♪ >>> COMING UP ON NYC ARTS, A CONVERSATION WITH THE CELEBRATED NORWEGIAN PIANIST LEIF OVE ANDSNES, WIDELY KNOWN AS ONE OF THE MOST GIFTED MUSICIANS OF HIS GENERATION.

>> SO FULL OF PASSION OF A YOUNG MAN WANTING TO CONQUER THE WORLD AND AT THE SAME TIME, IT HAS THIS INNOCENT BEAUTY, MELODIES THAT COMES FROM THE SORT OF FOLK SONG TRADITION AND THEY SPEAK VERY DIRECTLY TO OUR HEARTS, AND IT'S VERY INTIMATE.

>> AND A VISIT TO THE BROOKLYN MUSEUM AND THE MONET.

>> THIS EXHIBITION BRINGS TOGETHER A PART OF THE EUROPEAN COLLECTION.

IT'S 19th AND 20th CENTURY EUROPEAN ART.

WE HAVE ORGANIZED IT UNDER THE BROAD THEME OF THE REAL AND IMAGINED, WHICH WAS TERMS OF THESE WORKS.

FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY THE AMBROSE MONELL JAFFE AND JEFFREY BROWN CHARLES AND VALERIE DIKER THE MILTON AND SALLY AVERY ARTS FOUNDATION THE NANCY SIDEWATER FOUNDATION ELROY AND TERRY KRUMHOLZ FOUNDATION AND ELLEN AND JAMES S. MARCUS THIS PROGRAM IS SUPPORTED, IN PART, BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

NYC-ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS 'FIRST THINGS FIRST.'

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ART SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU ARE A LIFELONG COLLECTOR OR A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

♪ >>> GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PAULA ZAHN ON LOCATION AT THE BARTOW PELL MANSION MUSEUM IN THE BRONX.

THIS HISTORIC HOME AND GROUNDS ARE LOCATED WITHIN PELHAM BAY PARK, THE LARGEST PARK IN THE CITY IN NEW YORK.

ENCOMPASSING NEARLY 3,000 ACRES OF FOREST, MASH LAND, AND ROCKY COASTLINE.

GREEK REVIVAL PERIOD ROOMS AND COUNTRY SETTING, VISITING THIS HISTORIC SITE IS A UNIQUE NEW YORK EXPERIENCE.

HOWEVER, WHEN ITS DOORS WERE CLOSED TO THE PUBLIC DURING THE PANDEMIC, BARTOW-PELL BROUGHT AN IN-PERSON EXHIBIT ONLINE.

VIEWERS WERE ABLE TO VIEW BY GONE PLACES OF THE EAST BRONX AND PELLHAM BAY PARK THROUGH A VIRTUAL EXPI ADDITION OF POSTCARDS DATING BACK AS FAR AS THE 19th CENTURY, YES, BEFORE EMAIL AND SOCIAL MEDIA, THERE WERE POSTCARDS.

THE TITLE IS APTLY NAMED, WISH YOU WERE HERE.

VIEWS OF HISTORIC ENDS, BEACHES, AND SPORTS ARE FROM THE COLLECTION OF LOCAL HISTORIAN AND BARTOW-BELL BOARD MEMBERS.

THEY OFFER INCITE INTO CHANGES AND LANDSCAPES AND LIFE STYLES OVER THE PAST CENTURY.

IN THE 1880s, NEW YORK CITY PURCHASED 1,700 ACRES OF LAND FROM THE BARTOWS AND OTHER FAMILIES IN ORDER TO COMBINE THEIR ESTATES INTO ONE PARK.

PELLHAM BAY PARK BECAME A POPULAR DESTINATION TO ENJOY PICNICS, HIKING, SWIMMING, AND OTHER ACTIVITIES.

AN ENTIRE SUMMER VILLAGE CALLED TENT CITY WAS CREATED BY VISITORS WHO IN 1907 COULD CREATE PERMITS TO CAMP THERE.

