A profile of pianist Haochen Zhang, winner of a 2017 Avery Fisher Career Grant Award. NYC-ARTS visits the Parrish Art Museum on the east end of Long Island, for a look at the work of Impressionist painter William Merritt Chase. Composer and musician Vijay Iyer talks about his work and sources of inspiration.

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> COMING UP ON 'NYC ARTS,' A PROFILE OF PIANIST, A WINNER OF A 2017 AVERY FISCHER CAREER GRANT AWARD.

MY LOVE FOR PIANO WAS A VERY GRADUAL PROCESS.

THE MORE YOU UNDERSTAND ABOUT THE DEPTH AND BEAUTY OF MUSIC, THE MORE YOU START LOVING IT.

AND A VISIT TO THE PARISH ART MUSEUM ON THE EAST END OF LONG ISLAND FOR A LOOK AT THE WORK OF IMPRESSIONIST PAINTER WILLIAM MERIT CHASE.

WILLIAM MERIT CHASE HAD A LONG AND RICH RELATIONSHIP TO THE EAST END OF LONG ISLAND.

YOU MIGHT EVEN SAY HE STAKED HIS CLAIM TO THIS LANDSCAPE EARLY ON AND THAT HE SAW MORE POSSIBILITIES IN IT THAN THE UNTUTORED EYE.

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY -- ROSLYN P.

WALTER, KATE W. CASSIDY FOUNDATION.

GENE DUBINSKY APPLEBY ESTATE.

ELLEN AND JAMES S. MARQUICE.

THE LOUIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY CRUMBHOLTZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART FROM 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 BY --

FLEXIBILITY, COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT.

IT'S A PRIVILEGE TO SERVE YOU.

♪♪ ♪♪

> GOOD EVENING AND EARTHQUAKE TO 'NYC ARTS.'

THE CEREMONY FOR THIS YEAR'S AVERY FISCHER CAREER GRANT AWARDS TOOK PLACE IN MARCH AT THE JAROME L. GREENE PERFORMANCE SPACE AT WQXR.

THESE INDIVIDUAL GRANTS OF $25,000 GIVE PROFESSIONAL ASSISTANCE AND RECOGNITION TO TALENTED INSTRUMENTALISTS WHO HAVE GREAT POTENTIAL FOR SOLO.

PIANIST, VIOLINIST STEVEN WARP, AND CHAD HOOPS.

AS WELL AS THE DOVER QUARTET.

ORIGINALLY FROM SHANGHAI, 27-YEAR-OLD HAS ALREADY ESTABLISHED AN INTERNATIONAL CAREER.

HE FIRST ROSE TO PROMINENCE IN 2009 AS THE YOUNGEST GOLD MEDAL WINNER AT THE VAN CLYBURN INTERNATIONAL PIANO COMPETITION.

A GRADUATE AT THE CURTIS SCHOOL OF MUSIC IN PHILADELPHIA, JANG IS WIDELY RESPECTED FOR HIS VIRTUOUSTY AND MUSICALITY.

HE RECENTLY RELEASED HIS FIRST SOLO ALBUM AND IS CURRENTLY ON TOUR.

I THINK MY LOVE FOR PIANO WAS A VERY GRADUAL PROCESS.

THE UNDERSTANDING AND THE LOVE HAVE TO COME IN PROPORTION.

I THINK THE MORE YOU UNDERSTAND ABOUT THE DEPTH AND BEAUTY OF MUSIC, THE MORE YOU WILL START LOVING IT.

IT'S A VERY, VERY GRADUAL PROCESS.

I CAME TO THE STAGE WHEN I WAS 15 TO STUDY AT THE CURTIS INSTITUTE.

MY MOM WAS WITH ME FOR ONE SEMESTER.

THEN SHE HAD TO GO BACK TO CHINA, BECAUSE HER VISA EXPIRED, SO THEN I'M BY MYSELF EVER SINCE.

I THINK THE FISCHER CAREER GRANT IS REALLY SUCH AN HONOR, KNOWING ALL THE GREAT ARTISTS, SOME OF THEM CURTIS FACULTIES.

I KNOW THEY WERE ALL CAREER GRANT RECIPIENTS.

THEY'VE ALWAYS BEEN INSPIRATIONS TO ME WHEN I WAS STUDYING.

I'LL BE PLAYING A SONOTA.

I THINK IT TELLS A LOT ABOUT WHO I AM AS AN ARTIST.

IT HAS THIS KIND OF PSYCHOLOGICAL INTROSPECTIVENESS AND REFLECTIVENESS, WHICH IS SOMETHING UNIQUE.

