A profile of the InterSchool Orchestras of New York, which provides opportunities for underserved students to receive a complete musical education, from beginning level to pre-professional experience. And a visit to the Louis Armstrong House Museum in Corona, Queens.

View Transcript

> COMING UP ON 'NYC ARTS,' THE PROFILE OF THE ORCHESTRAS OF NEW YORK WHICH PROVIDES OPPORTUNITIES TO UNDERSERVED STUDENTS TO RECEIVE A COMPLETE MUSICAL EDUCATION FROM BEGINNING LEVEL TO PREPROFESSIONAL EXPERIENCE.

WHEN I'M ON STAGE I USUALLY FEEL EMPOWERED BECAUSE NOT A LOT OF KIDS GET TO PLAY OR GET TO DO MUSIC.

I FEEL REALLY BLESSED TO BE PART OF SUCH A GREAT GROUP.

I'M WORKING ON KEEPING MY BOW STRAIGHT IN THE MIDDLE SOMETIMES WHEN I'M PLAYING IT GOES ALL THE WAY OFF.

EVERYBODY WHO I'M PLAYING WITH IS REALLY GOOD AND OUR CONDUCTOR IS AMAZING.

HE'S JUST GREAT.

AND A VISIT TO THE LOUIS ARMSTRONG HOUSE MUSEUM IN CORONA, QUEENS.

LOUIS AND LUCILLE ARMSTRONG WERE MARRIED IN 1942, BOUGHT THIS HOUSE IN 1943, AND LIVED HERE FOR THE REST OF THEIR LIVES.

LOUIS PASSED AWAY IN 1971.

LUCILLE CONTINUED TO LIVE HERE UNTIL 1983, AND NOBODY HAS LIVED IN THE HOUSE SINCE LUCILLE ARMSTRONG.

IT'S FROZEN IN TIME.

ANNOUNCER: FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, KATE W.

CASSIDY FOUNDATION, THEA PETSCHEK IERVOLINO FOUNDATION.

JEAN DUBINSKY APPLETON ESTATE, JODY AND JOHN ARNOLD.

ELLEN AND JAMES S. MARCUS, THE LOUIS SONNY TURNER FUND FOR DANCE, ELISE JAFFEY AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELROY AND TERRY KRUMHOLZ 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.

♪♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

FROM THE WNET STUDIOS AT LINCOLN CENTER WE'LL INTRODUCE YOU TO THE ORCHESTRAS OF NEW YORK.

♪♪ IT IS THE ONLY ORCHESTRAL EXPERIENCE IN THE AREA FOR ELEMENTARY, MIDDLE, AND HIGH SCHOOL STUDENTS TO PERFORM IN AN ENSEMBLE OF THEIR PEERS AND ALSO PROGRESS THROUGH A GRADED SYSTEM.

OVER THE COURSE OF AN ACADEMIC YEAR ISO STUDENTS ARE COACHED THROUGH AUDITIONS, PLACED AND MENTORED BY PROFESSIONAL MUSICIANS THROUGH REHEARSALS AND PERFORMANCES.

ISO BEGAN IN 1972 WHEN ANN BELL PRAGER, MOTHER OF A 10-YEAR-OLD SON LEARNING CLARINET, DISCOVERED LIMITED OPPORTUNITIES FOR HIM TO PLAY IN AN ORCHESTRA.

SO MS. PRAGUER TOOK MUSICAL MATTERS INTO HER OWN HANDS.

TODAY THE SCHOOLS OF NEW YORK SERVE MORE THAN 300 CHILDREN FROM 163 NEW YORK CITY SCHOOLS.

NO CHILD IS EVER TURNED AWAY BECAUSE OF FINANCIAL NEEDS.

'NYC ARTS' HAD AN OPPORTUNITY TO FOLLOW THE INTERSCHOOL ORCHESTRAS THIS YEAR AS THESE YOUNG MUSICIANS DEVELOPED A LOVE OF MUSIC TO LAST A LIFETIME.