PARK COMMISSIONER ROBERT MOSES CONVICTED THE CAMPS, BUT THE RESULT WAS A CREATION OF ORCHARD BEACH, WHICH CAME TO BE OWN AS THE THE RIVIERA OF THE BRONX.

THE ISLAND HAS BEEN A TOURIST DESTINATION SINCE THE LATE 1800s.

EVEN WITHOUT DOCKS OR HOTELS TODAY, THE ISLAND CONTINUES TO DRAW SUMMER CROWDS FOR ITS RESTAURANTS AND AS A NEARBY GET AWAY FROM THE BIG CITY.

THE EXHIBITION IS ONGOING AND AVAILABLE AT BPMM.ORG.

ON OUR PROGRAM TONIGHT IS A CONVERSATION WITH THE CELEBRATED NORWEGIAN PIANIST LEIF OVE ANDSNES.

THE WALL STREET JOURNAL NAMED HIM ONE OF THE MOST GIFTED MUSICIANS OF HIS GENERATION.

KNOWN FOR HIS COMMANDING TECHNIQUE AND INSPIRING INTERPRETATIONS, HE IS ONE ACCLAIMED WORLD WIDE, PERFORMING RECITALS WITH THE WORLD'S FOREMOST ORCHESTRAS.

AN AVID CHAMBER MUSICIAN, HE IS ALSO THE FOUNDING DIRECTOR OF THE ROSENDALL MUSIC CHAMBER.

HE RETURNS TO CARNEGIE HALL WITH BEETHOVEN AT NUMBER EIGHT AS WELL AS SEVERAL OTHER WORKS SELECTED FOR THIS OCCASION.

I HAD THE PLEASURE OF TALKING WITH LEIF OVE WHEN HE WAS IN NEW YORK IN THE FALL OF 2019.

WELCOME TO NEW YORK.

I UNDERSTAND THIS HAPPENS TO BE ONE OF NEW YORK CITY HAPPENS TO BE ONE OF YOUR FAVORITE CITIES.

>> I SFEEL GRATEFUL FOR SO MANY OPPORTUNITIES HERE.

I PLAYED MY FIRST RECITAL IN CARNAGIE.

I PLAYED THEN MY FIRST RECITAL 20 YEARS AGO.

AND SINCE THEN, SO MANY WONDERFUL THINGS HAPPENED TO ME HERE.

THE INTENSITY OF PLAYING IN THAT HALL AND THE BEAUTY OF SOUND, THE MAGIC THAT YOU CAN HAVE 2,800 PEOPLE LISTENING JUST TO ONE PIANO AND FEELING THERE CAN BE INTIMACY IN SUCH A LARGE SPACE, THAT'S MAGICAL, AND THEN THERE'S THE DIVERSITY OF EVERYTHING THE CITY HAS TO OFFER.

I LOVE IT.

>> I THINK NEW YORK AUDIENCES DO HAVE VERY HIGH STANDARDS.

I'M CURIOUS IF THERE IS A DIFFERENCE AS YOU TRAVEL AROUND THE WORLD.

>> YOU FEEL A CERTAIN CONCENTRATION, SILENCE IN THE AUDIENCE SOMETIMES, AND THEY RESPOND IN DIFFERENT WAYS.

IN JAPAN, YOU HAVE A VERY QUIET AUDIENCE.

DURING THE CONCERT, YOU WONDER IF THERE'S SOMEBODY THERE.

OF COURSE IF I PLAY IN VIENNA, SOME OF THE GREAT COMPOSERS ACTUALLY LIVE THERE AND FEEL OWNERSHIP TO THIS MUSIC, WHICH IS VERY SPECIAL.

ULTIMATELY, I FEEL THAT MUSIC IS SO UNIVERSAL.

THAT'S THE UNIQUE THING.

