A profile of pianist Henry Kramer, winner of a 2019 Avery Fisher Career Grant Award. Followed by a visit to The Eldridge Street Synagogue, a National Historic Landmark on the Lower East Side and home to the Museum at Eldridge Street.

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> COMING UP ON NYC ARTS, A PROFILE OF PIANIST HENRY CRAMER, WINNER OF THE 2019 AVERY FISCHER CAREER GRANT AWARD.

RECEIVING THIS AVERY FISCHER CAREER GRANT MAKES ME FEEL LIKE I CAN REALLY BELIEVE IN MYSELF, AND IT TRULY MOTIVATES ME TO BE THE BEST I CAN.

AND A VISIT TO THE ELDRIDGE STREET SYNAGOGUE, A NATIONAL HISTORIC LANDMARK ON THE LOWER EAST SIDE, AND HOME TO THE MUSEUM AT ELDRIDGE STREET.

IT IS THE SYMBOL OF JEWS COMING TO AMERICA AND BECOMING AMERICAN JEWS.

AND IT STANDS FOR THAT.

IT SYMBOLIZES THAT FOR ALL JEWS THROUGHOUT THE COUNTRY.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BYá-- ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

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.

♪ ♪ ♪ ♪

GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PAULA ZAHN AT THE TISH STUDIOS AT LINCOLN CENTER.

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

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

THIS YEAR THERE WERE FOUR RECIPIENTS.

VIOLINIST ANGELA ZHANG YU.

PIANO DUO CHRISTINA AND MICHELE NAUGHTEN.

THE JACK QUARTET.

AND PIANIST HENRY CRAMER.

ORIGINALLY FROM CAPE ELIZABETH MAINE, HENRY CRAMER IS AN INSIGHTFUL SOLOIST WHO BEGAN PLAYING AT THE AGE OF 11.

SINCE THEN, HE GRADUATED FROM JULIARD AND EARNED A DOCTORATE IN ART FROM YALE.

A PASSIONAL EDUCATOR, CRAMER CURRENTLY TEACHES AT COLUMBUS STATE UNIVERSITY IN COLUMBUS, GEORGIA.

RECEIVING THIS AVERY FISCHER CAREER GRANT IS ONE OF THOSE THINGS THAT YOU DREAM OF.

ONE OF THE DIFFICULT THINGS OF BEING A CLASSICAL MUSICIAN IS YOU OBVIOUSLY NEED AN ENORMOUS AMOUNT OF INTERNAL STRENGTH AND BELIEF THAT YOU DESERVE TO BE HEARD.

BUT YOU ALSO NEED PEOPLE TO RECOGNIZE AND CONFIRM THAT.

BEYOND THE FINANCIAL SUPPORT, WHICH IS OBVIOUSLY INCREDIBLE, JUST THE TITLE AND THE RECOGNITION MAKES ME FEEL LIKE I CAN REALLY BELIEVE IN MYSELF, AND IT TRULY MOTIVATES ME TO BE THE BEST I CAN.

♪ ♪ ♪ I WANT TO PRESENT SOMETHING THAT IS TRUEá-- I PLAY A LOT OF FRENCH MUSIC, CHOPIN.

I WANTED TO PLAY VARIETY.

CHOPIN CAME TO MIND.

A FRIEND OF MINE SUGGESTED THE C-SHARP MINOR.

A BIT RISKY TO START WITH.

NOT AN EASY PIECE.

IT'S FLUTTERING FIGUREATION AND FOLLOWED BY THE CIRCLE MELODY.

♪ ♪ ♪ THE PIECE BY RAMON THAT I PLAYED, THE TITLE TRANSLATES TO 'THE BIRD'S CONVERSATION' OR 'THE BIRD'S CHATTER.'

HE EVOKES THIS IN THE PIANO WITH CONSTANT TRILLS.

THE HANDS ARE TOGETHER AND STAGGERED.

SO YOU CAN IMAGINE TWO BIRDS IN CONVERSATION WITH ONE ANOTHER.

♪ ♪ ♪ ♪ ♪ THE RAMON SPECIFICALLY IS VERY CHALLENGING BECAUSE TECHNICALLY THE TRILLS ARE VERY FLUID, VERY FAST, AND THEY HAPPEN SO RAPIDLY.

