Paula Zahn in conversation with world-renowned and celebrated pianist Leif Ove Andsnes. Followed by a visit to The Frick Collection for a look at three paintings by the Dutch master Johannes Vermeer.

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COMING UP, A CONVERSATION WITH WORLD RENOWNED, CELEBRATED PIANIST,

SO FULL OF THE PASSION OF A YOUNG MAN WANTING TO CONQUER THE WORLD AND AT THE SAME TIME IT HAS THIS INNOCENCE, BEAUTY.

MELODY THAT COMES FROM THE TRADITION.

THEY SPEAK DIRECTLY TO OUR HEARTS.

VERY INTIMATE.

> A VISIT FOR A LOOK AT THREE PAINTINGS.

ANOTHER FABULOUS PAINTING, OFFICER AND NYC ARTS I AM PAULA'. ON TONIGHT'S PROGRAM A CONVERSATION WITH THE CELEBRATED NORWEGIAN PIANIST LIEF OVE ANDSNES.

NEW YORK TIMES HAS CALLED HIM A PIANIST OF MAGISTERIAL ELEGANCE, POWER AND INSIGHT.

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

KNOWN FOR HIS COMMANDING TECHNIQUE AND SEARCHING INTERPRETATIONS, HE HAS WON A CLAIM WORLDWIDE, PERFORMING RECITALS AND CONCERTOS WITH THE WORLD'S FOR MOST ORCHESTRAS.

AND AS A CHAMBER MUSICIAN, HE IS ALSO THE FOUNDING DIRECTOR OF THE ROSENDAHL CHAMBER MUSIC FESTIVAL IN HIS NATIVE NORWAY.

MUSICIAN, AT THE TIME, AND FIRST SCANDINAVIAN, TO CURE CARNEGIE HALL'S PERSPECTIVE SERIES.

IN 2017-2018, HE WAS ARTIST IN RESIDENCE WITH THE NEW YORK PHILHARMONIC.

HE IS THE WINNER OF SIX GRAMOPHONE AWARDS FOR RECORDINGS OF CHAMBER MUSIC CONCERTOS AND WORKS.

HIS AMBITIOUS BEETHOVEN JOURNEY SPANNED FOUR YEARS AND MORE THAN 230 PERFORMANCES IN 27 COUNTRIES.

THIS SEASON, HE IS EMBARKING ON A NEW, MULTIYEAR PROJECT WITH THE MUELLER CHAMBER ORCHESTRA.

I HAD THE CHANCE TO CATCH UP WITH HIM IN THE MIDDLE OF HIS VERY BUSY SEASON WHICH INCLUDED A RECENT APPEARANCE AT CARNEGIE HALL.

WELCOME TO NEW YORK.

UNDERSTAND THIS HAPPEN.

ONE OF YOUR FAVORITE CITIES?

I FEEL SO GRATEFUL FOR SO MANY OPPORTUNITIES HERE I PLAYED 30 YEARS AGO MY FIRST RECITAL AND I PLAYED MY FIRST RECITAL IN THE BIG CALL 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 OF 2800 PEOPLE LISTENING TO ONE PIANO AND FEELING THERE CAN BE INTIMACY IN SUCH A LARGE SPACE.

AND THE DIVERSITY, EVERYTHING THE CITY HAS TO OFFER .

I THINK NEW YORK AUDIENCES DO HAVE VERY HIGH STANDARDS.

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

A CERTAIN CONCENTRATION, SILENCE IN THE AUDIENCE SOMETIMES.

THEY RESPOND IN DIFFERENT WAYS.

IF YOU ARE AT A CONCERT YOU WONDER IF THERE IS SOMEBODY THERE.

OF COURSE IF I AM PLAYING VIENNA, SO MANY OF THE GREAT COMPOSERS ACTUALLY LIVE THERE.

THEY FEEL OWNERSHIP TO THE MUSIC WHICH IS VERY SPECIAL.

ULTIMATELY, I FEEL THE MUSIC IS SO UNIVERSAL.

THAT IS A WONDERFUL THING.

I CAN PLAY MY CONCERTO IN VENEZUELA OR CHINA OR NORTHERN NORWAY OR NEW YORK AND PEOPLE WILL REACT TO IT.

THERE IS SOMETHING IN US BEING TOUCHED DEEPLY .