I CAN PLAY IN CHINA OR NORTHERN NORWAY OR IN NEW YORK, AND PEOPLE WILL REACT TO IT BECAUSE IT'S SOMETHING IN US THAT'S BEING TOUCHED DEEPLY.

>> I HAD THE PRIVILEGE OF HEARING YOU REHEARSE, WHICH WAS AN EXTRAORDINARY EXPERIENCE.

IS IT A PIECE THAT YOU FEEL VERY DEEPLY?

>> I DO.

I ALSO AT SOME STAGE FELT THAT THIS WAS BEING TOO CLOSELY CONNECTED TO ME BECAUSE IT'S NORWEGIAN.

I'M NORWEGIAN, AND I PLAYED SO MANY PLACES EARLY IN MY CAREER.

IN THE YOUNG NORWEGIAN PIANIST HAVING THIS GREAT PIECE WRITTEN BY THE YOUNG GREEK.

HE WAS 25 WHEN HE WROTE IT.

IT'S SO FULL OF PASSION OF A YOUNG MAN WANTING TO CONQUER THE WORLD.

AND AT THE SAME TIME, IT HAS THIS INNOCENT BEAUTY, WHICH CHILD-LIKE BEAUTY, THESE SORT OF MELODIES THAT COMES FROM THE FOLK SONG TRADITION.

THEY SPEAK DIRECTLY TO OUR HEART, AND IT'S VERY INTIMATE.

IT'S A VERY IMPORTANT CONCEPT PIECE.

I LOVE PLAYING IT AGAIN NOW.

♪ >> YOU HAVE TRAVELED MANY, MANY THOUSANDS OF MILES MUSICALLY AND PHYSICALLY SINCE YOUR EARLY DAYS AS A BUDDING PIANIST IN NORWAY.

TELL ME A LITTLE BIT ABOUT THE EARLY ROOTS OF YOUR LOVE OF MUSIC.

BOTH OF YOUR PARENTS WERE MUSIC TEACHERS, RIGHT?

>> THERE WERE MUSK TEACHERS.

I'M FROM AN ISLAND CALLED KARMOY ON THE WESTERN PART OF NORWAY.

I WAS LUCKY TO HAVE PARENTS CONNECTED TO MUSIC, AND THERE WAS A PIANO IN OUR HOME.

THEY WERE TEACHING A FEW CHILDREN IN OUR HOME.

SO WHEN I WAS FOUR YEARS OLD, I ASKED MY PARENTS, CAN I PLAY, I LIKE THIS.

>> WHEN DID IT BECOME CLEAR TO YOU THAT YOU DID HAVE THE TALENT TO TRAVEL THE WORLD AND BECOME A PROFESSIONAL PIANIST?

>> I THINK AROUND THE AGE OF 13 OR 14, I SUDDENLY REALIZED THERE WAS NO WAY BACK, THAT THIS WAS MY LIFE, THIS WAS REALLY MY LANGUAGE.

BUT I DO REMEMBER, YOU KNOW, SITTING DOWN AT THE PIANO BEING 7, 8, 9, TRYING TO SIGHT READ CERTAIN PIECES, SOME MOTZART, AND FEELING A SENSE OF WONDER AND A SENSE OF A SENSATION THAT THIS WAS MY SPACE, THIS IS MY VOCABULARY.

THIS IS MY LANGUAGE.

THIS IS HOW I CAN COMMUNICATE WITH THE WORLD.

THAT WAS VERY STRONG FROM EARLY ON.

>> YOU HAVE SPENT THE BETTER HALF OF THE LAST DECADE AND A HALF DOING DEEP DIVES INTO DIFFERENT COMPOSERS.

LET'S TALK ABOUT CHOPIN FOR A MOMENT.

WHAT DREW YOU TO IT?

>> I FIRST HEARD IT AT 11, I THINK.

I WOULD LISTEN TO IT DAY AND NIGHT, AND I THOUGHT I HAD NEVER HEARD SUCH BEAUTIFUL MUSIC.

