Night on Bald Mountain/Ave Maria

Night on Bald Mountain/Ave Maria is the final segment of Fantasia, following the music of the same name by Modest Moussorgsky and Franz Schubert. Deems Taylor introduces it as the conflict between the profane (represented by Night on Bald Mountain) and the sacred (represented by Ave Maria). At Walpurgis Night (the Witches' Sabbath), Chernabog, god of evil, emerges from the peak of Bald Mountain (in reality Mount Triglaf, near Kiev in southern Russia) to summon all of his minions, including ghosts, demons, hags and harpies, who dance furiously as he throws them into the mountain’s fiery pit. Chernabog is driven away by the light of the dawn, and a procession of figures walks up a hill to witness a sunrise. It is perhaps the most famous sequences in Fantasia, if not, second to The Sorcerer's Apprentice. The sequence showcases the animation of Vadimir Tytla and the style of Kay Nielsen, as well as the longest shot ever produced in the multi-plane camera (in the procession). Night on Bald Mountain/Ave Maria is the final segment of Fantasia, following the music of the same name by Modest Moussorgsky and Franz Schubert. Deems Taylor introduces it as the conflict between the profane (represented by Night on Bald Mountain) and the sacred (represented by Ave Maria). At Walpurgis Night (the Witches' Sabbath), Chernabog, god of evil, emerges from the peak of Bald Mountain (in reality Mount Triglaf, near Kiev in southern Russia) to summon all of his minions, including ghosts, demons, hags and harpies, who dance furiously as he throws them into the mountain’s fiery pit. Chernabog is driven away by the light of the dawn, and a procession of figures walks up a hill to witness a sunrise. It is perhaps the most famous sequences in Fantasia, if not, second to The Sorcerer's Apprentice. The sequence showcases the animation of Vadimir Tytla and the style of Kay Nielsen, as well as the longest shot ever produced in the multi-plane camera (in the procession). Night on Bald Mountain/Ave Maria is the final segment of Fantasia, following the music of the same name by Modest Moussorgsky and Franz Schubert. Deems Taylor introduces it as the conflict between the profane (represented by Night on Bald Mountain) and the sacred (represented by Ave Maria). At Walpurgis Night (the Witches' Sabbath), Chernabog, god of evil, emerges from the peak of Bald Mountain (in reality Mount Triglaf, near Kiev in southern Russia) to summon all of his minions, including ghosts, demons, hags and harpies, who dance furiously as he throws them into the mountain’s fiery pit. Chernabog is driven away by the light of the dawn, and a procession of figures walks up a hill to witness a sunrise. It is perhaps the most famous sequences in Fantasia, if not, second to The Sorcerer's Apprentice. The sequence showcases the animation of Vadimir Tytla and the style of Kay Nielsen, as well as the longest shot ever produced in the multi-plane camera (in the procession). Night on Bald Mountain/Ave Maria is the final segment of Fantasia, following the music of the same name by Modest Moussorgsky and Franz Schubert. Deems Taylor introduces it as the conflict between the profane (represented by Night on Bald Mountain) and the sacred (represented by Ave Maria). At Walpurgis Night (the Witches' Sabbath), Chernabog, god of evil, emerges from the peak of Bald Mountain (in reality Mount Triglaf, near Kiev in southern Russia) to summon all of his minions, including ghosts, demons, hags and harpies, who dance furiously as he throws them into the mountain’s fiery pit. Chernabog is driven away by the light of the dawn, and a procession of figures walks up a hill to witness a sunrise. It is perhaps the most famous sequences in Fantasia, if not, second to The Sorcerer's Apprentice. The sequence showcases the animation of Vadimir Tytla and the style of Kay Nielsen, as well as the longest shot ever produced in the multi-plane camera (in the procession).