Maestro Jaap van Zweden of the New York Philharmonic speaks with Paula Zahn about the deep roots of his love for music and the new season with the orchestra. Followed by a visit to the Nicholas Roerich Museum New York on the Upper West Side.

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> COMING UP ON 'NYC ARTS,' A CONVERSATION WITH THE MAESTRO OF THE PHILHARMONIC ABOUT HIS DEEP ROOTS FOR HIS LOVE FOR MUSIC AND THE CURRENT SEASON OF THE ORCHESTRA.

EVERYBODY ALWAYS WANTS TO KNOW, WHERE IS IT COMING FROM?

BUT THAT'S THE MYSTERY OF MUSIC.

I COULD NOT TELL YOU WHY I WAS JUST MESMERIZED BY A VIOLIN CONCERTO BY BEETHOVEN.

I CAN SAY IT OPENED MY HEART.

AND A VISIT TO THE NICHOLAS WARWICK MUSEUM.

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

AND 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.

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

THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND 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 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.

♪♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

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

ONE OF OUR BELOVED NEIGHBORS IS THE RENOWNED NEW YORK PHILHARMONIC.

FOUNDED IN NEW YORK CITY IN 1842, IT IS THE OLDEST SYMPHONY ORCHESTRA IN THE UNITED STATES AND FOR MORE THAN 175 YEARS HAS PLAYED A LEADING ROLE AROUND THE WORLD.

LAST SEASON THE PHILHARMONIC WELCOMED A NEW MUSIC DIRECTOR.

IN HIS INAUGURAL SEASON AT THE NEW YORK PHIL HE BROUGHT ANNED A ADVENTUROUS SPIRIT AND MET THE EXPECTATIONS OF NEW YORK AUDIENCES.

HE SERVED AS CHIEF CONDUCTOR OF THE NETHERLANDS RADIO PHILHARMONIC AND ROYAL FLANDERS ORCHESTRA.

IT WAS HIS LONG TENURE AS MUSIC DIRECTOR OF THE DALLAS SYMPHONY ORCHESTRA THAT BROUGHT HIM TO THE ATTENTION OF AMERICAN PUBLIC.

THE NEW YORK PHILHARMONIC SEASON CONTINUES IN FEBRUARY WITH THE LAUNCH OF 'PROJECT 19.'

THE PROJECT COMMISSIONED 19 WORKS BY WOMEN TO CELEBRATE THE CENTENNIAL OF THE 19th AMENDMENT WHICH GRANTED, OF COURSE, EQUAL VOTING RIGHTS.

HE'LL CONDUCT THE PREMIER OF WORKS BY NINA YOUNG, ELLEN REED, AND TANYA LYON.

IN APRIL THE PHILHARMONIC CELEBRATES THE WORKS OF BELOVED AND REVERED COMPOSER GUSTAV MAHLER.

LAST WEEK WE HAD A CHANCE TO SPEAK ABOUT THE DEEP ROOTS OF HIS LOVE FOR MUSIC AND HIS CURRENT SEASON WITH THE NEW YORK PHILHARMONIC.

WELCOME, IT IS SUCH A PLEASURE TO MEET YOU.

NICE TO MEET YOU.

I WONDERED WHEN YOU WERE A YOUNG CHILD, YOU PICKED UP A VIOLIN FOR THE FIRST TIME, IF YOU HAD ANY IDEA THAT THIS WAS A PASSION THAT YOU WOULD PURSUE FOR YOUR WHOLE LIFE.

WELL, YOU KNOW, FIRST THERE WAS THE PASSION.

AND THEN ALL THE THINGS AFTER THAT CAME BY NATURE.

AT THE TIME THAT I PICKED UP THE VIOLIN, IT WAS JUST THE LOVE FOR THE INSTRUMENT AND THE MUSIC.

IF YOU'D HAVE ASKED ME WHEN I WAS 7 YEARS OLD AND PLAYING THE VIOLIN EVERY DAY FOR MANY HOURS THAT I WOULD END UP BEING A MUSIC DIRECTOR, AND THEN EVEN THE MUSIC DIRECTOR OF THE NEW YORK PHILHARMONIC, THAT WAS NOT THE PLAN.