♪♪

WHEN I'M ON STAGE I USUALLY FEEL EMPOWERED BECAUSE NOT A LOT OF KIDS GET TO PLAY AND NOT A LOT OF KIDS GET TO DO MUSIC, AND I FEEL REALLY BLESSED TO BE A PART OF SUCH A GREAT GROUP.

A LOT OF MY LIFE IS PRETTY BUSY, BUT THEN WHEN I GET TO PLAY THE CELLO, IT FEELS LIKE A QUIET MUSICAL RETREAT.

WHEN I'M PLAYING I FEEL LIKE WE'RE A STRING FAMILY.

I REALLY LIKE IT BECAUSE I SEE MY FRIENDS AND THE SONGS WE PLAY MAKE ME FEEL HAPPY.

♪♪ ♪♪

ISO IS UNIQUE IN NEW YORK CITY.

WE HAVE SIX ORCHESTRAS AND TWO BANDS.

IF YOU STICK WITH US FROM 6 YEARS OLD ALL THE WAY THROUGH YOUR HIGH SCHOOL YOU'RE GOING TO GET ABSOLUTE THE BEST ORCHESTRAL TRAINING BY GOING THROUGH DIFFERENT ORCHESTRAS AT DIFFERENT PLACES.

THE ORCHESTRA CULTURE IS ONE OF THE THINGS THAT'S JUST A MIX AS A COMMUNITY.

YOU MEET ONCE A WEEK AND AT ISO THE UNIQUE THING IS STARTING FROM AGE 5 TO 17 OR 18, SO THE IDEA IS TO ACTUALLY GROW UP TOGETHER IN THIS CULTURE IN AN ORCHESTRA.

IT'S LIKE A FAMILY.

WE HAVE SUCH A UNIQUE PRESENCE THAT WE CAN OFFER A TIERED EDUCATIONAL EXPERIENCE THAT'S NOT CONNECTED TO ANY SINGLE ENTITY.

WE PROVIDE OPPORTUNITIES FOR STUDENTS FROM PRIVATE SCHOOLS, FROM PUBLIC SCHOOLS, SO WE ARE UNIQUE ENTITY THAT CAN BRING LIKE-MINDED STUDENTS TOGETHER TO CREATE MUSIC.

FOR ISO THEY START AT A PLACE WHERE THEY CAN PLAY QUARTER NOTES AND READ MUSIC.

♪♪

I'M WORKING ON KEEPING MY BOW STRAIGHT IN THE MIDDLE SOMETIMES WHEN I'M PLAYING IT GOES ALL THE WAY OFF, AND I GET FRUSTRATED WITH MYSELF SOMETIMES.

BUT I KEEP TRYING.

♪♪

IT'S A REALLY TALENTED GROUP OF PEOPLE THAT ARE AROUND ME.

I WOULDN'T SAY ANYTHING TO THAT NATURE ABOUT MYSELF LIKE NOT TO BE PRECOCIOUS OR ANYTHING.

WE HAVE A GREAT CONDUCTOR.

HE'S REALLY FUNNY.

HE'S JUST GREAT.

THEY'RE MIDDLE SCHOOL AGED, HIGH SCHOOL AGED.

A LOT OF THEM ARE COMING INTO THEIR OWN ON THE INSTRUMENTS TECHNICALLY.

THEY HAVEN'T HAD A LOT OF EXPERIENCE PLAYING IN ORCHESTRAS.

THEY'RE ALL INDIVIDUALS.

THEY DO HAVE DIFFERENT NEEDS AND DIFFERENT HUNGERS FOR EXPRESSION.

I HOPE THEY CAN BRING THAT OUT.

♪♪ FOR EXAMPLE, A MIDDLE SCHOOL KID WILL THINK AN ACCENT WILL GO BOOM ON A VIOLIN AND THEY THINK THEY MADE A LOUD NOISE.