AND I STILL THINK IT GOES SO DEEP INTO MY HEART.

IT'S THE PEAK OF ROMANTIC PIANO MUSIC.

THE DIVERSITY OF EMOTION IN THIS MUSIC.

IT'S EVER-CHANGING.

THERE'S SO MANY TRANSITIONS.

YOU HAVE A BEAUTIFUL TUNE, AND THEN YOU HAVE A MOMENT OF SUCH SOUL, AND THEN YOU HAVE PASSAGES THAT ARE VERY ENTERTAINING.

I DON'T UNDERSTAND HOW HE WAS CREATING HIS COMPOSITIONS BECAUSE IT SEEMS SO IMPROVISED, AND AT THE SAME TIME, IT'S SO COHERENT.

THESE ARE FOUR VERY INTENSE MASTERPIECES, AND I THOUGHT I NEEDED TO HAVE A BIT OF BREATHING SPACE, SO I PUT SOME NOCTURNES IN BETWEEN THEM.

THAT'S MY PORTRAIT OF CHOPIN.

♪ >> YOU ALSO DELVED INTO THE MUSIC OF SIBELIUS, WHO MOST OF US WOULDN'T NECESSARILY CONSIDER AS A COMPOSER FOR A PIANIST.

>> IT'S TRUE.

HE'S REALLY NOT KNOWN FOR HIS PIANO MUSIC.

HE IS THE ORCHESTRA COMPOSER.

I MEAN, FOR ME, THESE GREATEST NORDIC COMPOSER, AND HIS SYMPHONIES IN HIS ORCHESTRA MUSIC HAVE FOLLOWED ME SINCE I WAS VERY YOUNG AND GOES VERY DEEP.

I SAW THERE WERE ALL THESE PIANO PIECES NOBODY PLAYED, AND I THOUGHT ISN'T IT WORTH LOOKING AT.

AND I READ THROUGH EVERYTHING.

IT'S MORE UNEVEN.

PIANO WASN'T HIS INSTRUMENT.

YOU FEEL WHEN YOU PLAY IT.

IT DOESN'T SOUND NATURAL LIKE IT DOES WITH THE ORCHESTRA FOR HIM.

BUT THEN THERE ARE THESE STOOLS NOW AND THEN THAT I DISCOVERED AS A COMPOSITION, SO SPECIAL, THEY CAN SEEM VERY SIMPLE ON THE SURFACE, AND THEN SOMETHING SURPRISING HAPPENS AFTER A FEW SECONDS, AND YOU WONDER WHERE IS THIS GOING, AND THERE'S A MYSTERY AROUND HIS MUSIC, WHICH I ADORE.

THEY ARE SO BEAUTIFUL, AND NOBODY KNOWS THEM.

>> YOU ALSO TACKLED A VERY AMBITIOUS PROJECT.

IT UNFOLD LD OVER A FOUR-YEAR PERIOD.

>> IN 2012, I STARTED THIS PROJECT, AND I PLAYED HIS PIANO CONCERTOS AGAIN AND AGAIN OVER THREE OR FOUR YEARS.

I WAS BASICALLY ONLY PLAYING BEETHOVEN.

WHEN YOU WORK ON ONE LANGUAGE FOR SO LONG, I GUESS YOU MAYBE GET BETTER AT IT AND YOU START TO UNDERSTAND AND EXPERIENCE THE DIFFERENT LAYERS OF IT.

AND I CAME OUT OF THE PROJECT FEELING THAT THIS MUSIC WAS SO STRUCTURED AND SO FULL OF STORY TELLING AND CONTRAST, ALWAYS -- AND YOU FEEL THAT BEETHOVEN KNOWS WHAT HE WANTS.

HE ALWAYS HAS A GOAL IN MIND.

HE SAYS, LISTEN TO ME.

I HAVE SOMETHING IMPORTANT TO TELL YOU.