THERE WAS NO PLAN, THERE WAS JUST LOVE FOR MUSIC.

WHAT ROLE DID MUSIC PLAY IN YOUR FAMILY LIFE IN AMSTERDAM?

MY FATHER STILL IS A PIANIST.

AND HE WAS ALWAYS PLAYING WITH GYPSY VIOLINISTS.

AND I WOULD BE AT HOME LISTENING TO THAT, AND I WOULD BE SO MESMERIZED BY THIS INSTRUMENT, THE VIOLIN, THAT I JUST ASKED FOR THE INSTRUMENT TO PLAY IT.

IT'S INTERESTING THAT IT SPOKE TO YOU AT SUCH AN EARLY AGE, BEFORE YOU EVEN UNDERSTOOD THESE COMPLICATED EMOTIONS THAT WE ALL DEAL WITH.

AS YOU SEE SOMETIMES YOUNG CHILDREN, WHEN THEY ARE REALLY ATTACHED TO MUSIC, TO CLASSICAL MUSIC OR ANY MUSIC, I WOULD SAY -- FOR ME, AT LEAST, IT IS A MEMORY.

EVERYBODY ALWAYS WANTS TO KNOW, WHERE IS IT COMING FROM?

BUT THAT'S THE MYSTERY, YOU KNOW, OF MUSIC.

I COULD NOT TELL YOU WHY I WAS JUST MESMERIZED BY A VIOLIN CONCERTO BY BEETHOVEN.

I CAN SAY THAT IT OPENED MY HEART.

BUT THAT'S ALL WE CAN SAY.

AND IT DOESN'T MATTER WHAT KIND OF MUSIC IT IS.

IF YOU HEAR BRUNO MARS OR IF YOU HEAR LADY GAGA OR YOU HEAR A BEETHOVEN SYMPHONY, DOESN'T MATTER.

IF YOU ARE TOUCHED IN YOUR HEART, THAT IS WHAT IT'S ALL ABOUT.

♪♪

YOU ULTIMATELY TOOK IT VERY SERIOUSLY, YOU ENDED UP COMING TO JUILLIARD WHEN YOU WERE JUST 16.

YES.

WAS THAT AN OVERWHELMING EXPERIENCE FOR YOU AT THAT AGE, TO BE IN THIS BIG CITY?

I WON A COMPETITION, AND THAT COMPETITION MADE IT POSSIBLE THAT I COULD TRAVEL AND I COULD STUDY FOR ONE SEASON AT JUILLIARD.

THAT BEGINNING WAS ALSO QUITE LONELY, TO BE HONEST.

BUT YOU KNOW, IF YOU HAVE YOUR INSTRUMENT, YOU HAVE YOUR MUSIC, THAT IS ALREADY A LOT.

AND THEN YOU WENT HOME TO BECOME THE CONCERT MASTER OF THE CONCERTBAU AT AGE 19 WHAT A STUNNING ACHIEVEMENT.

IT WAS VERY INTENT, AND THAT WAS A HUGE STEP.

I DID NOT KNOW WHAT TO EXPECT FROM IT.

BECAUSE I LEARNED THE VIOLIN CONCERTOS, AND I WAS ONLY FOCUSED ON ONE INSTRUMENT, AND THAT WAS THAT VIOLIN.

AND CERTAINLY I WAS PART OF A HUGE MACHINE WHICH IS CALLED AN ORCHESTRA.

I WOULD SAY AS A HUMAN BEING I WAS NOT REALLY READY.

AS A VIOLINIST, 100%. AS A HUMAN BEING, I COULD HAVE HAD SOME MORE YEARS IN THE WORLD.

AT SOME POINT YOU AND LEONARD BERNSTEIN'S PATHS CROSSED.

YES.

WHAT HAPPENED?

WELL, HE CAME TO THE CONCERTBAU ORCHESTRA, AND HE WAS CONDUCTING MAHLER SYMPHONIES.

AND SO WE WENT ON TOUR.

AND WE WENT TO A HALL IN BERLIN WHERE HE ASKED ME IF I COULD CONDUCT.