IT'S ACTUALLY QUITE SWEET.

IF IT HAS TO BE A LITTLE INTENSE, I HAVE TO WORK THEM ALMOST UNTIL IT'S TOO UGLY AND THEN PULL BACK A LITTLE.

SO IT'S KIND OF FUN TO WORK WITH THAT AGED KID.

FOR ME IT'S ALWAYS FUN TO COME BACK AND WORK WITH THIS ORCHESTRA AND KIND OF SEE THE NUANCES AND THE KIDS MIGHT BE LEARNING AS THEY'RE GOING THROUGH THE WAY THEY TAKE TIME, THE WAY THEY WAIT AND LISTEN TO EACH OTHER.

THEIR INTERNAL RHYTHMIC SENSE.

YOU DEFINITELY CAN FEEL IT WHEN YOU WORK WITH THEM.

SOMETHING GOOD IS HAPPENING HERE CLEARLY.

IT'S A LOT OF FUN TO DO THAT.

♪♪

AS A CONDUCTOR I CHOOSE NOT TO SAY WHAT I WANT BUT DO IT WITH MY HANDS AND MY GESTURE AND HOPEFULLY THEY'LL FOLLOW.

THE GROUP I CONDUCT ORCHESTRA IS THE SECOND GROUP FROM THE TOP OF THE PYRAMID, IF YOU WILL.

STUDENTS ARE AGED EARLY HIGH SCHOOL, MAYBE LATE MIDDLE SCHOOL.

ONE OF THE THINGS I TRY TO SHARE WITH THEM THE GOAL OF REHEARSAL IS TO COME WITH YOUR PART MASTERED SO YOU CAN LEARN EVERYONE ELSE'S PART AND THERE CAN BE TRUE COLLABORATION.

♪♪

IN A DAY AND AN AGE THEY ARE SO DISTRACTED BY TECHNOLOGY, THEIR ATTENTION SPAN GETS SHORTER, EVERYTHING IS INSTANT GRATIFICATION.

YOU CAN PUSH A BUTTON AND FIND SOMETHING ON THE INTERNET, YOU LOSE THE NOTION OF PURPOSE.

AND MUSIC GIVES THEM PURPOSE.

TONIGHT WE'RE PLAYING NUMBER 5 AND DOING THE FOURTH MOVEMENT.

HE'S SUCH AN AMAZING COMPOSER.

I FEEL EVERYBODY COULD AGREE ON THAT.

LOOKING AT IT FROM A TECHNICAL PERSPECTIVE, IT CAN BE ABOVE THE LEVEL OF SOME STUDENTS.

SO ONE OF THE CHALLENGES OF THEM BEING ABLE TO PLAY THE NOTES ON THE PAGE.

I'VE DEFINITELY SEEN PROGRESS.

I'M TRYING TO WORK ON MY MID AND LOWER RANGE.

I WANT A BETTER SOUND WITH IT.

THAT'S WHAT I'M WORKING ON RIGHT NOW.

♪♪

ONE OF MY FRIENDS TOLD ME ABOUT IT, THE HUGE BRASS OPENING AND THE FINALE.

IT'S ONE OF THOSE PIECES I ALWAYS WANTED TO PLAY.

IT WAS ON MY BUCKET LIST.

IT'S DEFINITELY PERSONAL.

THERE'S SO MUCH BREATH CONTROL INVOLVED.

SOMETIMES YOU CAN FEEL YOUR AIR MOVING INSIDE YOUR BODY AND YOU CAN FEEL WHEN IT'S NOT RIGHT.

YOU LEARN THINGS ABOUT YOURSELF NOT JUST THE INSTRUMENT BUT WHAT YOU CAN DO AND YOU MAKE IT A GOAL TO GET BETTER AND BETTER EVERY DAY.

WHEN YOU PLAY THE TUBA, YOU CAN'T HIDE.

