NYC-ARTS

S2014 E380 | FULL EPISODE

NYC-ARTS Full Episode: October 16

A profile of Orpheus Chamber Orchestra, an ensemble well known for world-class music performed with intricate delicacy and for their close-knit, democratic rehearsal techniques. A visit to the Museum of Modern Art to explore Vincent Van Gogh’s “Starry Night.” Christina Ha presents the news from Kykuit: The Rockefeller Estate, located just north of New York City in Westchester County.

AIRED: October 15, 2014 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>> Announcer: FUNDING FO

NYC-ARTS IS MADE POSSIBLE BY -

ROSALIND P. WALTER

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ART

FOUNDATION

AND ELROY AND TERRY KRUMHOLZ

FOUNDATION

THIS PROGRAM IS SUPPORTED, I

PART, BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT O

CULTURAL AFFAIRS IN PARTNERSHI

WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

"NYC-ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

FLEXIBILITY, COORDINATION,

EXCELLENCE

FIRST REPUBLIC BANK, IT'S

PRIVILEGE TO SERVE YOU

>>> GOOD EVENING AND WELCOME T

"NYC-ARTS.

I'M PHILIPPE DE MONTEBELLO A

THE TISCH WNET STUDIOS A

LINCOLN CENTER

IT IS OUR PLEASURE TO SHARE WITH

YOU THE BEST IN ARTS AND CULTURE

IN OUR AREA, WHETHER IT IS I

THE FORM OF MUSIC, DANCE

THEATER, FILM OR THE VISUA

ARTS

TONIGHT, WE'LL BEGIN OUR PROGRAM

WITH THE GLORIOUS SOUND OF

MUSIC.

THE ORPHEUS CHAMBER ORCHESTRA IS

A WORLD RENOWNED ENSEMBLE WHIC

HAS EMBRACED A UNIQUE METHOD O

COLLECTIVE MUSICIANSHIP.

FOUNDED IN 1972 BY CELLIST

JULIAN FIFER AND A GROUP O

LIKE-MINDED MUSICIANS, THE GROUP

CAME TOGETHER SEEKING FREEDO

FROM THE TRADITIONAL LEADERSHI

OF THE CONDUCTOR'S BATON

INSTEAD, THEY WORK CLOSELY I

THE REHEARSAL PROCESS --

DISCOVERING A GROU

"CONSCIOUSNESS" FOR THE TEMPO,

PHRASING AND INTERPRETATION OF A

SCORE.

THE "ORPHEUS PROCESS" HAS IN

FACT BECOME A TRADEMARKED SYSTEM

OF COLLABORATION

BASED ON ROTATING LEADERSHIP AND

ACTIVE TEAMBUILDING, IT HAS ALSO

BEEN USED AS A TRAINING TOOL

OUTSIDE THE WORLD OF MUSIC, IN

BUSINESS AND ACADEMIC SETTINGS

HERE IS A RARE FLY ON THE WALL

GLIMPSE OF THE ORPHEUS CHAMBER

ORCHESTRA AT WORK.

HERE WE SEE THEM IN RESIDENC

UPTOWN AT RIVERSIDE CHURCH

YOU CAN ENJOY THEIR UPCOMING

SEASON AT CARNEGIE HAL

BEGINNING ON OCTOBER 23rd.

♪♪

>> MUSIC IS A VEHICLE THAT

ALLOWS YOU TO GET IN TOUCH WIT

YOURSELF AND ALSO WITH WHAT

WOULD CALL A GREATER BEAUTY IN

YOUR LIFE.

AND SO WHEN WE REHEARSE, THAT'

REALLY WHAT WE GO FOR.

WE WANT TO PLAY EVERYTHING LIK

IT'S THE LAST TIME WE'RE PLAYING

IT

THERE'S AN INTENSITY TO IT

THAT'S VERY DIFFERENT FROM A

GROUP THAT SITS ON STAGE EVERY

WEEKEND AND JUST SORT OF SHOWS

UP AND CLOCKS IN AND DOES WHAT

THEY'RE SUPPOSED TO DO

FOR ALL INTENTS AND PURPOSES

ORPHEUS IS AN ORCHESTRA BUT IT

FUNCTIONS LIKE A MUCH SMALLE

CHAMBER MUSIC GROUP.

>> AT THE BEGINNING, I HEAR TH

RESTS REALLY WELL AND I THIN

THAT'S GOOD.

BUT WHEN WE PLAY IT ON THE

PIANO, CAN WE --

>> THERE IS A CORE WITHIN TH

ORCHESTRA THAT STARTS TH

REHEARSAL PROCESS.