HAD YOU EVER CONDUCTED BEFORE?

NEVER.

WHAT WAS YOUR REACTION WHEN HE ASKED YOU TO CONDUCT?

OH, I WAS SO SCARED.

TO SAY NO TO HIM WAS DANGEROUS.

HE DIDN'T LIKE THAT.

SO I TOLD HIM OF COURSE I WILL DO IT, BUT DON'T EXPECT ANYTHING FROM IT.

HE SAID, NO, IT'S FINE, BUT THE HALL IS REFURBISHED, I WANT TO HEAR HOW IT SOUNDS NOW.

I ACTUALLY CONDUCTED A LITTLE BIT.

HOW DID YOU DO?

NOT GOOD.

BUT HE -- THAT'S ALSO WHAT HE SAID.

HE SAID, THAT WAS PRETTY BAD.

BUT, HE SAID, YOU SHOULD TAKE IT SERIOUSLY, BECAUSE I SAW SOMETHING THERE.

YOU COULD BE SOMEBODY WHO COULD FEEL VERY AT HOME IN FRONT OF AN ORCHESTRA.

SO BESIDES LEONARD BERNSTEIN'S INSPIRING YOU TO BECOME A CONDUCTOR, WHAT WOULD YOU SAY WAS HIS IMPRINT ON THAT PART OF YOUR CAREER?

HE WAS SOMEBODY WHO WAS ALWAYS SEARCHING FOR FREEDOM ON STAGE.

BUT HE LEARNED ME THAT FREEDOM, YOU DON'T GET, YOU EARN FREEDOM.

AND HOW DO YOU EARN THAT FREEDOM?

TO BE VERY DISCIPLINED.

YOU KNOW IN A WAY, DISCIPLINE MAKES YOU VERY FREE ON STAGE.

BECAUSE THEN YOU ARE NOT BOTHERED BY ANY TECHNICAL PROBLEM, AND YOU CAN JUST LET THE ENERGY GO, AND YOU CAN HAVE JUST THE MUSIC SPEAK FOR ITSELF.

WALK ME THROUGH SOME OF THE MUSICAL SELECTIONS YOU MADE IN THE FIRST SEASON THAT SOME PEOPLE AT FIRST BLUSH MIGHT THINK COULD HAVE BEEN ALIENATING TO A TRADITIONAL AUDIENCE, BUT THAT WASN'T THE CASE?

THE FIRST PIECE WE DID, THE OPENING PIECE, WHERE HE WAS ABLE TO HAVE THE AUDIENCE BE INVOLVED WITH THE PIECE WHERE MUSICIANS WOULD BE IN THE AUDIENCE.

SINGERS WHO USED MEGAPHONES.

INSTRUMENTS WHICH HAD NEVER BEEN USED EVER.

AND ALSO HAVING THE INSTRUMENTS IN THE ORCHESTRA BEING USED IN A WAY THAT THEY'VE NEVER BEEN USED.

MAKING SOUNDS THAT NEVER WAS PLAYED LIKE THIS IN A CONCERT HALL.

IT WAS JUST AN AMAZING PIECE WHICH HE WROTE FOR THE OPENING OUT OF HER OWN WORLD.

YOU'VE MADE A CONCERTED EFFORT TO BRING MORE FEMALE COMPOSERS INTO THE MIX.

MANY OF THEM HAVE DESERVED FAR GREATER RECOGNITION THAN THEY'VE GOTTEN ALONG THE WAY.

I COMPLETELY AGREE WITH YOU.

AND IF YOU JUST SEARCH FOR THE TALENTS, THEY ARE THERE.

JULIA WOLF, 'FIRE IN HER MOUTH,' THE PIECE WHICH SHE WROTE FOR US, THIS WAS OF COURSE A COMPOSITION ABOUT TRAGEDY, WHAT WAS IN NEW YORK A HUGE FIRE WHERE SO MANY, SO MANY YOUNG LADIES LOST THEIR LIVES.

AT THAT TIME ALL THE YOUNG LADIES WHO WERE WORKING IN THE FACTORY WERE IMMIGRANTS.