THE MINUTE YOU PLAY THE NOTE EVERYBODY HEARS.

YOU'RE EITHER RIGHT OR WRONG AND YOU'RE DEFINITELY IMPORTANT.

YOU'RE PLAYING TOGETHER AS A GROUP BUT YOUR PART MATTERS.

YOU WILL LOOK OUT THAT WAY.

ONE AT THE BROOKLYN MUSEUM FOR THE YOUNGER KIDS AND THE METROPOLITAN MUSEUM FOR THE OLDER KIDS.

IT'S A BEAUTIFUL PLACE.

IT WILL BE AN EMOTIONAL NIGHT.

MY LAST BIG ISO SYMPHONY PERFORMANCE.

IT'S A FUN PIECE.

IT'S A PRIVILEGE TO PLAY AND A LOT OF TIMES THAT PRIVILEGE MAKES IT A LITTLE BIT LESS CHALLENGING BECAUSE WHEN YOU'RE WORKING TOWARDS IT, IT DOESN'T FEEL LIKE A TASK.

THIS PERFORMANCE IS IMPORTANT TO ME BECAUSE GETTING TO PLAY IN FRONT OF PEOPLE, GETTING THE FEEDBACK OF BEING IN A CONCERT ENVIRONMENT MAKES EVERYONE BETTER.

♪♪

IT'S KIND OF HARD.

A LOT OF FLAILING.

IT'S FUN, THOUGH.

IT WAS HARD TO FIGURE OUT.

IT'S GOOD TO PLAY LOUD.

♪♪ ♪♪

THEY ARE HAVING FUN, THAT'S FOR SURE.

THE BODY IS MOVING AND THAT'S THE WONDERFUL PART, PLAYING THE ORCHESTRA AND MUSIC TOGETHER.

THEY'RE BREATHING TOGETHER ON STAGE AS A GROUP.

THAT'S FASCINATING.

♪♪ ♪♪ ♪♪

I LOVE WATCHING THE KIDS WHEN THEY COME IN A LITTLE UNSURE AND BY THE TIME THEY'RE COMPLETED AND MOVING ON THEY ARE MUCH MORE SECURE IN THE WAY THEY PLAY, THE WAY THEY CAN EXPRESS AND THAT'S A JOY FOR ME AT LEAST.

TO WATCH THAT GROWTH.

I'M GETTING CLOSER AND CLOSER TO GRADUATING.

IT FELT LIKE IT WAS NEVER GOING TO HAPPEN.

I'M HAPPY TO GET OUT OF HIGH SCHOOL AND A NEW LIFE IN COLLEGE.

I DON'T KNOW IF I MAKE ANYTHING RIGHT NOW IN MY PROFESSION.

I'M NOT QUITE AT THAT STAGE.

IT BEING PEACEFUL AND RELAXING.

I'VE BEEN THINKING MAYBE I COULD BE A SOLOIST ON MY VIOLIN OR BE IN THE ORCHESTRA FOR THE NEW YORK CITY BALLET AT THE 'NUT CRACKER.'

[ APPLAUSE ] ARMSTRONG HOUSE MUSEUM IN CORONA, QUEENS, FOR THE JAZZ ICON'S BIRTHDAY.

TRADITIONALLY CELEBRATED ON THE FOURTH OF JULY.

BORN IN 1901 IN NEW ORLEANS, ARMSTRONG'S INVENTIVE TRUMPET PLAYING, IMPROVISATIONAL STYLE AND CHARISMATIC PERSONALITY MADE HIM ONE OF THE MOST INFLUENTIAL AND POPULAR FIGURES IN JAZZ.

KNOWN AS SACH OR LOUIE, ARMSTRONG MADE THIS MODEST HOUSE IN A WORKING CLASS NEIGHBORHOOD HIS HOME FOR 28 YEARS.

HE LIVED THERE UNTIL HIS DEATH IN 1971.