♪ ♪ AND I THINK ALSO TO CAPTURE THE RIGHT SOUND, THERE IS A TENDERNESS, I THINK, IN THE SOUND AND A BIT OF SADNESS IN E MINOR.

AND IT SHOULDN'T SOUND TOO POINTED.

♪ ♪ ♪ ♪ ♪ ♪ RAMON, A GREAT PAIRING.

OBVIOUSLY WC DOES SO MUCH IN MUSIC, PIANO MUSIC SPECIFICALLY, THAT LOOKS BACK AT THE FRENCH, EARLY BAROQUE ALSO CHOPIN.

I FELT THE PIECES SPOKE TO ONE ANOTHER.

IT TRANSLATES TO THE JOYOUS ISLAND, APPARENTLY WAS INSPIRED BY A PAINTING BY WATEAU, 18th CENTURY FRENCH PAINTER.

CALLED EMBARKATION, A MYTHICAL ISLAND OF JOYOUSNESS AND REVELRY.

BUT WC IS ALL ABOUT THE ANTICIPATION OF ARRIVAL.

THE WHOLE PIECE IS GOING TOWARD SOMETHING, AND OBVIOUSLY THERE'S THE EVOKEATION OF WATER AND FLOATING IN THE SECOND PIECE SPECIFICALLY.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ANOTHER THING IS AROUND THE TIME, I THINK 1904, HE HAD HE ELOPED AND MARRIED.

HE HAD A JOYOUS STATE HIMSELF.

I THINK IT'S SUCH A FANTASTIC PIECE.

THE ARRIVAL OF THE CENTRAL THEME AT THE END AFTER ALL OF THIS ANTICIPATION IS SO SATISFYING.

IT JUST GETS MORE AND MORE EXCITED UNTIL IT FINALLY EXPLODES AT THE END WITH THIS LAST NOTE ON THE KEY PART.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ [ APPLAUSE ]

NEXT ON OUR PROGRAM WE'LL EXPLORE AN IMPORTANT PART OF THE CULTURAL HISTORY OF THE UNITED STATES.

DURING THE LATE 19th AND EARLY 20th CENTURIES, 2á1/2 MILLION EASTERN EUROPEAN JEWS CAME TO THE UNITED STATES.

THE LOWER EAST SIDE OF MANHATTAN BECAME THEIR NEW HOME.

FOR THESE RECENT IMMIGRANTS FLEEING PERSECUTION, POVERTY AND OPPRESSION, THE RELIGIOUS FREEDOM FOUND HERE WAS A NEW CONCEPT, ALTHOUGH DOZENS OF SYNAGOGUES WERE BUILT IN THE AREA, ONLY A FEW STILL STAND TODAY.

THE ELDRIDGE STREET SYNAGOGUE, WHICH OPENED IN 1887, IS ONE OF THEM.

FOR 50 YEARS, THIS CONGREGATION FLOURISHED.

BUT AS THE NEIGHBORHOOD CHANGED, THE BUILDING FELL INTO DISREPAIR AND WAS CLOSE TO COLLAPSE.

HOWEVER, BECAUSE OF THE WORK OF A DEDICATED FEW, IT WAS RESTORED TO ITS ORIGINAL CONDITION.

TODAY THE ELDRIDGE STREET SYNAGOGUE IS ALSO HOME TO THE MUSEUM AT ELDRIDGE STREET.

VISITORS FROM ALL OVER THE WORLD ARE WELCOME TO JOIN TOURS AND TALKS WHICH BRING TO LIFE BOTH THE OBSTACLES AND OPPORTUNITIES ALL IMMIGRANTS FACED AS THEY BUILT NEW LIVES IN A NEW LAND.

♪ ♪ ♪

THERE WERE THREE GREAT WAVES OF JEWISH IMMIGRATION TO THIS COUNTRY.

IN THE 1600s, THE SPANISH AND PORTUGUESE.

IN THE LATE 17, 1800s, THE GERMANS FROM CENTRAL EUROPE CAME.