THE AUDIENCE REALLY FELT CONNECTED WITH THAT TRAGEDY FROM SO LONG AGO.

JULIA WOLF REALLY DID AN AMAZING JOB TO BRING ALL THESE FEELINGS INTO THE MUSIC.

IT SOUNDS LIKE AN ADDED BENEFIT TO COMMISSIONING THIS KIND OF MUSIC IS TO KEEP THE PHILHARMONIC RELEVANT.

AND THERE'S A LOT OF DISCUSSION ALL OVER THE WORLD TODAY HOW YOU KEEP AUDIENCES COMING TO CLASSICAL MUSIC CONCERTS.

I THINK THE MOST IMPORTANT THING IS THAT YOU BRING THEMES, AND BEHIND THESE THEMES THERE ARE STORIES.

STORIES THAT NEED TO BE TOLD.

THE MOMENT YOU TELL A STORY, IF IT IS -- IF YOU TELL A STORY TO A CHILD OF 7 YEARS OLD OR TO A LADY WHO IS 70 YEARS OLD, NO DIFFERENCE.

♪♪

IT MUST BE VERY EXCITING ALSO TO HAVE THE OPPORTUNITY LIKE YOU'VE HAD TO GO OUT AND NOT ONLY COMMISSION, BUT TRY TO FIND 19 OF THE BEST FEMALE COMPOSERS YOU COULD FIND.

TELL ME ABOUT 'PROJECT 19' AND WHAT THAT IS.

IN 2019-20, IT IS 100 YEARS AGO THAT FEMALES HAD -- GOT THE RIGHT TO VOTE.

SO WE THOUGHT, WHY DON'T WE INVITE 19 OF THE MOST INSPIRING FEMALE COMPOSERS IN THE WORLD TO WRITE A PIECE TO CELEBRATE THAT?

AND WE DO THAT OVER TWO SEASONS.

THAT'S FANTASTIC.

AND THEN LATER ON IN THE SEASON YOU'LL BE EXPLORING THE MUSIC OF GUSTAV MAHLER.

YES.

WE GOT AN INVITATION FROM AMSTERDAM, ACTUALLY.

EVERY 25 YEARS THEY HAVE A BIG FESTIVAL CELEBRATING MAHLER.

AND FOR 100 YEARS NOW THEY INVITED THE BERLIN PHILHARMONIC, THE VIENNA PHILHARMONIC, AND THE ROYAL SYMPHONY ORCHESTRA, OF COURSE.

AND THEY MADE CELEBRATION OF ALL THE SYMPHONIES BY MAHLER.

IN THE FIRST TIME, MAY 2020, WE ARE GOING TO AMSTERDAM AND BE ALSO PART OF THAT REALLY GREAT MEMBER OF ORCHESTRAS.

♪♪

CONGRATULATIONS.

THAT'S GREAT.

IN NEW YORK IN THE SPRING, YOU'LL BE ALSO EXPLORING THE VERY INTIMATE RELATIONSHIP YOU HAD WITH NEW YORK, RIGHT?

HE WAS THE MUSIC DIRECTOR OF THE NEW YORK PHILHARMONIC.

I WOULD SAY ONE OF THE MOST FAMOUS ONES, OF COURSE.

AND AT THE SAME TIME HE LIVED ALSO IN NEW YORK.

TILL ALMOST THE END OF HIS LIFE.

AND WE ARE ACTUALLY CELEBRATING HIM IN PLAYING THE 1st AND THE 2nd SYMPHONY IN THE UPCOMING SEASON.

WHAT ARE YOU HOPING WILL BE YOUR MOST IMPORTANT CONTRIBUTION TO THE NEW YORK PHILHARMONIC?

AS A NEW MUSIC DIRECTOR, YOU'RE STEPPING IN BIG SHOES.

MAHLER, WE JUST TALKED ABOUT HIM.

BERNSTEIN.

YOU CAN NAME THEM ALL, ACTUALLY.

AND IT'S A HUGE RESPONSIBILITY.

