen it before.

Also on the program: the first movement of Beethoven's Symphony No. 5, the last two movements of his "Pastorale" symphony, a loopy mashup of four of Elgar's Pomp and Circumstance marches by Peter Schickele (to accompany a Noah's Ark narrative starring Donald and Daisy Duck), and most of Respighi's vivid Pines of Rome (used, inexplicably, for some fanciful animation of flying whales).  There was also an unlisted encore: the final march from Saint-Saëns's Carnival of the Animals (from Fantasia 2000), underscoring a bit of charming low comedy involving some flamingos and a yo-yo.

As with other film programs at Powell, popcorn and movie snacks were available at the bar, along with a special drink concocted for the occasion ("The Sorcerer," a tasty combination of vodka, curaçao, and pink lemonade) and you could take everything into the auditorium.  That's fortunate, because the larger than usual house meant longer than usual lines at intermission.

Next at Powell Hall: Nicholas McGegan conducts a program of Weber, Haydn, Rameau, and Mozart Friday and Saturday, November 8 and 9.  For more information: stlsymphony.org.

Quasi una fantasia

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It's toon time this weekend (November 1-3) at the St. Louis Symphony with music and animation from a pair of remarkable Disney films: "Fantasia" and its sequel from 60 years later "Fantasia 2000." The orchestra's new Resident Conductor Steven Jarvi is on the podium while Mickey Mouse, Donald Duck, and a host of other cartoon critters cavort on the screen. It's just the latest chapter in the complex—not to say convoluted—history of a film that's had as many lives as a seasonal black cat.

The original "Fantasia" started out in 1937 as a short in which Paul Dukas's "Sorcerer's Apprentice" served as the soundtrack for an animated short in which Mickey Mouse—whose celluloid career was in a bit of a slump—would take the role of the apprentice whose inept attempts to use one of his boss's spells nearly leads to disaster. Not one for half measures, Disney managed to secure the services of the most famous conductor of the time, the flamboyant Leopold Stokowski, to conduct an orchestra of Hollywood studio musicians.

The results were impressive but the cost—over $125,000—made "The Sorcerer's Apprentice" too expensive to ever succeed as a short. And it became but one segment in a pioneering 1940 feature film that would combine classical music and animation in ways that still look visionary today.

Leopold Stokowski in a classic pose

Even the sound of "Fantasia" was visionary. "Music emerging from one speaker behind the screen sounds thin, tinkly and strainy," Disney was quoted as saying in a 1941 Popular Science article. "We wanted to reproduce such beautiful masterpieces as Schubert's 'Ave Maria' and Beethoven's Sixth Symphony so that audiences would feel as though they were standing at the podium with Stokowski." Unfortunately, the resulting multi-channel technology—dubbed "fantasound"—required theaters to be equipped with special amps and speakers at a cost of around $85,000 each. That, combined with the outbreak of World War II and the resulting loss of a European market, killed any chance of a profitable first run for "Fantasia," despite generally positive reviews and a high demand for tickets.

"Fantasia" went through a series of revisions and re-releases over the next several decades, including a 1969 appearance in which it was billed as "the ultimate trip" in an effort (mostly successful) to attract young audiences experimenting with mind-altering drugs. The 2000 release—with a digitally Walt's brother Roy produced an IMAX sequel, "Fantasia 2000," which featured performances by the Chicago Symphony under James Levine. I caught it in a standard theatrical release (at the Tivoli) and found it less impressive than its parent—but maybe that's just me being a curmudgeon.

Steven Jarvi

What you'll get at Powell Hall this week is a mix of highlights from both films, with the emphasis on the sequel. From the original, you get Tchaikovsky's "Nutcracker Suite," Ponchielli's "Dance of the Hours" (with it's still-hilarious parody of classical ballet), the Reader's Digest version of Beethoven's "Pastorale" symphony with its animated nymphs and centaurs, and (of course) "The Sorcerer's Apprentice". From the sequel we get the first movement of Beethoven's fifth symphony, Stravinsky's "Firebird Suite," a wild mashup (by Peter Schickele, creator of P.D.Q. Bach) of four of Elgar's "Pomp and Circumstance" marches (complete with wordless vocals by soprano Kathleen Battle), and Respighi's "Pines of Rome". The latter, for reasons I have never fully understand, is used to accompany the adventures of a family of whales—rather odd, given how vividly Respighi paints his Roman scenes.

Debussy's "Clair de Lune" is there as well, although it was never part of the original "Fantasia" and I had always assumed it was never animated. It will be interesting to see what's on the big screen at Powell for that one.

The "Fantasia" program runs Friday and Saturday at 7 PM and Sunday at 2 PM. If it's anything like other symphony film events you'll be able to purchase popcorn and take it and your drinks into the theater.

Radio Disney is sponsoring a costume competition and hour before each performance. Entrants are eligible for a drawing for a VIP trip for four to meet Disney characters during Chicago’s famous Magnificent Mile Lights Festival, November 23. Contact customer service at Powell when you arrive to register. For more information: stlsymphony.org.