AND THEN IN THE LATE 1800s AND 1900s, THE GREAT, GREAT WAVE OF EAST EUROPEAN JEWS CAME TO THE LOWER EAST SIDE.

LIFE WAS TERRIBLE FOR JEWS IN THAT PART OF THE WORLD, AND THEIR FREEDOM OF RELIGION WAS NONEXISTENT.

AND THEY WERE REALLY IN GREAT PERIL.

AND COMING TO AMERICA, THEY SEIZED THE OPPORTUNITY TO HAVE RELIGIOUS FREEDOM.

> THE LOWER EAST SIDE BECAME THE NEW HOME.

LIFE WAS VERY, VERY DIFFICULT ON THE LOWER EAST SIDE.

HOUSING WAS VERY, VERY TIGHT.

THE STREETS WERE VERY CROWDED AND DIRTY.

MOST OF THEM MADE THEIR LIVING PEDDLING.

BUT TO BE ABLE TO SAY, 'I'M HERE, I'M FREE, I'M ALLOWED TO BE WHO I WANT TO BE, AND I CAN WORSHIP OPENLY,' THIS WAS REMARKABLE FOR THESE PEOPLE.

AND THAT'S WHAT THIS BUILDING REPRESENTS.

♪ ♪ ♪ THERE WERE VERY FEW SYNAGOGUES BUILT AS THIS ONE WAS.

THERE WERE MANY, MANY STORE FRONT AND CHURCH-CONVERTED SYNAGOGUES, AND PEOPLE PRAYED IN THEIR HOMES.

BUT THIS WAS THE GRAND SYNAGOGUE THAT WAS BUILT BY EAST EUROPEAN JEWS AS A SYNAGOGUE.

AND YOU SEE THE DIFFERENCE IN HOW THIS PLACE WAS BUILT, WITH SUCH EXUBERANCE.

AND THIS SYNAGOGUE WAS REALLY WELCOMING PEOPLE FROM ALL AREAS OF EAST EUROPE.

THE ARCHITECTS OF THIS BUILDING WERE NOT JEWISH.

THEY WERE THE HURDER BROTHERS.

THIS IS THE FIRST AND ONLY SYNAGOGUE THAT THEY DESIGNED.

IT IS A MOORISH RENAISSANCE DESIGN, AND IT'S QUITE DIFFERENT THAN OTHER SYNAGOGUES THAT JEWS HAD COME FROM.

> WHEN YOU ARE STANDING ON THE STREET LOOKING AT THE FACADE, YOU SEE THE BEAUTIFUL ROUND SUSTAINED GLASS WINDOW WITH 12 ROSE ETTES REPRESENTING THE 12 TRIBES OF ISRAEL.

DIRECTLY BENEATH ARE FIVE BEAUTIFUL ARCHES REPRESENTING THE FIVE BOOKS OF MOWSES.

THERE ARE FOUR DOORS REPRESENTING THE FOUR MATRIARCHS.

SARAH, REBECCA, LEAH, AND RACHEL.

THE BUILDING ITSELF OBVIOUSLY IS AN ORTHODOX SYNAGOGUE WITH SEPARATE SEATING FOR WOMEN AND MEN.

WOMEN WERE IN THE BALCONY, MEN IN THE MAIN SANCTUARY.

IT CAN SEAT 750 PEOPLE.

IN ITS DAY, ON THE HIGH HOLY DAYS, THOUSANDS OF PEOPLE WOULD COME.

ACTUALLY, THEY NEEDED A POLICE PRESENCE TO CONTAIN ALL THE PEOPLE.

THE CONGREGATION WAS A VERY MIXED CONGREGATION IN TERMS OF FINANCIAL RESOURCES.

THERE WERE SOME VERY WEALTHY PEOPLE WHO BUILT AND HELPED SUSTAIN THE PLACE.

AND THEN THERE WERE MANY, MANY PEOPLE WHO HAD VERY LIMITED RESOURCES, IF ANY.

THE PLACE WAS ALSO USED FOR ACTIVITY FOR POLITICAL DISCUSSIONS, FOR DISCUSSIONS OF HOW TO BECOME AMERICANIZED AND YET KEEP YOUR CULTURE.