I COME ON STAGE HERE, I REHEARSE THE PIECE, AND THEN I HEAR A TRADITION OF SEVEN, EIGHT, NINE FORMER MUSIC DIRECTORS WHO CONDUCTED THESE PIECES.

AND THEN WHAT IS WONDERFUL FOR ME IS I COME WITH MY OWN TRADITION, THEY COME WITH THEIR TRADITION, AND WE MEET IN THE MIDDLE.

SO A TRADITION IS NOT JUST SOMETHING WHICH IS THERE AND WE SHOULD JUST OBEY TO IT.

NO, WE CAN CREATE NEW TRADITIONS.

AND THAT'S WHAT WE ARE DOING ALL THE TIME.

AND THAT IS SO FANTASTIC ABOUT THIS ORCHESTRA.

WHAT SETS THE NEW YORK PHILHARMONIC APART FROM OTHER SYMPHONIES?

I THINK TALENT BY TALENT, IT'S THE BEST ORCHESTRA IN THE WORLD.

YOU ASK FOR SOMETHING, AND THEY DO IT IN A SPLIT-SECOND.

SO IT'S A VERY OPEN ORCHESTRA.

AND YOU KNOW, BECAUSE AFTER 177 YEARS YOU HAVE A HUGE EGO WHICH IS VERY GOOD.

BECAUSE, YOU KNOW, YOU ARE THE NEW YORK PHILHARMONIC.

AND AT THE SAME TIME YOU HAVE TO JUST OPEN YOUR DOOR EVERY DAY AND SAY, OKAY WHAT CAN I LEARN TODAY?

THIS IS WHAT I THINK.

IF WE GET UP EVERY MORNING AND WE SAY TO OURSELVES, WHAT CAN I LEARN TODAY?

THAT MAKES IT WORTH TO GO TO THE HALL AND REHEARSE.

WE SHOULD ALL BE ABLE TO DEFINE OUR LIVES THAT WAY ON A DAILY BASIS.

WHAT A WONDERFUL WAY TO LIVE, LUCKY YOU.

SOUNDS LIKE YOU HAVE A REALLY GOOD TIME.

ABSOLUTELY.

WELL, I SALUTE YOU ON SO MANY DIFFERENT FRONTS.

IT IS SUCH A DELIGHT TO MEET YOU.

CONTINUED GOOD LUCK WITH ALL OF THESE WONDERFUL THINGS THAT LIE AHEAD OF YOU.

THANK YOU.

THANK YOU.

♪♪ ♪♪

> THE NICHOLAS ROARIC MUSEUM ON THE UPPER WEST SIDE IS SOLELY DEVOTED TO THE WORK OF THIS RUSSIAN ARTIST.

BORN IN ST. PETERSBURG IN 1874, HE LIVED SEVERAL YEARS IN NEW YORK CITY IN THE 1920s.

THEN IN INDIA WHERE HE SPENT HIS FINAL DAYS.

RORIC WAS A PROLIFIC ARTIST.

AS A PAINTER HE WAS CONSIDERED A PHILOSOPHER MYSTIC.

WHEN YOU VISIT THE TOWNHOUSE, HOME TO THE MUSEUM SINCE 1949, YOU'LL SEE PAINTINGS PRIMARILY FROM THE ARTIST'S HIMALAYAN PERIOD, THE PLACE WHERE HE DREW BOTH ARTISTIC AND SPIRITUAL INSPIRATION, BECOMING KNOWN AS THE MASTER OF THE MOUNTAINS.

WELCOME TO NICHOLAS RORIC MUSEUM.

I AM CURATOR OF THE MUSEUM.

IT'S A ONE-ARTIST MUSEUM.

BIG RUSSIAN PAINTER, NICHOLAS RORIC, WHO LIVED 1874 TO 1947.

IT'S A SO-CALLED FRENCH STYLE OF DISPLAYING THE PAINTINGS.

THEY ARE ALL OVER THE WALLS, AND IT'S KIND OF HOME ATMOSPHERE.

YOU ARE WELCOME TO ROAM ABOUT AND JUST ENJOY THEM.