I HAD THE PRIVILEGE OF HEARING YOU REHEARSED THE GREAT CONCERTO WHICH WAS AN EXTRAORDINARY EXPERIENCE.

IS IT A PIECE YOU FEEL VERY DEEPLY?

I DO.

I ALSO FELT THIS WAS BEING TOO CLOSELY CONNECTED TO ME.

I AM NORWEGIAN IT WAS MY GREAT, TRUE PEACE SO MANY PLACES EARLY IN MY CAREER.

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BEING A YOUNG, NORWEGIAN PIANIST HAVING THIS GREAT PIECE WRITTEN BY THE YOUNG GREAT, 25 WHEN HE WROTE IT, SO FULL OF PASSION OF A YOUNG MAN WANTING TO CONQUER THE WORLD AND AT THE SAME TIME IT HAS THIS INNOCENT BEAUTY, CHILDLIKE BEAUTY.

ABILITIES THAT COMES WITH THE FOLK SONG TRADITION THE SPEAK DIRECTLY TO OUR HEARTS AND VERY INTIMATE.

INTIMATE AND EXTRAORDINARY AT THE SAME TIME.

VERY POTENT CONCERT PIECE I LOVE PLAYING.

YOU HAVE TRAVELED MANY, MANY THOUSANDS OF MILES, MUSICALLY AND PHYSICALLY SINCE YOUR EARLY TELL ME A LITTLE BIT ABOUT THE EARLY ROOTS OF YOUR LOVE OF MUSIC?

BOTH OF YOUR PARENTS WERE MUSIC TEACHERS?

THEY WERE MUSIC TEACHERS.

I AM FROM A SMALL COMMUNITY, AN ISLAND ON THE WESTERN PART OF NORWAY.

I WAS LUCKY TO HAVE PARENTS WHO HAVE CONNECTION TO MUSIC.

THERE WAS A PIANO IN OUR HOME AND THEY WERE ACTUALLY TEACHING A FEW CHILDREN IN OUR HOME.

THAT'S WHY I ASKED ONE IS FOR HIS OLD MY PARENTS CAN I ALSO PLAY?

LIKE THIS.

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

I THINK AROUND THE AGE OF 30, 14.

I SUDDENLY REALIZED THERE WAS NO WAY BACK.

THIS WAS MY LIFE.

THIS WAS REALLY MY LANGUAGE.

I REMEMBER SITTING AROUND THE PIANO BEING SEVEN, EIGHT, NINE PIECES MAYBE AND NOT TURN, CHOPIN, MOZART, FEELING A SENSE OF WONDER AND A SENSE OF, SENSATION THIS WAS MY SPACE, THIS IS MY VOCABULARY, THIS IS MY LANGUAGE.

THIS IS HOW I CAN COMMUNICATE WITH THE WORLD.

IT 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 THE BALLADS AND NOCTURNES.

WHEN I HEARD THE CHOPIN BALLADS, THE FULL BALLADS WHEN I WAS 11, I THINK, SMALL CASSETTES, I LISTENED TO IT DAY AND NIGHT AND I THOUGHT I HAD NEVER HEARD SUCH BEAUTIFUL MUSIC.

I STILL THINK, IT GOES SO DEEP INTO MY HEART, IT IS THE PEAK OF ROMANTIC PIANO MUSIC.

THE DIVERSITY OF EMOTION.

IT IS EVER CHANGING.

SO MANY TRANSITIONS.

YOU HAVE A MOMENT OF SOLO AND PASSAGES THAT ARE VERY ENTERTAINING.

I DON'T UNDERSTAND HOW HE WAS CREATING THESE CONVERSATIONS BECAUSE IT SEEMS SO IMPROVISED AND AT THE SAME TIME --AND THESE ARE FOUR VERY INTENSE MASTERPIECES.

I THOUGHT I NEEDED TO HAVE A BIT OF BREATHING SPACE SO I PUT SOME NOCTURNES IN BETWEEN THEM.

ALSO INTENDS PIECES BUT A LITTLE BIT CALMER.

THAT IS MY PORTRAIT OF CHOPIN.

. STORYTELLING AND CONTRASTS.

YOU FEEL THAT BEETHOVEN KNOWS WHAT HE WANTS, ALMOST A GOAL OF THE MIND TAKES YOU BY THE NECK IT SAYS LISTEN TO MAY I HAVE SOMETHING IMPORTANT TO TELL YOU.