BUT AT THE END, I CAME OUT OF IT FEELING THAT HIS MUSIC IS ABOUT FREEDOM.

AND IN THE LAST PERFORMANCES WE DID, A WORKED A LOT WITH THE MAHLER CHAMBER ORCHESTRA, WONDERFUL GROUP.

AND IN THE LAST YEAR OF PERFORMANCES, I FELT A SENSE OF SPONTANEITY AND FREEDOM, WHICH I HAVE RARELY FELT ON STAGE.

♪ >> AND OFTEN, WITH THE MAHLER CHAMBER ORCHESTRA, AREN'T YOU CONDUCTING FROM THE PIANO?

>> I HESITATE TO CALL IT CONDUCTING.

I'M LEADING, BUT I'M NOT THE CONDUCTOR.

BUT, YES, SOMEBODY HAS TO CONDUCT AND LEAD IF YOU DON'T HAVE A CONDUCTOR.

>> WHAT'S THAT EXPERIENCE LIKE FOR YOU?

>> IT'S CHALLENGING, BUT I DO LOVE IT.

THEN NOT HAVING A LID ON THE PIANO, AND I'M SITTING INSIDE THE ORCHESTRA WITH A BACK TO THE AUDIENCE BUT WITH SUCH GREAT CONTACT WITH THE MUSICIANS.

>> I'M WONDERING IF THE EXPERIENCE OF CONDUCTING FROM THE PIANO HAS CHANGED THE WAY YOU WORK WITH A CONDUCTOR WHEN YOU'RE A SOLOIST.

>> I HAVE MAYBE BECOME MORE CONSCIOUS OF THE WHOLE STORY TELLING.

WHEN YOU'RE A SOLOIST WITH A CONDUCTOR THERE, IT CAN BE A BIT OF NOW IT'S MY TIME AND NOW IT'S YOUR TURN.

THE WONDERFUL THING IS WHEN I'M LEADING, I'M IN THE NARRATIVE, I'M IN THE STORY TELLING ALL THE TIME.

AND THAT'S WONDERFUL WHEN YOU PLAY A PIECE BY MOZART OR BEETHOVEN.

THERE'S SO MUCH CONVERSATION, SO MUCH DIALOGUE BETWEEN THE ORCHESTRA AND ME.

>> BACK IN 2006, I HAD THE HONOR OF HOSTING THE OPENING NIGHT AT CARNAGIE HALL.

I BELIEVE YOU WERE IN THE MIDDLE OF A PROJECT.

>> THAT'S RIGHT.

>> ARE YOU STILL AS CAPTIVATED BY MOZART AS YOU WERE BACK THEN?

>> AS A MATTER OF FACT, I'M JUST STARTING A PROJECT, A BIG ONE WITH WHO I DID MY BAY KEETHOVEN JOURNEY WITH.

>> WAS THERE SOMETHING SPECIAL THAT HAPPENED IN THAT SHORT PERIOD OF TIME?

?

I THINK SO.

HE WROTE 27 PIANO CONCERTOS.

IT'S THE FIRST ONE IN MINOR KEY, SO IT HAS A DARKER SIDE TO IT.

SOMETHING SPECIAL HAPPENS.

JUST THEN, HE STARTED SEPARATING THE SOLOIST FROM THE ORCHESTRA.

YOU KNOW THE KIND OF HEROIC SOLOIST WE LOVE SO MUCH, YOU HAVE A FEELING THE SOLOIST IS BEING THROWN OUT OF THE GLADIATOR STAGE AND HAS TO SHOW HIS OR HER STRENGTH.

THERE'S SO MUCH ABOUT CONVERSATION WITH THE ORCHESTRA, DIALOGUE, AND REACTING TO EACH OTHER.

THERE IN 1785, IT'S LIKE HE THINKS, OH, I CAN CREATE A VERY INTERESTING STORY WITH MAKING THE SOLOIST, AN INDIVIDUAL DIFFERENT FROM THE SOLO, AND THIS MIGHT BE A DIFFERENT SOCIETY.