TODAY REMAINS MUCH AS IT DID WHEN HE AND HIS WIFE LUCILLE LIVED THERE.

IT'S A NATIONAL HISTORIC LANDMARK AND NEW YORK CITY LANDMARK.

THE HOUSE IS RUN BY QUEENS COLLEGE WHICH HOLDS THE LARGEST PUBLIC ARCHIVE IN THE WORLD DEVOTED TO THIS JAZZ MUSICIAN.

CONCERTS FOR THE PUBLIC ARE HELD IN THE SCENIC JAPANESE-INSPIRED GARDEN ESPECIALLY ON THE FOURTH OF JULY IN HONOR OF SACHMO'S BIRTHDAY.

> THE MISSION OF THE LOUIS ARMSTRONG HOUSE MUSEUM IS TO OPERATE IT.

PEOPLE SHOW UP EVERY DAY TO TAKE A TOUR OF IT.

THEY WERE MARRIED IN 1942.

BOUGHT THIS HOUSE IN 1943 AND LIVED HERE THE REST OF THEIR LIVES.

LOUIS PASSED AWAY IN 1971.

LUCILLE CONTINUED TO LIVE HERE UNTIL 1983.

NO ONE HAS LIVED IN THE HOUSE SINCE LUCILLE ARMSTRONG.

IT'S FROZEN IN TIME.

ONE OF THE REMARKABLE THINGS ABOUT LOUIS ARMSTRONG LIVING IN THIS HOUSE IS IN IS A WORKING CLASS, MIDDLE CLASS NEIGHBORHOOD IN QUEENS.

AND LOUIS AT THE TIME THEY PURCHASED THE HOUSE WAS ALREADY A SUPERSTAR.

LOUIS LOVED CORONA.

HE WOULD WALK TWO BLOCKS UP AND ONE BLOCK OVER TO JOE'S ARTISTIC BARBERSHOP, WAIT HIS TURN IN LINE, EXCHANGE NEWS WITH MEN IN THE COMMUNITY, AND GET HIS HAIR CUT THERE.

LOUIS LOVED THE KIDS IN THE NEIGHBORHOOD MAYBE IN PART BECAUSE LOUIS WAS MARRIED FOUR TIMES AND NEVER HAD ANY CHILDREN BY HIS MARRIAGES HIMSELF.

THE LIVING ROOM IS THE LARGEST ROOM IN THE HOUSE.

THERE'S A WONDERFUL PORTRAIT OF LOUIS ARMSTRONG BY AN AFRICAN-AMERICAN ARTIST NAMED CAL BAILEY.

LOUIS WAS TYPICALLY ON THE ROAD 300 DAYS PER YEAR ALL OVER THE WORLD SO HE WOULD BRING BACK THINGS FROM HIS TRAVELS.

THE GUEST BATHROOM IS COVERED WITH MIRRORS, GOLD-PLATED FIXTURES AND A WHITE ONYX SINK.

LOUIS GREW UP VERY POOR.

HE AND HIS MOTHER AND SISTER LIVED IN A TWO-ROOM HOUSE WITH A DIRT FLOOR AND NO INDOOR PLUMBING IN TURN OF THE CENTURY NEW ORLEANS.

SO TO HAVE A BATHROOM LIKE THIS LOUIS WAS VERY PROUD OF IT.

FOR MANY PEOPLE LUCILLE'S KITCHEN IS THEIR FAVORITE ROOM IN THE HOUSE.

THIS IS A STATE-OF-THE-ART KITCHEN DESIGNED AND INSTALLED IN 1970.

THERE'S A STOVE WHICH HAS SIX BURNERS, TWO OVENS AND TWO BROILERS AND THERE'S A PLAQUE THAT SAYS CUSTOM MADE BY CROWN FOR MR. AND MRS. LOUIS ARMSTRONG.

THE DENY IN MANY WAYS IS THE MOST SIGNIFICANT ROOM IN THE HOUSE.

