This week, Paula Zahn in conversation with world-renowned and celebrated Norwegian pianist Leif Ove Andsnes. Then NYC-ARTS visits the Museum of Arts and Design (MAD) for a look at Craft Front and Center, a survey of the art and artists that have defined the museum since its founding in 1956.

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> COMING UP ON 'NYC ARTS,' A CONVERSATION WITH NORWEGIAN PIANIST LACEA UNSMITH, WIDELY KNOWN FOR HIS COMMANDING TECHNIQUE AND INSPIRING MUSICAL INTERPRETATIONS.

SO FULL OF PASSION OF THE YOUNG MAN WANTING TO CONQUER THE WORLD AND AT THE SAME TIME IT HAS THIS INNOCENCE, BEAUTY, MELODIES THAT COMES FROM THE SORT OF FOCUS TRADITION AND IT'S VERY INTIMATE.

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AND A VISIT TO THE MUSEUM OF ART AND DESIGN FRONT AND CENTER.

THIS EXHIBIT IS DESIGNED AROUND NARRATIVE VIGNETTES.

THERE'S A GREAT NUMBER OF BEAUTIFUL TEXTILES THAT INTRODUCES MATERIALS AND TECHNIQUES FROM WEAVING, EMBROIDERY TO APPLIQUE AND QUILT MAKING.

THE WOVEN WALL TAKE APART THE ORIGINAL TAPESTRY STRUCTURE CREATING A NUMBER OF WOVEN BANDS TO PRODUCE A THREE-DIMENSIONAL WALL HANGING.

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, THE AMBROSE MONELL FOUNDATION, JODY AR ARNARNEHOLD ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS 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 13.

'NYC ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS, FIRST BANKS 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.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR, A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

AND BY --

UNC AVIV SINCE 1985 PROVIDING ACOUSTIC PRODUCTS FOR WALL, CEILING AND FLOOR APPLICATIONS AS WELL AS CUSTOM ACOUSTICAL DESIGN SERVICES FOR COMMERCIAL OR RESIDENTIAL NEEDS.

INFORMATION AT EUNICKA VIF.COM.

♪ ♪V.COM.

♪ ♪I.COM.

♪ ♪V.COM.

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> GOOD EVENING, AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN.

WE BEGIN OUR PROGRAM TONIGHT WITH A CONVERSATION WITH THE CELEBRATED NORWEGIAN PIANIST LEIF OVE ANDSNES.

HE IS A PIANIST OF INSIGHT AND THE WALL STREET JOURNAL NAMED HIM ONE OF THE MOST GIFTED MUSE I ITIONS OF HIS GENERATION.

KNOWN FOR HIS COMMANDING TECHNIQUE AND INSPIRING INTERPRETATIONS, HE HAS WON ACCLAIM WORLDWIDE, PERFORMING RECITALS AND CONCERTOS WITH THE WORLD'S FOREMOST ORCHESTRAS AND AVID CHAMBER MUSICIAN, HE IS ALSO THE FOUNDING DIRECTOR OF THE ROSENDAHL CHAMBER MUSIC FESTIVAL IN HIS NATIVE NORWAY.

THIS FALL WILL MARK THE FIRST SINCE THE START OF THE PANDEMIC.

HE WILL RETURN TO PLAY A CONCERTO WITH THE NEW YORK PHILHARMONIC.

HE WILL ALSO TOUR EUROPE WITH THE CHAMBER ORCHESTRA AND VIOLINIST CHRISTIAN TETSUA.

I HAD THE PLEASURE OF SPEAKING WITH LEIF OVE WHEN HE WAS IN NEW YORK IN THE FALL OF 2019.

WELCOME TO NEW YORK.

THANK YOU.

I UNDERSTAND THIS HAPPENS TO BE ONE OF YOUR FAVORITE CITIES.

I FEEL SO GRATEFUL FOR SO MANY OPPORTUNITIES HERE.

I PLAYED 30 YEARS AGO MY FIRST RECITAL IN CARNEGIE.