>> WHAT HAS BEEN THE MOST REWARDING PART OF THIS MUSICAL JOURNEY FOR YOU?

>> IT'S ULTIMATELY ABOUT SHARING.

WHEN YOU'RE SO PASSIONATE ABOUT SOMETHING, WHEN YOU LOVE SOMETHING SO MUCH AND YOU'RE ABLE TO SHARE IT SOMETIMES IN AN INTIMATE GROUP, SOMETIMES WITH A FEW OTHER MUSICIANS, SOMETIMES FOR 2,800 PEOPLE IN CARNEGIE HALL, I MEAN, THAT'S THE GREATEST GIFT.

I CANNOT LIVE MY LIFE WITHOUT THAT, SHARING MUSIC WITH OTHER PEOPLE.

♪ >>> NEXT, WE'LL TAKE A TRIP TO THE BROOKLYN MUSEUM FOR A MONET TO MORISOT, THE REAL AND IMAGINED IN EUROPEAN ART.

THE EXHIBITION FOCUSED ON ARTWORK CREATED IN THE 19th AND EARLY 20th CENTURIES.

IN EUROPE, THIS WAS A PERIOD WHEN ARTISTIC TECHNIQUES UNDERWENT PROFOUND CHANGES, FEATURING SOME 90 WORKS FROM THE MUSEUM'S COLLECTION, IT FEATURES MONET, CEZAN, E, RODIN, AND DEGAS.

LISA SMALL, SENIOR CURATOR OF EUROPEAN ART, IS OUR GUIDE.

>> I'M LISA SMALL.

I'M THE SENIOR CURATOR OF EUROPEAN ART AT THE BROOKLYN MUSEUM AND AND MONET TO MORISOT.

THIS EXHIBITION BRINGS TOGETHER A REALLY IMPORTANT PART OF BROOKLYN'S EUROPEAN COLLECTION.

IT'S 19th AND EARLY 20th CENTURY EUROPEAN ART.

RODIN WAS THE MOST SIGNIFICANT SCULPTOR.

AND ONE OF THE OBJECTS WE HAVE HERE CALLED AGE OF BRONZE WAS ACTUALLY ONE OF HIS FIRST BIG SUCCESSES THAT GOT HIM A LOT OF ATTENTION AND NOTORIETY.

AND IT'S AN INTERESTING WORK THAT WENT THROUGH A LOT OF MUTATIONS.

WHEN HE FIRST DEVELOPED IT, IT WAS CALLED THE VANQUISHED, AND IT WAS MEANT TO COMMEMORATE THE FRANCO-PRUSSIAN WAR.

HE DECIDE TODAY REMOVE THE SPHERE.

WITHOUT THE PROP, IT BECAME SOMETHING THAT WAS A LITTLE MORE DIFFICULT TO READ.

HE RETITLED IT THE AGE OF BRONZE THINKING ABOUT MAN'S AWAKENING INTO A NEW CONSCIOUSNESS.

BUT IT WAS ALSO VERY CONTROVERSIAL.

IT'S A MALE NUDE, AND IT WAS BASED ON A MODEL THAT WAS POSING FOR HIM.

RODIN'S FACILITY WITH CONVEYING THE CONTOURS OF THE BODY, THE ANATOMY WAS CONSIDERED SO ACCURATE THAT HE WAS ACCUSED AT THE TIME OF HAVING MADE A SCULPT CHUR BASED ON THE LIFE CAST OF THE MODEL'S BODY, WHICH WAS A COMPLETE NO-NO AT THE TIME.

HE HAD TO GO THROUGH MANY CONVERSATIONS TO PROVE THAT HE HAD NOT JUST CAST THE BODY OF HIS COMMON PLACE MODEL BUT RATHER HAD CREATED THE COMPOSITION ON HIS OWN.