LOUIS SAT IN THIS CHAIR IN THE DEN AND PRACTICED HIS TRUMPET.

HE WROTE LETTERS TO FRIENDS AND FANS.

HE TALKED ON THE TELEPHONE.

WHEN HE WAS HOME THIS IS WHERE HE SPENT MUCH OF HIS WAKING TIME.

ONE OF THE MOST STUNNING DISCOVERIES IN THE LOUIS ARMSTRONG COLLECTION DISCOVERED HERE IN THE HOUSE WAS LOUIS' HOME-RECORDED TAPES.

THERE WERE 700 REEL TO TAPE.

ABOUT HALF OF THEM ARE DUBS OF FAVORITE LPs AND 78s BUT THE OTHER HALF OF THE TAPES ARE CANDIDLY RECORDED TAPES.

AT HOME IN CORONA, LONG ISLAND, NEW YORK, FEBRUARY 26, 1956.

FEBRUARY 6th.

CORRECTION.

HE WOULD JUST HIT THE RECORD BUTTON AND LET IT ROLL.

IT'S LOUIS PRACTICING HIS TRUMPET.

LOUIS SWAPPING DIRTY JOKES AND BAND STORIES BACKSTAGE WITH MUSICIANS.

IT'S HOURS AND HOURS OF FLY ON THE WALL MOMENTS IN THE LIFE OF LOUIS ARMSTRONG.

AS THIS RECORD PLAYS ALONG I THINK I'LL NOODLE ALONG WITH IT, YOU KNOW, FOR OLD TIME'S SAKE.

♪♪

ONE OF THE MOST RECENT ACQUISITIONS IS THE ONLY KNOWN VIDEO OF LOUIS IN THE RECORDING STUDIO.

HE WENT TO THE RECORDING STUDIO TO MAKE AN ALBUM.

SATCHMO PLAYS KING OLIVER.

AND THE PRODUCER HIRED A PROFESSIONAL FILM CREW TO FILM LOUIS MAKING THE ALBUM.

NOBODY HAD EVER DONE THIS BEFORE.

THIS VIDEO RESURFACED AND OUR DIRECTOR OF RESEARCH WAS ABLE TO ACQUIRE IT.

WE ALREADY HAD MOVIE FOOTAGE, TV FOOTAGE.

BUT TO SEE HIM IN THE STUDIO TO SEE THE CONCENTRATION, TO SEE THE LAID BACK FEEL AND ALL THAT STUFF AND THE KIND OF THING NO ONE KNEW WAS OUT THERE.

WE'VE NOW ASSEMBLED THE WORLD'S LARGEST ARCHIVES NOT JUST FOR LOUIS ARMSTRONG BUT FOR ANY JAZZ MUSICIAN ANYWHERE.

ONE OF THE GREATEST MUSICIANS, ONE OF THE GREATEST FIGURES IN THE WORLD, AND WE WANT TO TELL PEOPLE ABOUT HIM, WHAT MADE HIM SO GREAT WHEN PEOPLE COME TO US, THEY LEARN ABOUT HIM THROUGH HIS OWN POSSESSIONS.

WHICH IS A UNIQUE WAY TO LEARN ABOUT ONE OF THE 20th CENTURY'S GREATEST ICONS.

THIS IS LOUIS ARMSTRONG'S LIBRARY.

THESE ARE ALL THE BOOKS WE FOUND IN THE HOUSE.

FAMOUS AMERICAN NEGROS BY LANGSTON HUGHES.

WE HAVE BOXES AND BOXES OF FAN LETTERS TO LOUIS ARMSTRONG.

THIS IS ALL SATCHMO HIMSELF WHEREVER HE IS.

THIS IS LOUIS ARMSTRONG'S RECORD COLLECTION.

HE LEFT BEHIND ABOUT 2,000 RECORDS.

HAS CLASSICAL MUSIC.

