It was perhaps the most ambitious project in animation up to that point in history: a series of visualizations and adaptations of well-regarded classical compositions by a collection of Disney’s most renowned directors and animators. Unlike the previous successes of Snow White and the Seven Dwarfs and Pinocchio, these pieces would rely – aside from introductions between each piece by critic and com­poser Deems Tay­lor- totally on the music (con­ducted by Leopold Stokowski) and images, which were sometimes wildly experimental. Originally a financial disappointment, it was rediscovered and embraced by the counter-culture of the 60s, where the often intense and
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