I PLAYED MY FIRST RECITAL 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 TO HAVE 2,800 PEOPLE LISTENING TO ONE PIANO AND FEELING THAT THERE CAN BE INTIMACY IN SUCH A LARGE SPACE.

THAT'S MAGICAL AND THE DIVERSITY OF EVERYTHING THAT IT HAS TO OFFER.

I JUST LOVE IT.

I THINK NEW YORK AUDIENCES DO HAVE VERY HIGH STANDARDS, AND I'M CURIOUS IF THERE IS A DIFFERENCE AS YOU TRAVEL AROUND THE WORLD.

YOU FEEL A CERTAIN CONCENTRATION AND SILENCE IN THE AUDIENCE SOMETIMES, AND THEY RESPOND IN DIFFERENT WAYS.

IN JAPAN, YEAH, A VERY, VERY QUIET AUDIENCE AND YOU WONDER IF THERE'S SOMEBODY THERE, AND OF COURSE, IF YOU PLAY IN VIENNA, ONE OF THE COMPOSERS LIVE THERE AND THEY FEEL AN OWNERSHIP WHICH IS SPECIAL.

ULTIMATELY YOU YOU FEEL THE -- NOT IN NORWAY OR IN NEW YORK AND PEOPLE WILL REACT TO IT BECAUSE THERE IS SOMETHING IN US THAT IS TOUCHED DEEPLY.

I HAD THE PRIVILEGE OF HEARING YOU REHEARSE THE GREEK CONCERTO WHICH IS AN EXTRAORDINARY EXPERIENCE.

IS IT A PIECE THAT YOU FEEL VERY DEEPLY?

I DO.

I ALSO FELT THAT THIS WAS BEING TOO CLOSELY CONNECTED TO ME BECAUSE GLEE IS NORWEGIAN AND IT WAS MY BREAKTHROUGH PIECE IN SO MANY PLACES EARLY IN MY ♪ ♪

IN THE YOUNG NORWEGIAN PIANIST HAVING THIS GREAT PIECE WRITTEN BY THE YOUNG GREEK, HE WAS 25 WHEN HE WROTE IT, SO FULL OF PASSION OF A YOUNG MAN WANTING TO CONQUER THE WORLD AND AT THE SAME TIME HE HAD THIS INNOCENT BEAUTY, THIS CHILDLIKE BEAUTY AND THE MELODY THAT COMES FROM THE FOLK SONG TRADITION AND IT SPEAKS DIRECTLY TO OUR HEARTS AND VERY INTIMATE.

VERY POTENT CONCERT PIECE.

I LOVE PLAYING WITH ♪ ♪ ♪

YOU HAVE TRAVELED MANY, MANY THOUSANDS OF MILES MUSICALLY AND PHYSICALLY SINCE YOUR EARLY DAYS AS A BUDDING PIANIST IN NORWAY.

TELL ME A LITTLE BIT ABOUT THE EARLY ROOTS OF YOUR LOVE OF MUSIC.

BOTH OF YOUR PARENTS WERE MUSIC TEACHERS, RIGHT?

THEY WERE MUSIC TEACHERS.

I'M FROM A SMALL COMMUNITY IN IRELAND CALLED KAIM EOTT WESTERN PART OF NORWAY.

I WAS HAPPY TO HAVE PARENTS THAT THEY WERE ACTUALLY TEACHING SOME SORT OF FUTURE IN OUR HOME AND THAT'S WHY I ASKED SINCE I WAS 4 YEARS OLD.

I CAN ALSO LAY?

I LIKED IT.

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 13, 14, I SUDDENLY REALIZED THAT THERE WAS NO WAY BACK.

THAT THIS WAS MY LIFE.

THIS WAS REALLY MY LANGUAGE, BUT I DO REMEMBER, YOU KNOW, SITTING DOWN AT THE PIANO BEING 7, 8, 9, TRYING TO SIGHT READ CERTAIN PIECES AND MAYBE CHOPIN AND A SHORT PIECE LIKE GREEK AND MOZART AND FEELING A SENSE OF WONDER AND A SENSATION THAT THIS IS MY SPACE, THIS IS MY VOCABULARY AND THIS IS MY LANGUAGE AND THIS IS HOW I CAN COMMUNICATE WITH THE WORLD, AND THAT 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 BALANCE?

WHEN I HEARD THE CHOPIN BALLADS, THE FOUR BALLADS, WHEN I WAS 11, I THINK, I HAD A SMALL CASSETTE AND I LISTENED TO IT AND I THOUGHT I HAD NEVER HEARD SUCH BEAUTIFUL MUSIC, AND I STILL THINK IT GOES SO DEEP INTO MY HEART AND IT'S PIANO MUSIC AND THE DIVERSITY OF EMOTION AND IT IS EVER CHANGING AND THEN YOU HAVE THE BEAUTIFUL TUNE AND THEN HAVE A HOME OF SOLO AND THEN YOU HAVE PACKAGES THAT ARE VERY ENTERTAINING.

I DON'T KNOW HOW HE WAS CREATING IT ASK AT THE IS IMTIME THERE'S NO ON ON AND THESE ARE VERY INTENSE MAST MASTERY PIECES SO THEY ARE A LITTLE BIT CALMER SO THAT THAT'S MY PORTRAIT OF CHOPIN.

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> WE ALSO DELVED INTO THE MUSIC OF SEBELIUS WHO MOST OF US WOULDN'T NECESSARILY CONSIDER AS A CONCLUSION AS A PIANIST.

IT'S TRUE.

HE IS NOT KNOWN FOR THE PIANO.

HE IS AN ORCHESTRA COMPOSER.

FOR ME, HE IS NOT A COMPOSER AND HIS SYMPHONIES HAVE FOLLOWED ME FROM WHEN I WAS VERY YOUNG AND GOES VERY DEEP, AND I NOTICED THERE WERE ALWAYS PIANO PIECES THAT NOBODY PLAYED, AND I THOUGHT IT'S WORTH LOOKING AT, AND I READ THROUGH EVERYTHING.

IT'S MORE UNEVEN.

PIANO WAS THE INSTRUMENT.

YOU FEEL WHEN YOU PLAY IT, IT DOESN'T SOUTHBOUND NATURAL LIKE IT DOES FOR THE ORCHESTRA AND THEN THERE WAS THIS TOOL THEY DISCOVERED AS A COMPOSITION, SO SPECIAL THEY CAN SEEM VERY SEMISIMPLE, ASK YOU WONDER -- WHERE'S THISSING ABOUT?

IT IS SO BEAUTIFUL AND, AND AGAIN, PULL IT OVER A FOUR-YEAR PERIOD AND THAT WAS PERFORMING ALL OF THE BEETHOVEN CONCERTOS.

IN 2012 I STARTED THIS PROJECT, AND I PLAYED PIANO CONCERTOS AGAIN AND AGAIN OVER THREE OR FOUR YEARS AND ALSO IT WAS THE ONLY THING, AND WHEN YOU WALK ON THE ONE LANGUAGE FOR SO I GUESS YOU'LL AND I CAME OUT TO THE PROJECT FEELING THAT THIS MUSIC WAS JUST SO STRSHTH YOU ARED OF TORE SCORES FIGHTING, NO, INLISTEN TO ME, I HAVE SOMETHING IMPORTANT TO TELL YOU, BUT IN THE END I KEPT THINKING THIS MUSIC IS ABOUT FREEDOM.

I WORKED WITH THE ORCHESTRA, A WONDERFUL GROUP ON THIS PROJECT AND THE LAST YEAR AND THE PERFORMANCE I FELT A SENSE OF SPONT NAITY AND FREEDOM THAT I HAVE RARELY FELT.

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

I HESITATE CALLING 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?

IT'S CHALLENGING, BUT I DO LOVE IT.

NOT HAVING A LID ON THE PIANO AND I'M SITTING INSIDE THE ORCHESTRA WITH THE BACK TO THE AUDIENCE, BUT WITH GREAT CONTACT WITH THEM.

I'M WONDERING IF THE EXPERIENCE OF CONDUCTING FROM THE PI PIANO HAS CHANGED THE WAY YOU WORK WITH THE CONDUCTOR AS A SOLOIST.

I HAVE COME COME -- NO, IT'S MY TIME, YOUR TURN, AND I'M IN THE NARRATIVE AND IN THE STORY TELLING ALL THE TIME AND IT'S WONDERFUL WHEN YOU PLAY A PIECE BY MOZART AND SO MUCH DIALOGUE IN THERE IN THE ORCHESTRA.

IN 2006 I HAD THE HONOR OF HOSTING THE OPENING NIGHT AT CARNEGIE HALL, AND I BELIEVE YOU WERE IN THE MIDDLE OF A PROJECT TO RECORD SEVERAL MOZART CONCERTOS.

THAT'S RIGHT.

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

I'M JUST STARTINGING A MOZART PROJECT TKT WITH THE MAUL, AND AUTO IT'S 1785 AND 1786.

WAS THERE ANYTHING THAT HAPPENED DURING THAT PERIOD OF TIME?

IN 1725 HE WRITES THIS NUMBER 20 IN D MINOR, AND IT'S THE FIRST ONE IN A MINOR KEY SO IT HAS A DARKER SIDE TO IT.

SOMETHING VERY SPECIAL HAPPENS JUST THEN.

HE STARTED SEPARATING FROM THE ORCHESTRA.

YOU KNOW, THEY'RE THE KIND OF HEROIC PIANO CONCERTOS WHICH BEE LOVE VERY MUCH IN THE 19th CENTURY.

OUTSIDE OF THE COLLABORATED STATES AND THAT SORT OF STARTS WITH MOZART.

MOZART IS SO MUCH ABOUT CONVERSATION WITH THE ORCHESTRA, DIALOGUE AND REACTING TO EACH OTHER, BUT THERE IN 1785 IT'S LIKE HE THINKS, OH, I CAN CREATE A VERY INTERESTING STORY WITH MAKING THE SOLACE, AND IT'S AN INDIVIDUAL DIFFERENT FROM THE ORCHESTRA AND BY DOING THAT.

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

IT'S ULTIMATELY ABOUT SHARING.

WHEN Y WHEN YOU LOVE SOMETHING SO MUCH AND YOU ARE ABLE TO SHARE IT SOMETIMES IN AN INTIMATE GROUP AND SOMETIMES WITH A FEW OTHERS, SOMETIMES FOR 2008 WITH PEOPLE IN CARNEGIE HALL, THAT'S THE GREAT THING AND I CANNOT LIVE MY LIFE WITHOUT ♪ ♪ ♪ ♪

> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA PLEASE SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NYC-ARTS.ORG/E-MAIL.

TOP FIVE PICKS WILL KEEP YOU UP-TO-DATE ALL YEAR ROUND, AND BE SURE TO CONNECT WITH NYC ARTS ON FACEBOOK, INSTAGRAM AND TWITTER.

> INCOME, WE TRAVEL THE COLUMBUS CIRCLE AND THE MUSEUM OF ARTS AND DESIGN ALSO KNOWN AS M.A.D., IT FOCUSES ON MEDIUMS ALTHOUGH ONE TIME MARGINALIZED IN THE ART WORLD.

FRONT AND CENTER IS THE SURVEY OF THE ART AND AUGUST THAT HAVE DEFINED M.A.D. SINCE ITS FOUNDING IN 1956.

THE SHOW FEATURES A WIDE RANGE EVER DISCIPLINES AND INCLUDES WORK WITH SUCH ECLECTIC MATERIALS AS TEXTILES, CLAY AND WOOD.

THE THEMES OF THE HANDMADE WORKS ARE FROM THE PERSONAL TO THE POLITICAL, REINFORCE THE FORCE OF THE ROLE OF CRAFT IN SOCIETY.

THE MUSEUM OF ART AND DESIGN WAS ESTABLISHED IN 1956 TO ADVOCATE FOR ARTISTS WORKING IN THE UNDERAPPRECIATED MEDIUMS OF GLASS, CERAMICS AND FIVER AND WITH TEXTILE, JEWELRY AND FURNITURE DESIGN.

CRAFT FRONT AND CENTER IS THE EXHIBITION THAT CELEBRATES THE RENEWAL OF INTEREST IN CRAFT AS AN ART FORM AND IT BRINGS TOGETHER OVER 70 ICONIC WORK IN MAT'S UNIQUE CONNECTIONS, THESE MEDIA WERE A LESS ARE FORM OF CREA CREATIVE ENDEAVOR.

THEY DISMISS THE OBJECTS THAT ARE DESIGNATED CRAFT AND FOR PEOPLE TO UNDERSTAND THOSE PRACTICES AS CENTRAL TO THE HISTORY OF ART AS ANY PAINTING OR SCULPTURE MIGHT BE.

THIS EXHIBIT IS DESIGNED AROUND NARRATIVE VIGNETTES.

THERE'S A GREAT NUMBER OF BEAUTIFUL TEXTILES THAT INTRODUCES MATERIAL AND TECHNIQUES FROM WEAVING, EMBROIDERY TO APPLIQUE AND QUILT MAKING.

AMEROL TAKE APART THE TRADITIONAL TAPESTRY STRUCTURE CREATING A NUMBER OF WOVEN BANDS TO PRODUCE A THREE-DIMENSIONSAL WALL HANGING.

THE ARTISTS HAND SPUN AND DYED THE WOOL THAT WAS USED IN THIS VERY COLORFUL PIECE.

MARVIN LAKOSSKY IS A MAJOR FIGURE IN THE ART FORM.

IT INCLUDES ARCHIVAL E FEMME RA THAT HE USED TO PRODUCE THESE SCULPTURES.

IT GETS ITS ORGANIC UNDULATING SHAPE FROM THE MOLD THAT HE WOULD USE TO BLOW THE GLASS INTO.

THE EDGES OF THESE WORKS WERE SOFTENED THROUGH GRINDING AND THE BEAUTIFUL SOFT SURFACE WAS CREATED THROUGH A SANDBLASTING TECHNIQUE.

HE WOULD FINISH THE PIECE BY CUTTING, ETCHING AND POLISHING.

SAMMY IS A WOODWORKER AND HE USED HIS WORK CRADLE CABINET IN 1956 AT M.A.D. IN AN EXHIBITION TITLED THE BED.

THE PIECE IS INNOVATIVE IN ITS DESIGN COMBINING ALL OF THE NEEDS OF A NEWBORN IN A SINGLE PIECE OF FURNITURE.

INCLUDING DRAWERS FOR STORAGE AND A SMALL CRADLE THAT ROCKS.

THE ROADSHOW CASES IT MAY LOSE SENSITIVITY AS A WOODWORKER AND THERE'S A WARMTH TO THE PIECE THAT EXUDES A SENSE OF CARE AND NURTURING SPACE FOR A NEWBORN.

THIS PICKS UP ON ONE OF THE IMPORTANT THEMES OF CRAFT FRONT AND CENTER IS THAT CRAFT IS IN OUR HOMES AND EVERYDAY LIVES.

THE EXHIBITION SHOW CASES THE POWER OF CRAFT AND ALSO AS A TOOL FOR TAKING A STAND ABOUT IMPORTANT ISSUES.

THE DISCIPLINARY ARTIST WHOSE INTEREST COMES FROM EXPLORATION AND RESEARCH ON ACTIVIST CONTACTS LIKE PARADES AND PROTESTS.

THIS BANNER, PIGEONS ARE BLACK DUFFS WAS MADE AS PART OF A SERIES FOR AN EXHIBITION THAT WAS IN SUPPORT OF BLACK LIVES MATTER ACTIVISM.

THERE IS A COMBINATION WITH TASSELS ABOUT THE CRITICAL STATEMENT AND THE DESIRE TO REDRESS THAT THROUGH HER ART.

IN IN WATER MIAMI BE IN ONE, HE COLLABORATED WITH THE GLASS BLOWING STUDIO IN MURANO, ITALY.

IT HAS TECHNIQUE WITH BEADING WITH A GLASS-BLOWN PIECE.

THE FIGURE IN BEADS IS A MALE FIGURE AND HE GAZES DOWN INTO WHAT IS SUPPOSED TO BE A SORT OF WATERY DEPTH AND HE HAS THE REFLECTION OF THE WATER MIAMI BEING LOOKING BACK UP AT HIM.

IT EXEMPLIFIES THE APPROACH OF THE FEMALE BODY CONTEXTUALIZING AS A FIGURE OF EMPOWERMENT.

THE TITLE WATER MAMMY IS A PLAY ON THE WEST AFRICAN FEMALE WATER ♪ ♪

I HOPE PEOPLE TAKE AWAY FROM THIS EXHIBITION A NEW IDEA ABOUT WHAT CRAFT CAN BE.

IT'S IMPORTANT TO EVERYDAY LIFE AND SOMETHING ABOUT M.A.D.'S HISTORY AND IMPORTANT IN THE NEW YORK CITY CULTURAL LANDSCAPE.

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NEXT WEEK ON NYC ARTS, A LOOK AT THE EXHIBITION FOR FLIP STREAM, REFLECTION, RESILIENCE AND RESISTANCE IN THE ART OF OUR TIME AT THE BROOKLYN MAUZ YUM.

THIS IS FROM THE BOOK OF THE CONTEMPORARY COLLECTION.

THIS IS A TERM BORROWED FROM AERONAUTICS AND IT IS THE TURBULENCE THAT FOLLOWS A LARGE MOVING OBJECT.

WE ARE CURRENTLY IN THE SLIPSTREAM WHICH OFFERS US A PERSPECTIVE FOR 2020 AND THE LARGE OBJECT THAT JUST PASSED.

A PROFILE OF VERSATILE JAZZ PIANIST AND COMPOSER B.J. IRE.

MUSIC CREATES COMMUNITY.

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

AND WE'LL MEET IAN FOREST, OTHERWISE KNOWN AS EYEGLASSES WHO HAS PERFORMED IN THE SUBWAY AS PART OF THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

I'LL PLAY A BASS PART, PERCUSSION PART, A HARMONY PART ON THE CELLO, AND THEN I CAN LOOK THAT SEGMENT OVER AND OVER AGAIN ON PLAYING NINE OR TEN DIFFERENT CELLO PARTS AT THE SAME TIME.

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I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN.

THANKS SO MUCH FOR WATCHING US AND WE HOPE YOU JOIN US NEXT TIME.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC ARTS, PLEASE VISIT OUR WEBSITE AT NYC-ARTS.ORG.

♪ ♪

LEIF, WE ARE SO PRIVILEGED TO SIT DOWN WITH YOU.

WHERE ARE WE?

WE ARE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

IT'S A PLEASURE TO BE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF THE GREATER SCULPTURES BY THE ICONIC NAMES.

♪ ♪ ♪

> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, THE AMBROSE FOUNDATION, ROSALIND P. WALTER, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, THEITY INNON AND SALLY OF A RAE ARTS FOUNDATION.

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 13.

'NYC ARTS' IS MADE POSSIBLE IN PART BY --

FIRST REPUBLIC BANK PRESENTS, FIRST BANKS 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.

AND BY --

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR, A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

AND BY --

EUNICKA VIV SINCE 1975 PROVIDING FABRICS AND DECORATIVE ACOUSTIC PRODUCTS FOR WALL, CEILING AND FLOOR APPLICATIONS AS WELL AS SERVICES FOR COMMERCIAL AND RESIDENTIAL NEEDS.

INFORMATION AT EUNICKA VIV.COM.