WE HAVE ABOUT 200 OF THEM, AND MOSTLY IT'S HIMALAYA PERIOD, SO THERE ARE LOTS OF MOUNTAINS, LOTS OF BLUES, LOTS OF WHITES.

AND AS SOME SAY, THERE'S A REALLY HOME ATMOSPHERE.

HE WAS BORN IN ST. PETERSBURG IN 1874, WHITE A WELL TO DO FAMILY.

THE FAMILY WANTED HIM TO PURSUE LAW, SO HE MADE A COMPROMISE AND HE ENROLLED INTO THE DEPARTMENT OF LAW IN UNIVERSITY, AND THEN HE WAS ALLOWED TO PURSUE HIS ARTISTIC INTERESTS, AND HE ALSO STUDIED IN IMPERIAL ACADEMY OF ARTS WHICH HE GRADUATED IN 1897.

HE WAS LIKE ANY YOUNG ENTHUSIASTIC ARTIST WHO WAS ASPIRING TO CHANGE THE WORLD, AND HE TRIED TO FIND HIS STYLE AND HIS PLACE.

AND INTERESTINGLY ENOUGH, HE NEVER LOST THAT ASPIRATION.

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

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

ANOTHER PAINTING WHICH WE HAVE, WHICH PROBABLY IS THE MOST FAMOUS PAINTING OF THAT PERIOD, IT'S CALLED 'LOST ANGEL.'

IT WAS PAINTED IN 1912, TWO YEARS BEFORE WORLD WAR I STARTED.

AS CRITICS ALL AGREE, IT'S QUITE PROPHETIC BECAUSE IT KIND OF PREDICTS THAT TERRIBLE TRAGEDY THAT CAME TO EUROPE.

THERE IS THIS HINT ABOUT DESTRUCTION OF CITIES AND TRAGEDY.

IT WAS HIS LIFELONG DREAM TO GO TO INDIA.

AND AT LAST HE CAME TO INDIA IN 1924.

HE WENT TO THIS EXTRAORDINARY EXTRADITION AT THAT TIME WITH HIS WIFE HELENA AND HIS SON GEORGE, AND HE FELL IN LOVE WITH THE MOUNTAINS.

DURING THE FIRST EIGHT MONTHS OF 1924, HE STAYED IN THE FOOTHILLS OF THE HIMALAYA.

HE PAINTED ABOUT 80 CANVASES, CHANGED HIS STYLE COMPLETELY.

WE CAN ALMOST SAY THAT HE WAS COMPLETELY REBORN AS AN ARTIST.

HE DEVELOPED A COMPLETELY DIFFERENT PALETTE OF COLORS.

MY FAVORITE PAINTING OVER THESE YEARS, IT'S ACTUALLY A SMALL PIECE, 12 X 16 INCHES.

LIKE EVERYTHING ELSE IN NATURE, MOUNTAINS CONTAINS THIS PRIMEAL LIFE FORCE, DEEPER LAYERS OF REALITY.

IF YOU GO TO HIMALAYA, STAND BEFORE THEM, THE DOMINANT FEELING IS JUST AN AWE.

YOU'RE COMPLETELY OVERTAKEN WITH SOMETHING THAT IS AT THE SAME TIME TERRIFIC AND UTTERLY BEAUTIFUL, BUT THE POINT IS THAT IT'S MUCH, MUCH BIGGER THAN YOU.

HE TRULY LOVED MOUNTAINS AND CONTINUED TO PAINT THEM TILL THE END OF HIS LIFE.

AND HE WAS EVEN CALLED MASTER OF THE MOUNTAINS.

THERE IS A PART OF HIS LIFE IN WHICH HE WAS A MYSTIC.

LOTS OF PAINTINGS ARE INFLUENCED BY HIS PHILOSOPHY OR HIS SPIRITUAL BELIEFS.

HE WAS VERY WELL VERSED IN THE WORLD'S MYTHOLOGIES AND RELIGIONS.

HE LOVED TO POINT OUT WHENEVER HE COULD THAT HIS WORKS ACTUALLY SHOULD HAVE TWO NAMES OR TWO AUTHORS OR TWO PAINTERS.

HIM AND HIS WIFE.