♪♪ ♪♪ IT'S CALLED OCTOBER 1st, 1905, BECAUSE OF A TRAGEDY THAT HAPPENED ON THAT VERY DATE.

A YOUNG CZECH STUDENT WAS PROTESTING IN FRONT OF THE UNIVERSITY, BUT WAS SHOT DEAD BY AN AUSTRIAN SOLDIER, SO THAT CREATED A HUGE OUTBURSTEN THE CZECH SOCIETY AND INSPIRED THIS TRAGIC PIECE.

IT'S FOR BOATING, SO IT'S ACTUALLY NOT DESCRIBING ANY REAL CONCRETE EVENT, BUT JUST AN OMINOUS SENSE OF WHAT KIND OF WHATEVER TRAGEDY THAT'S GOING TO COME UP.

THEN LATER ON, OF COURSE, THERE IS MORE OF AN OUTPOURING DRAMA ACCUMULATING FROM THAT KIND OF MYSTERY.

♪♪ ♪♪ ♪♪ ♪♪ THE SECOND MOVEMENT STARTS WITH A VERY STILL RHYTHMIC PULSE, AND IT'S VERY, VERY SLOW.

VERY, VERY QUIET.

AND IT IS ALMOST KIND OF UTTERLY STILL KIND OF PACE THAT THERE UNFOLDS HIS THOUGHTS ABOUT DEATH.

♪♪ ♪♪ AND THEN IT STARTS ACCUMULATING MORE AND MORE AND MORE.

SUDDENLY, ALL THE DEEP DRAMA BREAK OUT AND ACCUMULATED TO THIS KIND OF TRAGIC CLIMAX.

AND THEN COMES THE PETITION, THE RECAP OF THE THEME, BUT THIS TIME INSTEAD OF BEING QUIET, IT'S UTTERLY BOLD AND VIOLENT ALMOST.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ THEN IT SORT OF GOES BACK TO THE BEGINNING MOOD THAT IT'S FADING AWAY.

THE PIECE ENDS AND RETURNS BACK TO ABSOLUTE QUIETNESS AGAIN.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ APPLAUSE ]

> NEXT WE'LL VISIT THE PARISH ART MUSEUM ON THE EAST END OF LONG ISLAND FOR A LOOK AT THE WORK OF AMERICAN IMPRESSIONIST WILLIAM MERIT CHASE.

THE PAINTER AND HIS FAMILY SPENT THEIR SUMMERS IN A LARGE HOUSE IN SOUTH HAMPTON.

THE LYRICAL SUMMER SCENES CHASE PAINTED THERE ESTABLISHED THE ARTIST'S REPUTATION AS AN EXCEPTIONAL LANDSCAPE PAINTER.

I'M ALICIA LONGWELL.

I'M THE LOUIS B. AND DOROTHY COLEMAN CURATOR OF EDUCATION HERE AT THE PERRISH ART MUSEUM.

DESIGN BUILDING IS LOCATED IN WATERMILL, NEW YORK, A HAMLET JUST TO THE EAST OF SOUTH HAMPTON VILLAGE ON LONG ISLAND'S EAST END.

THIS IS THE FIRST TIME THAT WE'VE HAD DEDICATED SPACE TO SHOW OUR PERMANENT COLLECTION AND TO HAVE A DEDICATED GALLERY TO THE WORK OF WILLIAM MERIT CHASE.

THE PARISH COLLECTION IS REALLY NOTABLE FOR ITS RANGE OF WORK FROM ALL PERIODS, ESPECIALLY FROM THE SHENICOCK PAINTINGS WHEN HE WAS HERE AND IS THE LARGEST COLLECTION IN A PUBLIC INSTITUTION IN AMERICA.

WILLIAM MERIT CHASE HAD A LONG AND RICH RELATIONSHIP TO THE EAST END OF LONG ISLAND.

YOU MIGHT EVEN SAY THAT HE STAKED HIS CLAIM TO THIS LANDSCAPE EARLY ON AND THAT HE SAW MORE POSSIBILITIES IN IT THAN THE UNTUTORED EYE.

HE ONCE SAID THAT HE COULD FIND PICTORIAL GOLD IN THE DRAWS OF THE HILLS.

IT WAS IN MANY WAYS A SCRUBBY LANDSCAPE, ONE THAT HAD BEEN GREATLY OVERLOOKED BY MANY OTHER ARTISTS.

HE FIRST CAME OUT TO EASTERN LONG ISLAND IN 1881 TO SKETCH.