WE HAVE ABOUT 17,000 PHOTOS.

WE HAVE SHEET MUSIC, THE ORIGINAL ARRANGEMENT OF 'WHAT A WONDERFUL WORLD.'

I DON'T THINK ANYONE COULD HAVE PREDICTED IT AT THE TIME.

THE MOST FAMOUS SONG PEOPLE ASSOCIATE WITH HIM.

PEOPLE ASK US ALL THE TIME, WHAT WAS HE THINKING ABOUT WHEN HE RECORDED THIS SONG.

AND WE HAVE THE ANSWER ON TAPE.

THERE'S SO MUCH IN 'A WONDERFUL WORLD' THAT BRINGS ME BACK TO MY NEIGHBORHOOD WHERE I LIVE IN CORONA.

I SAW THREE GENERATIONS AND ALL WITH THEIR CHILDREN AND GRANDCHILDREN, THEY COME BACK TO SEE UNCLE SATCHMO AND AUNT LUCILLE.

THAT'S WHY I CAN SAY ♪ I HEAR BABIES CRYING I WATCH THEM GROW ♪ ♪ AND I THINK TO MYSELF WHAT A WONDERFUL WORLD ♪ ♪♪

> HELLO.

WELCOME TO LINCOLN CENTER.

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 WEEK WE'RE LOOKING AT LINCOLN CENTER THEATER'S LAVISH RERIVAL OF 'MY FAIR LADY' CONSIDERED BY MANY THE MOST BELOVED MUSICAL OF ALL TIME.

DIRECTED BY THE STELLAR CAST WHICH INCLUDES LAUREN AMBROSE, TELLS THE STORY OF ELIZA DOOLITTLE AND A LINGUISTICS PROFESSOR DETERMINED TO TRANSFORM HER INTO HIS IDEA OF A PROPER LADY.

WHO IS REALLY BEING TRANSFORMED?

FOR COMPLETE DETAILS VISIT LCT.ORG.

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

> I HOPE YOU'VE ENJOYED OUR PROGRAM.

FROM THE TISCH WNET STUDIOS AT LINCOLN CENTER.

SEE YOU NEXT TIME.

> NEXT WEEK ON 'NYC ARTS,' A LOOK AT THE EXHIBITION LEONARD BERNSTINE, THE POWER OF MUSIC NOW ON VIEW AT THE NATIONAL MUSEUM OF AMERICAN JEWISH HISTORY IN PHILADELPHIA.

LEONARD BERNSTINE WAS AN AMERICAN-JEWISH COMPOSER, EDUCATOR, AND HUMANITARIAN.

HE SPENT HIS ENTIRE LIFE DOING EVERYTHING HE COULD TO MAKE THE WORLD A BETTER PLACE, AND HE OFTEN DID IT THROUGH HIS OWN MUSIC.

AND A LOOK AT THE PERMANENT COLLECTION OF THE NATIONAL MUSEUM OF THE AMERICAN INDIAN IN LOWER MANHATTAN.

INFINITY OF NATIONS IS THE COLLECTION SURVEY SHOW THAT'S NOT ONLY INTENDED TO PRESENT THE GREAT BREADTH AND DEPTH FROM NORTH AND CENTRAL AMERICA BUT INTENDED TO EXPLORE THE HISTORIC IMPORTANCE OF A NUMBER OF THE DEEPLY CULTURAL AND PROFOUNDLY SOCIAL OBJECTS ON VIEW.

♪♪

ANNOUNCER: FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, KATE W.

CASSIDY FOUNDATION, THEA PETSCHEK IERVOLINO FOUNDATION.

JEAN DUBINSKY APPLETON ESTATE, JODY AND JOHN ARNOLD.

ELLEN AND JAMES S. MARCUS, THE LOUIS SONNY TURNER FUND FOR DANCE, ELISE JAFFEY AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELROY AND TERRIE KRUMHOLZ 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.