IT'S USUALLY THE PRINCIPAL

STRING PLAYERS

>> MAYBE THE WINDS, ARE YOU GUYS

ABLE TO COME AWAY A LITTLE BIT

FROM THE NOTES

>> IT'S VERY, VERY DIFFERENT

FROM A TRADITIONAL ORCHESTRA

WHERE THE CONDUCTOR IS REALL

THE FINAL END ALL SAY OF WHA

HAPPENS ON STAGE

THOUGH YOU GET A GROUP DYNAMIC

THE DEVELOPS OVER A REHEARSA

PROCESS THAT'S VERY DIFFEREN

FROM A TRADITIONAL ORCHESTRA

>> AWKWARD

>> I FEEL LIKE IT WE START -

AND THEN IT GETS A LITTLE, A

LITTLE BIT -

PEOPLE HAVE A HALF NOTE ON THE

BEAT

IT'S DROWNING OUT WHAT GETS AT

THE END OF THE BAR

MAYBE I'LL JUST LOCK IN WITH YOU

AND GIVE A DOWNBEAT.

>> THERE ARE SOME OF US WHO COME

FROM TRADITIONAL ORCHESTRAS WITH

CONDUCTORS WHERE OUR INDIVIDUA

OPINION IS NOT SOUGHT.

AND THE THING THAT'S UNIQU

ABOUT ORPHEUS IS THAT FOR MANY

OF US IT'S A RARE PLACE WHERE WE

CAN COME AND BE FULLY INVESTED

AND A PART OF THE PROCESS.

>> WE'RE NOT REALLY DOING AWAY

WITH THE CONDUCTOR

WE ARE ESSENTIALLY SHARING THE

ROLES OF THE CONDUCTOR

WE ARE SAYING THAT, OKAY, HERE

ARE ALL THESE ISSUES THAT HAVE

TO BE TAKEN CARE OF WHETHER IT

ENSEMBLE, WHETHER IT'S

EXECUTION, WHETHER IT'

INTONATION, INTERPRETATION

>> IT'S A VERY OPEN PROCESS.

MUSICIANS HAVE A SAY

>> YEAH, I THINK WE CAN BE A

LITTLE FIERCER ABOUT THAT.

>> THERE'S A LOT OF WORKING OU

AT ANY GIVEN PASSAGE

WHO IS LEADING

WHO IS STARTING THE PASSAGE?

WHO IS SETTING THE TEMPO

AND IN THE STRINGS IT TENDS TO

BE A BIG HEAD NOD OR A NOD O

THE INSTRUMENT OR THE WAY YO

LIFT YOUR BOW BEFORE YOU ATTACK.

>> IN TERMS OF KEEPING I

TOGETHER AND CUES AN

EVERYTHING, I'M LOOKING AT THE

CONCERT MASTER A LOT

JUST FOR MAIN CUES

AND PERSONALLY, I DON'T LOOK A

A LOT OF PEOPLE.

I JUST PLAY.

I LISTEN A LOT

YOU HAVE TO LISTEN

THE STRINGS ARE, YOU KNOW,

THEY'RE A DIFFERENT ANIMAL THA

WE ARE

THAT'S WHY THEY PLAY A STRINGE

INSTRUMENT, AND THAT'S WHY W

PLAY A WIND INSTRUMENT

WE'RE JUST DIFFERENT, IN A LOT

OF WAYS.

BUT AS WIND PLAYERS, SURE WE

LIKE TO REHEARSE

NOT AS MUCH AS THE STRINGS DO, I

THINK.

YOU KNOW

♪♪

>> LET'S PRACTICE THAT ONE MOR

TIME

SORRY TO STOP.

IS THERE SOME WAY TO JUST KEEP

THOSE?

>> WE OFTEN, IF POSSIBLE ALWAYS,

SEND A MEMBER TO LISTEN OUT IN

THE VIRTUAL AUDIENCE SPACE AND

THAT IS BECAUSE IT'S SHOCKIN

HOW DIFFERENT THE PERSPECTIVE IS

WHEN YOU'RE NOT IN THE MIDDL

PLAYING.

WHEN YOU'RE NOT IN THE MIDDLE OF

THE GROUP AND HAVE SOUND ALL

AROUND YOU BUT WHEN YOU'RE OUT

IN THE HALL WITH THE GROUP SOUND

COMING AT YOU.

>> YEAH, I FEEL LIKE THERE

SHOULDN'T BE TOO MUCH HAPPENIN

YET.

I THINK WE AGREE I LIKE THAT THE

SOUND IS NO WHERE YET.

IT'S LIKE FAR, FAR AWAY.