CHASE ADOPTED NOT SO MUCH WHAT YOU MIGHT CALL THE TECHNIQUES OF THE FRENCH IMPRESSIONISTS, BUT CERTAINLY THEIR IDEAS OF COMING OUT AND PAINTING MODERN LIFE.

IN 1891, TWO CIVIC-MINDED WOMEN IN THE SOUTH HAMPTON AREA DECIDED THEY WANTED TO START A PLENARY SCHOOL OF ART.

CHASE WAS A VERY WELL KNOWN TEACHER AT THE ART STUDENTS LEAGUE, A RENOWNED PORTRAIT PAINTER, AND READILY ACCEPTED THEIR INVITATION TO COME OUT AND BE THE FOUNDING DIRECTOR OF THE SUMMER SCHOOL OF ART.

BY THE NEXT SUMMER, A HOUSE HAD BEEN BUILT FOR HIM.

THIS BEAUTIFUL DUTCH COLONIAL REVIVAL, SHINGLE STYLE THAT'S BECOME VERY FAMOUS AND UBIQUITOUS HERE ON THE EAST END, AND HIS WHOLE FAMILY CAME OUT.

HE TAUGHT HERE UNTIL 1902, AND THEN THE FAMILY CONTINUED TO USE THE HOUSE REALLY UP TO CHASE'S DEATH IN 1916.

THE WILLIAM MERIT CHASE ARCHIVES AT THE PARISH ART MUSEUM IS A REPOSITORY OF DOCUMENTS, LETTERS, AND MOST ESPECIALLY 600 PHOTOGRAPHS THAT REALLY DOCUMENT THE ARTIST'S LIFE.

MANY OF THE PHOTOGRAPHS WERE TAKEN BY MRS. CHASE.

SHE WAS AN AMATEUR PHOTOGRAPHER.

THEY GIVE AN EXTRAORDINARY GLIMPSE INTO WHAT YOU MIGHT CALL A GILDED AGE SUMMER, BUT REALLY MORE IMPORTANTLY INTO CHASE'S LIFE AND WORK.

THESE PHOTOGRAPHS PARTICULARLY ARE EXTREMELY IMPORTANT BECAUSE MANY OF THE SAME SCENES THAT CHASE DEPICTED ARE VISIBLE IN THE PHOTOGRAPHS.

CHASE IS INDELIBLY ASSOCIATED WITH THE PAINTINGS THAT HE DID HERE IN THE HILLS.

OUR OWN PAINTING, 1895, THE BAYBERRY BUSH IS REALLY EMBLEMATIC.

REALLY DID FIND PICTORIAL GOLD IN THIS SCRUBBY LANDSCAPE.

I THINK ONE OF THE MOST INTERESTING THINGS ABOUT THAT PAINTING IS, OF COURSE, THE PRESENCE OF THE HOUSE THAT THEY LIVED IN.

THE THREE DAUGHTERS.

IT IS A COMPLETE LOOK AT THE ARTIST AND HIS LIFE, I THINK, HAVING THE DOMESTIC ROOM, THE LANDSCAPE ROOM.

THERE'S PERHAPS NO BETTER ENTRY INTO THE CREATIVE LIFE OF WILLIAM MERIT CHASE THAN THIS PAINTING WE SEE HERE.

ALICE IN THE STUDIO FROM AROUND 1900.

ALICE CHASE, HIS OLDEST DAUGHTER, WAS OFTEN DEPICTED BY CHASE IN HIS PAINTINGS.

ALICE IS REALLY A SURROGATE FOR THE VIEWER, INVITING US TO THE RAREFIED ATMOSPHERE OF THE ARTIST'S STUDIO.

WHILE THE NOMINAL SUBJECT OF THE PAINTING IS THE STUDIO, THE TRUE THEME IS PAINTING ITSELF.

HERE WE SEE SO MANY OBJECTS THAT HAVE BECOME A SELF PORTRAIT FOR THE ARTIST.

THE PAINTING ON THE EASEL, THE LUMINOUS GLOW OF THE BRIC-A-BRAC HE COLLECTED, THE SKETCH IN THE UPPER LEFT AND THE LIGHT COMING THROUGH THE STUDIO WINDOW.

IT'S A COMPLEX FUSION OF ART WITH FAMILY, LANDSCAPE, AND THE MATERIAL WORLD.

I THINK CHASE WAS VERY MUCH A STUDENT, YOU MIGHT SAY, OF THE LIGHT HERE ON THE EAST END.