I CAME OUT OF IT FEELING HIS MUSIC IS ABOUT FREEDOM AND IN THE LAST PERFORMANCES WE DID , LAST YEAR IN THE PERFORMANCES I FELT A SPONTANEITY AND FREEDOM WHICH I RARELY FELT .

OFTEN WITH THE CHAMBER ORCHESTRA AREN'T YOU CONDUCTING FROM THE PIANO?

I HESITATE TO CALL IT CONDUCTING BUT I'M LEADING I'M NOT THE CONDUCTOR BUT YES, SOMEBODY HAS TO CONDUCT AND LEAD IF YOU DON'T HAVE A CONDUCTOR.

WHAT IS THAT EXPERIENCE LIKE FOR YOU?

CHALLENGING BUT I DO LOVE IT.

NOT HAVING A LID ON THE PIANO, SITTING INSIDE THE ORCHESTRA WITH THE BACK TO THE AUDIENCE, WITH SUCH GREAT CONTACT WITH THE MUSICIAN.

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

I HAVE MAYBE BECOME MORE CONSCIOUS OF THE WHOLE STORYTELLING.

KNOWING HE WAS A SOLOIST WITH THE CONDUCTOR IT CAN BE A BIT OF NOW IS MY TIME AND NOW IS YOUR TURN AND THE WONDERFUL THING IS WHEN I AM LEADING THE GENERAL ORCHESTRA AND IN THE NARRATIVE, THE STORYTELLING ALL THE TIME.

AND IT IS WONDERFUL WHEN YOU PLAY A PIECE BY MOZART OR BEETHOVEN THERE IS SO MUCH CONVERSATION, SO MUCH DIALOGUE.

THE ORCHESTRA AND ME.

BACK IN 2006 I HAD THE HONOR OF HOSTING THE OPENING NIGHT AT CARNEGIE HALL.

I BELIEVE YOU WERE IN THE MIDDLE OF A PROJECT TO RECORD SEVERAL MOZART CONCERTO.

THAT'S RIGHT.

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

AS A MATTER OF FACT I'M JUST STARTING A MOZART PROJECT, BIG WIN TOGETHER WITH A CHAMBER ORCHESTRA AND IT IS CALLED MOMENTUM 1785-1786.

WAS HER SOMETHING SPECIAL THAT HAPPENED IN THAT SHORT PERIOD OF TIME?

I THINK SO.

HE WROTE 27 PIANO CONCERTOS IN A 1785 HE WRITES NUMBER 20 IN D MINOR THE FIRST ONE A MINOR KEY IT HAS A DARKER SIDE TO IT.

THE SOMETHING VERY SPECIAL HAPPENS, HE STARTED SEPARATING THE SOLOIST FROM THE ORCHESTRA.

THE HEROIC PIANO CONCERTOS FROM THE 19th CENTURY YOU HAVE A FEELING THE SOLOIST IS BEING GLADIATOR STAGE . SO MUCH ABOUT CONVERSATION WITH THE ORCHESTRA, DIALOGUE AND REACTING TO EACH OTHER BUT IN 1785 IT IS LIKE HE THINKS I CAN CREATE A VERY INTERESTING STORY MAKING THE SOLOIST AN INDIVIDUAL, DIFFERENT FROM THE ORCHESTRA AND HE CHANGED THE GENRE OF PIANO CONCERTO BY DOING THAT.

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

ULTIMATELY IT IS ABOUT SHARING SO PASSIONATE ABOUT SOMETHING WHEN YOU LOVE SOMETHING SO MUCH AND YOU ARE ABLE TO SHARE IT SOMETIMES SOME TOWN IN 2000 PEOPLE IN CARNEGIE HALL THAT'S THE GREATEST GIFT.

I CANNOT LIVE MY LIFE WITHOUT THAT SHARING MUSIC WITH OTHERS.

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I AM ROUGH FEEL WELCOME TO THIS WEEK AT LINCOLN CENTER.

WITH THE THEATERS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, AND FILM FROM AROUND THE WORLD, IT'S TRULY THE INTERNATIONAL CROSSROADS OF ARTS AND CULTURE.

INGENUE 26 THE CHAMBER MUSIC SOCIETY WILL PRESENT A NIGHT OF FRENCH CHAMBER MUSIC FEATURING CLIVE QUINN SMITH AND PAUL WONG.