IT TURNED OUT TO BE A RATHER SIGNIFICANT WORK IN HIS CAREER.

>>> NEXT WEEK ON NYC ARTS, A TRIP TO THE HUDSON RIVER MUSEUM AND MATRIX, PRINTS BY WOMEN ARTISTS 1960-1990, WHICH SHOWS HOW THE WORK OF THESE ARTISTS WAS CENTRAL TO EXPANDING THE ART FORM.

>> MATRIX EXPLORED A PERIOD IN THE LATE 20th CENTURY WHEN WOMEN WERE EXPERIMENTING -- THERE WAS A LOT OF ACTIVISM REPRESENTED IN THEIR ARTWORKS.

MOVING ON TO THE 1980s, WE SAW A LOT OF DIFFERENT PRINTS BEING MADE COMBINING THE APPROPRIATE PRINT TECHNIQUE.

>>> THEN A VISIT TO THE MET AND KIMONO STYLE, THE JOHN C. WEBER COLLECTION, WHICH EXPLORES THE CHANGES IN TRENDS AND STYLES OF THIS TRADITIONAL JAPANESE GARMENT FROM THE LATE 19th CENTURY ONWARD.

>> MANY PEOPLE ASSUME THE BEGINNING OF FASHION WAS IN ITALY OR FRANCE.

HOWEVER, IN JAPAN, THERE WAS A VERY SOPHISTICATED NETWORK BETWEEN THE TEXTILE PRODUCERS, THE CUSTOMERS, AND THE PUBLISHING INDUSTRY.

THE PUBLISHERS REGULARLY PUBLISHED WOODBLOCK PRINTED PATTERN BOOKS, WITH THE MOST FASHIONABLE PATTERNS AND ADVICE ABOUT STYLISH COLORS.

SO WOMEN HAVE ACCESS TO THIS UP TO DATE FASHION INFORMATION JUST LIKE WELD LIKE AT THE VOGUE MAGAZINE TODAY.

>>> AND A LOOK AT ALEX KATZ, GATHERING, A CAREER RETROSPECTIVE WHICH FILLS THE ROTUNDA OF THE GUGGENHEIM WITH MORE THAN 150 WORKS.

>>> I HOPE YOU ENJOYED OUR PROGRAM TONIGHT.

THANKS FOR WATCHING US.

GOOD NIGHT.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS, VISIT OUR WEBSITE AT NYC-ARTS.ORG.

>>> MY PRIMARY WAY OF PLAYING THE PIANO WAS IMPROVISING.

>> YOU ARE IN SOME RESPECTS ON SACRED GROUNDS.

>> A WOMAN CAME TO SEE ME PERFORM AND SAID, HOW WOULD YOU LIKE TO PLAY BILLY HOLIDAY.

>> I THINK ONE OF THE ESSENTIAL THINGS WE LEARNED WAS HE USED PENS TO COMPOSE HIS WORK.

>> YOU'RE ALWAYS SURPRISED DOING OPERA AND DOING A PIECE THAT WAS 100 YEARS AGO, THINKING THIS COULD BE NOW.

>> YOU PRESENT SOMETHING AND GET APPLAUSE, GREAT, YOU KNOW.

♪ FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY THE AMBROSE MONELL FOUNDATION THEA PETSCHEK IERVOLINO FOUNDATION JODY AND JOHN ARNHOLD THE LEWIS "SONNY" TURNER FUND FOR DANCE ELISE JAFFE AND JEFFREY BROWN CHARLES AND VALERIE DIKER THE MILTON AND SALLY AVERY ARTS FOUNDATION THE NANCY SIDEWATER FOUNDATION ELROY AND TERRY KRUMHOLZ FOUNDATION AND ELLEN AND JAMES S. MARCUS THIS PROGRAM IS SUPPORTED, IN PART, BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

NYC-ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS 'FIRST THINGS FIRST.'

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ART SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU ARE A LIFELONG COLLECTOR OR A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.