IT WAS AN IMPORTANT, IMPORTANT PLACE FOR OPEN DISCUSSION AND DIALOGUE FOR PEOPLE WHO WERE NEW IN A NEW COUNTRY.

♪ ♪ IN THE EARLY DAYS THERE WAS NO RABBI HERE.

THE CONGREGATION HAD LAY LEADERSHIP, AND THEY BROUGHT A CANTER FROM EAST EUROPE, AND THE CANTER BECAME THE ONE WHO LED THE SERVICES AS WELL AS SANG THE HYMNS AND PRAYERS.

♪ ♪ ♪ ♪ MY VERY FAVORITE ARTIFACT IN THIS BUILDING IS ITS SADAKA BOX.

SADAKA MEANS CHARITY.

JEWISH LAW SAYS THERE IS A RELIGIOUS OBLIGATION TO GIVE.

NO MATTER HOW RICH OR POOR, TO GIVEá-- ONE SHOULD GIVE ANONYMOUSLY.

WHAT'S UNIQUE ABOUT THIS ARTIFACT IS IT'S A TWO-SIDED SADAKA BOX.

MEN GAVE ON ONE SIDE AND WOMEN GAVE ON THE OTHER SIDE.

EACHá-- EACH SLOT, THOUGH, WAS DESIGNATED FOR A SPECIFIC TYPE OF CHARITY.

AND ALL THE MONEY, WHETHER IT WENT ON THE WOMEN'S SIDE OR THE MEN'S SIDE, FILTERED TOGETHER AND WAS USED FOR THE DESIGNATED CHARITY.

> THE 1970s WAS A VERY, VERY SAD TIME IN THE LOWER EAST SIDE.

IT WAS BASICALLY A SLUM.

AND BECAUSE SO MANY OF THE JEWS HAD MOVED OUT AND MOVED ON, THIS PLACE REALLY FELL INTO GREAT DISREPAIR.

IT WAS TRULY NEAR COLLAPSE.

THE ROOF HAD WATER COMING THROUGH IT AND PIGEONS FLYING THROUGH.

THERE WAS NO HEAT.

THE STAIRCASE WAS COMPROMISED.

AND THE BUILDING WAS NEGLECTED, AND IT WAS NEGLECTED BECAUSE OF RESOURCES.

SO THEY LOCKED THE SANCTUARY AND PRAYER CONTINUED ON THE LOWER LEVEL AS IT DOES TODAY.

IT TOOK A LOT OF MONEY TO RESTORE THIS BUILDING, AND IT TOOK A LOT OF TIME TO RAISE THAT MONEY.

IT WAS, WHEN COMPLETED, 20,000,020 YEARS PLUS TO BRING IT BACK TO LIFE.

WHAT WOULD HAPPEN IS THEY'D RAISE ENOUGH MONEY TO DO THE ROOF.

THEN THERE WOULD BE A PERIOD OF TIME WHERE THEY WERE RAISING MONEY AND THEY DIDN'T HAVE ENOUGH TO DO THE NEXT PIECE OF THE RESTORATION.

SO THE REASON IT TOOK SO LONG WAS BECAUSE THE FUND-RAISING WAS ERRATIC.

THE FIRST TIME I WALKED IN THIS BUILDING 8á1/2 YEARS AGO, I COULD NOT BELIEVE MY EYES.

THERE WAS SCAFFOLDING UP TO THE OCCULI.

THERE WERE NO PEWS IN HERE.

THERE WERE NO LIGHTS IN HERE.

THE PAINTING WAS NOT FINISHED.

THE WINDOWS WERE ALL OUT.

AND THIS WAS AFTER 17 YEARS OF RESTORATION.

WHAT WAS THRILLING FOR ME PERSONALLY WAS TO SEE ALL THE ARTISANS HERE.

IT WAS SUCH A DIVERSE GROUP OF PEOPLE FROM ALL OVER THE WORLD WORKING ON THIS BUILDING AS A LABOR OF LOVE.

AND YOU COULD FEEL THE EXCITEMENT THAT THERE WAS GOING TO BE COMPLETION.