THE ARTISTIC DIRECTOR WILL LEAD THE EVENING WITH TRIO NUMBER 1 IN S MAJOR.

THE PROGRAM WILL INCLUDE PIECES FOR COMPLETE DETAILS PLEASE VISIT CHAMBER MUSIC SOCIETY .ORG.

FROM INFORMATION ABOUT EVENTS AT LINCOLN CENTER VISIT THEIR WEBSITE LINCOLN CENTER .ORG.

ASSISTANT CURATOR AT THE COLLECTION TODAY IN THE WEST GALLERY OF THE MUSEUM LOOKING AT PAINTINGS IN OUR PERMANENT COLLECTION.

YOU MAY KNOW THE COLLECTION WAS THE HOME OF HENRY CLAY FRICK AND HIS FAMILY.

THE BUILDING WAS BUILT IN 1930, 1914 AND HE LIVED HERE UNTIL HE DIED IN 1919 HIS WIFE LIVED HERE UNTIL HER DEATH IN 1931 AND THE BUILDING WAS CLOSED AND EXPANSIONS WERE MADE AT THAT POINT WE WERE OPEN TO THE PUBLIC AT THE END OF 1935 AS THE FRICK COLLECTION.

IN GENERAL IT IS ALL WESTERN ART, PAINTINGS, SCULPTURE, DRAWINGS, PIECES OF DECORATIVE WONDERFUL SENSE OF A DOMESTIC SETTING.

SOMETHING WE STRIVE FOR AT THE FRICK COLLECTION.

THERE ARE THREE VERMEERS PURCHASE BETWEEN 19 0 1-1919.

THE LAST PAINTING HE PURCHASED IN FACT THE ONLY PAINTING HE PURCHASED THE YEAR HE DIED.

WE KNOW AFTER HE PURCHASED IT HE SENT IT TO HIS SUMMER HOME IN BOSTON AND IT WAS INSTALLED IN HIS DINING ROOM AND WE ALSO KNOW PER OUR ARCHIVES HE CHANGED HIS SEAT AT THE TABLE SO HE COULD STARE AT THE PAINTING.

OBVIOUSLY HE CARED ABOUT IT VERY MUCH AND IT'S QUITE A BEAUTIFUL WORK.

IT'S A TYPICAL VERMEER.

ONCE AGAIN TWO INTERESTING LADIES CLAD VERY DIFFERENTLY ONE CLEARLY THE MISTRESS WEARING HER WONDERFUL YELLOW MORNING COAT, PEARLS IN HER HAIR ANOTHER WONDERFUL PEARL EARRING YOU SEE IN SO MANY WORKS AND HER MAID HAS JUST ENTERED THE WORD AND TEAM HOLDING THE NOTE IN HER EXPRESSION AND THE MISTRESS' EXPRESSION DON'T GIVE US AN EXACT ANSWER.

WHEN WE LOOK AT THE MISTRESS WE ARE WONDERING IF SHE SURPRISED, ANXIOUS, ANTICIPATING BAD NEWS AND THE BIG QUESTION IS WHAT IS IN THE KNOW.

VERMEER USES HIS WONDERFUL SKILLS TO CREATE A BEAUTIFUL SENSE OF LIGHT AND WE SEE THAT ON THE TABLECLOTH HERE.

WE ALSO SEE BLUE AND YELLOW, THE TWO COLORS THAT COME UP REPEATEDLY.

LEMON YELLOW OF THE MORNING COAT AND THE LUSH BLUE OF THE TABLE PAINTED YOU CAN ALMOST REACH OUT AND TOUCH THE SMOOTHNESS OF THE CLOTH AND THE DIFFERENT FOLDS.

GIRL INTERRUPTED HER MUSIC WAS THE FIRST VERMEER HE PURCHASED IN 19 0 1 STILL LIVING IN PITTSBURGH AT THE TIME AND HE OF CAMERA OBSCURA PRIOR TO VERMEER.

SUGGESTED BECAUSE OF THE POSITIONING OF THE FIGURES.

THE LARGENESS OF THE FIGURE OF THE SOLDIER AND THE SMALLNESS IN CONTRAST OF THE WOMAN WHICH WORKS QUITE WELL TO TAKE US INTO SPACE AND SUBJECT DEPTH WHETHER HE IS DID NOT IT WOULD NOT CHANGE OR INTERPRETATION OF VERMEER AND HIS BRILLIANCY IS BRILLIANCY.