HE WAS EXTRAORDINARILY AWARE OF THE LIGHT AT ALL TIMES, AND HIS PAINTING IS INFUSED WITH THAT PERCEPTION.

WE WOULD WELCOME YOUR VISIT WHEN YOU'RE OUT ON THE EAST END OF LONG ISLAND TO COME TO THE MUSEUM IN WATERMILL, NEW YORK, JUST TO THE EAST OF SOUTHAMPTON VILLAGE.

> CURRENTLY ON VIEW AT THE PARISH ART MUSEUM IS MAVERICK MODERNIST, THE EXHIBITION WILL BE ON VIEW THROUGH JULY 30th.

> 'NYC ARTS' ISN'T JUST AVAILABLE ON THURSDAYS.

YOU CAN ALSO FIND IT ON THE WEB.

PLEASE, VISIT OUR WEBSITE AT NYC-ARTS.ORG, WHERE YOU CAN WATCH CLIPS AND LEARN MORE ABOUT INSTITUTIONS AND EVENTS FEATURED ON OUR SHOW.

> HELLO, I'M RAFAEL PI ROMAN AND WELCOME TO LINCOLN CENTER.

YOU KNOW, ALL YEAR ROUND NEW YORKERS AND GUESTS FROM AROUND THE WORLD VISIT THIS CULTURAL MECCA FOR ITS THEATERS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA, AND FILM.

THIS MONTH COCA-COLA PRESENTS PROGRAMS THAT ILLUSTRATE THE ENDLESS DIVERSITY OF JAZZ.

HIGHLIGHTS INCLUDE THE ANNUAL JAZZ FESTIVAL, A MUST-SEE SHOWCASE FOR ANYONE INTERESTED IN THE WORLD'S JAZZ AND IMPROVISED MUSIC, FEATURING THE QUARTET AND TRIO.

AND THE KURT ELLINGTON QUINTET, FOR COMPLETE DETAILS PLEASE VISIT JAZZ.ORG.

FOR EVEN MORE INFORMATION ABOUT MUSIC, DANCE, THEATER, OPERA, AND FILM HERE AT LINCOLN CENTER, YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

♪♪ ♪♪

> I LIVE IN NEW YORK CITY AND I MAKE MUSIC.

THIS SPACE HAS A NUMBER OF ANCESTORS OF MY INSTRUMENT OF CHOICE, SO IT'S GOOD TO GET TO KNOW THEM A LITTLE.

♪♪ ♪♪ I ACTUALLY PLAYED VIOLIN FOR A LONG TIME AND THE STRING INSTRUMENTS HERE ARE REALLY INTERESTING.

I'M ALSO INTERESTED IN INSTRUMENTS FROM OTHER PARTS IN THE WORLD.

MY HERITAGE IS FROM INDIA, SO LOOKING AT THESE INSTRUMENTS FROM DIFFERENT PARTS OF ASIA AND AFRICA, TOO, HAS BEEN REALLY INSPIRING FOR ME.

MY PRIMARY WAY OF PLAYING THE PIANO IS BY IMPROVISING.

♪♪ ♪♪ I WAS PARTLY SELF TAUGHT IN THAT SENSE.

BUT MY MAIN KNOWLEDGE FOR HOW TO DO THAT ARE PEOPLE LIKE MONK, DUKE ELLINGTON, BURT HOWELL, HERBY HANCOCK, THEY ALL CAME FROM THE AFRICAN-AMERICAN COMMUNITY, THEY MADE MUSIC DEFIANTLY AGAINST ALL ODDS.

THEY ARE EXUBERANTLY CREATIVE AND BRILLIANT INNOVATORS.

YOU KNOW, IMPROVISATION IS SOMETHING WE ALL DO ALL THE TIME.

JUST THE WAY YOU WALK DOWN THE STREET OR DRIVE A CAR OR CONVERSE WITH PEOPLE.

ONE OTHER EXAMPLE IS IF YOU GO OUT DANCING, YOU KNOW, NOBODY TOLD YOU EXACTLY WHAT TO DO.

OR WHOM TO DO IT WITH.

SO IT'S VERY NORMAL, THE EXPERIENCE OF IMPROVISING.

AND SO I GUESS NO ONE EVER TOLD ME NOT TO, SO THAT'S WHY I DO IT.

♪♪ ♪♪ IMPROVISING THE RULES IS ALSO SOMETHING WE'RE VERY FAMILIAR WITH.

THERE ARE A LOT OF EXAMPLES FROM EVERYDAY LIFE, YOU CAN IMAGINE.