BECAUSE HIS WIFE WAS MORE OFTEN THAN NOT AN INSPIRATION BEHIND THE PAINTING.

AND THERE ARE QUITE A NUMBER OF PAINTINGS WHICH WERE PAINTED ACCORDING TO HER VISIONS.

SO SHE JUST DESCRIBED TO HIM WHAT TO PAINT, AND HE DID IT.

LIKE 'THE MOTHER OF THE WORLD' WHICH IS BY FAR THE MOST POPULAR PAINTING AMONGST VISITORS.

AFTER THEY REACHED INDIA, HE PRODUCED ONE OF HIS MAYBE MOST FAMOUS PAINTINGS.

HE CALLED IT 'KRISHNA.'

WHEN YOU SEE THIS PAINTING, JUST IMAGINE THAT HE'S SURVIVED THIS INCREDIBLY HARD JOURNEY OF FIVE YEARS LONG.

AND THERE WAS LOTS OF MISERY, LOTS OF DEPRIVATION, LOTS OF HARDSHIP, DEATH, AND TRAGEDY.

AND THERE IS NOTHING OF THAT IN HIS PAINTING.

TO ME IT IS VERY EQUIVALENT TO BEETHOVEN'S 'ODE TO JOY.'

THAT IS A REAL HYMN TO NATURE AT THAT MOMENT IN THE SPRING WHEN EVERYTHING AWAKENS AND EMERGES FROM WINTER'S SLUMBER AND STARTS TO LIVE AGAIN.

AND IN A SENSE, THAT MAY BE HIS MAIN MESSAGE, THAT JUST TO LIVE IS ENOUGH.

THAT IS ENOUGH FOR FEELING JOYFUL AND HAPPY AND FOR BEING HERE.

THANK YOU FOR LISTENING TO ALL OF THIS, AND YOU'RE WELCOME TO COME TO US, AND WE'LL BE GLAD TO ANSWER YOUR QUESTIONS AND TELL YOU MORE ABOUT NICHOLAS RORIC AND HIS WORK.

> HELLO, I'M RAFAEL PI ROMAN.

WELCOME TO LINCOLN CENTER.

THROUGH FEBRUARY 12th, NEW YORK CITY BALLET PRESENTS ITS TRIBUTE TO GEORGE BALANCHINE'S LEGACY.

AMONG THE HIGHLIGHTS 'VOICES,' A WORLD PREMIER BALLET BY ALEXI ROMANSKY.

THE PROGRAM ALSO INCLUDES CHRISTOPHER WHEELDEN, 'BRIGHT' BY JUSTIN PECK, AND OPUS 19 'THE DREAMER' BY JEROME ROBINS.

VISIT NYCBALLET.COM/CALENDAR.

FOR MORE INFORMATION VISIT LINCOLNCENTER.ORG.

THANKS SO MUCH FOR JOINING US TONIGHT.

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

GOOD NIGHT.

> NEXT WEEK ON 'NYC ARTS,' A BEHIND THE SCENES VISIT WITH THE FAMED METROPOLITAN CHORUS.

WE TRY TO PRESENT OURSELVES AS ANY ONE CHARACTER, BUT WE'RE COMPOSED OF 80 INDIVIDUALS.

WE FIGURE OUT HOW TO CREATE A CHARACTER AS A CHORUS BY OUR MUSICAL EXPRESSION OF THE SCORE.

♪♪

AND A LOOK AT THE EXHIBITION J.R. CHRONICLES AT THE BROOKLYN MUSEUM.

J.R.'S WORK DOESN'T EASILY FIT INTO A BOX.

IT'S AT THE INTERSECTION OF PHOTOGRAPHY, SOCIAL PRACTICE, PUBLIC ART.

WE WANTED IN THIS EXHIBITION TO REALLY FOCUS ON J.R.'S COLLABORATIONS WITH COMMUNITIES AND REALLY THINKING ABOUT HOW HE GIVES VOICE TO THOSE COMMUNITIES.

VERY OFTEN REPRESENTING THE UNDERREPRESENTED OR MISREPRESENTED.

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

THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND 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 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