IN SO MANY PAINTINGS BY VERMEER WE SEE A SIMILAR SET UP.

WE SEE A WINDOW, GENERALLY TO THE LEFT AND A WONDERFUL FLOOD OF LIGHT COMING THROUGH.

VERMEER IS JUST ONE OF THE MOST SPECIALIZED WHEN IT COMES TO THE TREATMENT OF LIGHT.

SOMETHING ALMOST MAGICAL ABOUT THE PRISTINE QUALITY AND HOW IT FLOODS INTO THE SCENE AND REALLY ACTIVATES EVERYTHING IN THE COMPOSITION.

I HAVE BEEN ASKED BEFORE WHEN PEOPLE ARE LOOKING AT MISTRESS AND MADE WHERE IS THE LIGHT, WHERE'S THE WINDOW AND EVEN IN THIS PAINTING YOU SEE THE WINDOWS WE HAVE TO LOOK MORE CLOSELY.

WE LOOK AT THE GLASSWORKS ON THE TABLE WE CAN ACTUALLY SEE A REFLECTION OF WINDOWPANES OUTSIDE THE SPACE SO ONCE AGAIN VERMEER IS SHOWING US THE LIGHT.

SINCE THERE ARE SO FEW WORKS ATTRIBUTED TO VERMEER, ONLY 36 WE KNOW TODAY, THE FACT THAT FRICK WAS ABLE TO GET THREE IS REALLY SOMETHING.

I AM THE ASSISTANT CURATOR AT THE FRICK COLLECTION AND I INVITE YOU TO COME TO THE FRICK LOOK AT THE MANY TREASURES WE HAVE IN OUR COLLECTION.

MANY OF THESE CAN ONLY BE SEEN AT THE FRICK COLLECTION.

I REALLY FEEL IF YOU COME HERE YOU WILL HAVE A SENSE NOT ONLY OF MR. LEIF OVE'S COLLECTING AND WONDERFUL AESTHETIC INTEREST, BUT OF THE TIME PERIOD.

THE WONDERFUL GILDED AGE, THAT SPECIAL MOMENT IN NEW YORK CITY.

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NEXT WEEK, A CONVERSATION WITH A MAESTRO OF THE PHILHARMONIC ABOUT THE DEEP ROOTS OF HIS LOVE FOR MUSIC AND HIS CURRENT SEASON WITH THE ORCHESTRA.

EVERYBODY ALWAYS WANTS TO KNOW WHERE IS IT COMING FROM, BUT THAT IS THE MYSTERY OF MUSIC.

I COULD NOT TELL YOU WHY.

I WAS JUST MEMORIZED BY A VIOLIN CONCERTO BY BEETHOVEN.

I CAN SAY THAT IT OPENED MY HEART.

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AND A VISIT TO THE NICHOLAS WORK MUSEUM ON THE UPPER WEST SIDE.

WE HAVE JUST THREE PIECES FROM HIS RUSSIAN PERIOD WHICH ENDED IN 1916.

ONE OF THEM IS A LOVELY LITTLE SKETCH FROM 1903 WHICH SHOWS US HIS BRUSHWORK AND COMPRESSED COMPOSITION AND FOCUS ON PHYSICAL NATURE OF PAINT.

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THANKS FOR JOINING US THIS EVENING.

I AM PAULA ZAHN AT THE HAVE A GOOD NIGHT.

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FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSLYN P WALTER; THE LEWIS CINE TURNER FUND FOR DANCE, JODI AND JON ARNOLD, ELISE JAFFE AND JEFFREY BROWN, VALERIE DIKER, ELROY AND TERRY KRUMHOLZ FOUNDATION; JEAN DUBINSKY APPLETON ESTATE; THE MILTON AND SALLY AVERY ARTS FOUNDATION AND ELLEN AND JAMES S . MARCUS.

THIS PROGRAM SUPPORTED IN PARTS BY PUBLIC FUNDS FOR THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 30.

NYC ARTS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

I FIRST REPUBLIC BANK FIRST ROOFERS TO OUR FIRST PARTY, THE CLIENT TO WALK THROUGH US MENTORS.

THE FIRST STEP, RECOGNIZE EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

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

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

IT IS STILL THE FIRST THING ON