LIKE BASKETBALL.

BASICALLY, BASKETBALL IS EXTREMELY REGULATED SITUATION WITH AN UNFORESEEN OUTCOME.

SO THAT'S KIND OF WHAT WE DO WHEN WE PLAY TOGETHER.

IT'S NOT THAT DIFFERENT.

WE HAVE SOME IDEAS OF HOW IT COULD GO, BUT WE ALSO TRY TO OPEN OURSELVES TO WHAT'S HAPPENING RIGHT NOW.

RESPOND TO EACH OTHER.

AND THAT'S INFINITE, THAT PROCESS.

YOU KNOW, THERE'S NOTHING -- THERE'S NO LIMIT TO IT.

WHAT I FOUND IS THAT JUST MAKING SOMETHING WITH SOMEBODY ELSE BRINGS OUT SOME VERSION OF YOU THAT YOU MIGHT NOT HAVE ACCESSED OTHERWISE.

SO IT'S A TRANSFORMATIVE PROCESS, WHERE WE KIND OF BECOME SOMETHING NEW.

♪♪ ♪♪ AND NOT JUST DO THAT, BUT THROUGH THAT PROCESS BUILD SOMETHING.

AND THAT TAKES PATIENCE.

THAT TAKES A LOT OF ATTENTION.

EVEN WHEN THERE'S REPERTOIRE INVOLVED, LIKE WHEN WE'RE PLAYING MY COMPOSITIONS OR SOMEONE ELSE'S OR PLAYING SOME KIND OF GROOVE OR SOMETHING.

IT'S STILL ABOUT WHAT YOU DO NOW.

♪♪ ♪♪ PEOPLE OFTEN ASK AFTER WE PERFORM WHAT PERCENTAGE OF THAT IS IMPROVISED.

I THINK I UNDERSTAND THE IMPULSE TO ASK THAT QUESTION.

THE PERSON WHO WAS OBSERVING WANTS TO KNOW IF I WAS MAKING CHOICES THAT SHE WAS EXPERIENCING.

SO IT'S KIND OF ABOUT COMPASSION.

IT'S ABOUT EMPATHY.

IT'S ABOUT, TO AN EXTENT, WE WERE THERE TOGETHER.

YOU KNOW, MUSIC IS A FORCE THAT CREATES COMMUNITY.

IT'S A POWER THAT WE HAVE AS A SPECIES TO DO THAT.

SO THAT'S WHAT I'M TRYING TO DO.

♪♪ ♪♪

> I HOPE YOU ENJOYED OUR PROGRAM TONIGHT.

I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

THANKS SO MUCH FOR JOINING US.

HAVE A GOOD NIGHT.

> NEXT WEEK ON 'NYC ARTS' -- IN CONVERSATION WITH JASON SON, CURATOR OF THE EXHIBITION 'AGE OF EMPIRES.'

NOW ON VIEW AT THE METROPOLITAN MUSEUM OF ART.

THESE ARE THE WONDERS ABOUT THE TERRA-COTTA FIGURES.

THE TERRA-COTTA FIGURES WERE ACTUALLY MASS PRODUCED, SO EACH PART OF THE TERRA-COTTA FIGURE WOULD HAVE BEEN CAST, BUT WHAT IT DID IS THAT THEY WOULD CONSTRUCT THEM IN DIFFERENT WAYS AND FINISH THE FACES INDIVIDUALLY, SO THAT IS WHY THEY BRING OUT SO MANY DIFFERENT PERSONALITIES.

> AND A LOOK AT THE EXHIBITION 'GEORGIA O'KEEFE: LIVING MODERN,' NOW AT THE BROOKLYN MUSEUM.

WE KNOW A LOT ABOUT O'KEEFE, BUT KNOW FAR LESS ABOUT HOW SHE FASHIONED HERSELF.

ONE WAY WAS ALWAYS TO STAY WITH BLACK AND WHITE AND TO PRESENT HERSELF SO THERE ARE KIND OF GEOMETRIES TO THE WAY SHE'S DRESSED.

♪♪ ♪♪

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSLYN P.

WALTER.

KATE W. CASSIDY FOUNDATION.

JEAN DUBINSKY APPLETON ESTATE.

JODY AND JOHN ARNHOLD.

ELLEN AND JAMES S. MARQUICE.

THE LOUIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELROY AND TERRY CRUMBHOLTZ FOUNDATION.

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.

FLEXIBILITY.

COORDINATION.

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT, IT'S A PRIVILEGE TO SERVE YOU.