THE WINDOWS THAT WERE OUT WERE BEING RESTORED.

AND THE BENCHES THAT WERE OUT WERE GOING TO COME BACK.

FOR ALL THESE ARTISANS, THERE WAS A DEADLINE FOR REDEDICATION, AND THAT STIMULATED EVERYBODY'S EXCITEMENT THAT WE ARE GOING TO RESTORE THIS BUILDING, AND IT WILL HAVE A NEW LIFE, AND WE WILL BE ABLE TO TELL THE STORY.

> MANY, MANY PEOPLE HAVE ASKED THE QUESTION, WHY SAVE THIS PLACE IN THE HEART OF CHINATOWN TODAY WHEN THERE ARE VERY FEW JEWS WHO LIVE HERE, OR EVEN PRAY HERE?

WHY?

AND THE QUESTION REALLY IS VERY SIMPLE TO ANSWER.

IT IS THE SYMBOL OF JEWS COMING TO AMERICA AND BECOMING AMERICAN JEWS.

AND IT STANDS FOR THAT.

IT SYMBOLIZES THAT FOR ALL JEWS THROUGHOUT THE COUNTRY.

TODAY WE HAVE OVER 40,000 DIVERSE VISITORS.

MANY ARE JEWS, MANY ARE NOT, BUT 25% OF OUR VISITORSHIP TODAY ARE INTERNATIONAL.

MANY HAVE NEVER WALKED INTO A SYNAGOGUE BEFORE AND OUR EDUCATIONAL PROGRAMS TALK ABOUT HOW LIFE CHANGES FOR PEOPLE WHEN THEY COME TO A NEW COUNTRY.

OUR CULTURAL PROGRAMS TODAY ARE VERY DIVERSE.

WE HAVE CONCERTS.

WE HAVE LECTURES.

WE HAVE CLASSES.

BUT OUR VISITORSHIP IS VERY DIVERSE AND OPEN TO ALL.

THIS BUILDING STANDS AS A TESTAMENT TO JEWISH CULTURAL TRAITS, THE NEED TO REMEMBER, THE IMPULSE TO CELEBRATE, AND THE OBLIGATION TO INSTRUCT.

HELLO.

I'M RAPHAEL P. RAMON.

HE WILL CONDUCT A NEW YORK PHILHARMONIC FALL GALA CONCERT.

THE CONCERT WILL CELEBRATE THE PHILHARMONIC'S 78th SEASON WITH AN ALL BEETHOVEN PROGRAM FEATURING PIANIST LANG-LANG AS SOLOIST.

IT WILL FEATURE BEETHOVEN'S NUMBER 2.

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

THANKS FOR JOINING US THIS EVENING.

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

GOOD NIGHT.

HOPE YOU'LL JOIN US NEXT TIME.

> NEXT WEEK ON NYC ARTS, A VISIT TO THE SOUTH STREET SEAPORT AND THE NEWLY RESTORED WAVER TREE, THE FLAGSHIP OF ITS COLLECTION.

WAVER TREE IS FOR US THE CONNECTION BETWEEN NEW YORK AND THE REST OF THE WORLD.

SHE WAS A GLOBE TROTTER.

SHE WAS WHAT'S CALLED A TRAMP.

IT WOULD CARRY ANY CARGO ANYWHERE IN THE WORLD AS LONG AS IT PAID.

AND A TRIP TO LYNDHURST IN TERRY TOWN.

ONE OF THE GREAT HISTORIC COUNTRY ESTATES NOT TOO FAR FROM THE CITY.

> WHAT'S YOUR FAVORITE ROOM?

I WOULD SAY THE ROOM WE'RE IN RIGHT NOW.

THE GRAND PICTURE GALLERY IS ONE OF MY FAVORITES.

IT'S A VERY RARE SPACE IN THE UNITED STATES.

IT'S ONE OF THOSE PLACES WHERE YOU CAN REALLY SEE THE TASTE OF THE EARLY GUILDED AGE.

IT STILL HAS JAY GOULD'S PAINTING COLLECTION INTACT.

♪ ♪ ♪

FUNDING FOR NYC ARTS IS MADE POSSIBLE BYá-- ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

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 IS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON