NYC-ARTS

S2020 E4 | FULL EPISODE

NYC-ARTS Full Episode: January 23, 2020

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.

AIRED: January 23, 2020 | 0:28:16
ABOUT THE PROGRAM
TRANSCRIPT

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.

.

>> 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.

.

>> 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.

.

>> 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.

.

>> 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.

.

>> THANKS FOR JOINING US THIS

EVENING.

I AM

PAULA ZAHN AT THE

HAVE A GOOD NIGHT.

.

>>

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.

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