>> IN ANY REHEARSAL ROOM WE NEED

TO HAVE PEOPLE LISTENING ALL THE

TIME

AND I PLAYED THE TCHAIKOVSKY

RECENTLY IN ANOTHER SETTING SO I

FEEL VERY COMFORTABLE WITH M

OWN PART

SO IN REHEARSING THE TCHAIKOVSKY

SERENADE, I FELT LIKE IT WAS A

GOOD PIECE FOR ME TO BE OUT IN

THE HALL LISTENING

AND THEN IT'S JUST A QUESTION OF

TRYING TO LISTEN WITH FRESH EARS

AS IF YOU'RE A MEMBER OF THE

AUDIENCE TO WHAT WORKS, WHAT

DOESN'T WORK

>> IT LURCHED A LITTLE MUCH.

I'D LIKE IT TO BE ONE SOUND.

>> I GOT INTO THIS BUSINES

BECAUSE I WANT TO HEAR MUSIC

SO EVERY TIME I HAVE THE CHANC

TO GO TO A REHEARSAL, I TAKE IT.

I THINK WHAT I'M LISTENING FOR

IS WHAT ALL THE MUSICIANS AR

LISTENING FOR.

WHICH IS FIRST OF ALL, BALANCE

SECOND OF ALL, PHRASING AN

INTERPRETATION

WITH THE TCHAIKOVSKY SERENADE,

IT'S SOMETHING THAT'S OFTE

PLAYED

IT'S VERY EASY TO LISTEN TO.

IT'S VERY ENJOYABLE MUSIC.

BUT ORPHEUS PLAYS IT DIFFERENTLY

EVERY TIME THEY PLAY IT.

>> TCHAIKOVSKY ESPECIALLY, I

MAYBE THE GREATEST BALLE

COMPOSER EVER.

IT'S A ROMANTIC WORK

THERE'S A LOT OF AREA FOR WHAT

WE CALL RUBATI, FOR TEMP

CHANGES AND CHARACTER CHANGES.

AND THERE'S A VERY STARK CHANG

AT THE END OF THE PIECE WHER

THE LAST MOVEMENT WHICH IS JUS

THIS ANIMATO, VERY FAST, A LOT

OF FAST NOTES, COMES INTO THIS

ALMOST LIKE A BRICK WALL WHERE

HE BRINGS BACK THE OPENING O

THE PIECE, THE INTRODUCTION, THE

ANDANTE.

AND SO THERE'S SO MUCH ENERG

BUILT UP THAT I THINK YOU CA

EITHER, YOU CAN EITHER

TRANSITION INTO THAT SECTION O

YOU CAN MAKE IT A VERY EXTREME

CONTRAST

>> DO WE WANT TO GIVE AWAY THE

MENO MOSSO

>> YEAH, I FELT LIKE EVERYBODY

WANTED TO SLOW UP THERE, BUT

JUST KEEP IT GOING AND THEN YO

HIT THIS INCREDIBLE WALL

>> SO ORPHEUS IN AND OF ITSELF

IS THE ARTIST.

IT'S ABOUT MUSIC AT THE END OF

THE DAY.

IT'S NOT ABOUT STAR POWER.

THIS IS A DIFFERENT BUSINESS

AND SO ORPHEUS DOES THAT WIT

EVERY CONCERT.

>> WE'RE ALWAYS TRYING TO PUSH

THE ENVELOPE A LITTLE BIT.

CHALLENGE OURSELVES SOMEWHAT

AND THAT'S TO ME, THAT'S REALL

WHAT ULTIMATELY MAKES TH

ORCHESTRA GO

>> WE REALLY WANT TO BRING OUT

SOMETHING IMPORTANT, SOMETHING

WORTHY FOR YOU TO FOCUS ON EVERY

TIME WE PLAY THIS MUSIC.

OUR JOB IS NOT PRIMARILY

ENTERTAIN YOU.

OUR JOB IS PRIMARILY TO MAKE YOU

LISTEN AND MAKE YOU THINK.

>> HELLO, I'M RAFAEL PI ROMAN.

AND WELCOME TO THIS WEEK A

LINCOLN CENTER

WHERE "NYC-ARTS" HIGHLIGHT

SPECIAL EVENTS HAPPENING IN THIS

VIBRANT HOME FOR THE ARTS AN

ARTISTS FROM AROUND THE WORLD.

THIS WEEK AT LINCOLN CENTER,

JAZZ AT LINCOLN CENTER'S

BRAZILIAN FESTIVAL

FOR TWO NIGHTS, THE FESTIVAL

WILL HIGHLIGHT MUSIC FRO

NORTHEAST BRAZIL'S

PERNAMBUCO STATE

THE SPOKFREVO ORQUESTRA, LED B

SAXOPHONIST INALDO CAVALCANTE DE

ALBUQUERQUE, WILL MAKE ITS JAZ

AT LINCOLN CENTER DEBUT, WIT

SPECIAL GUESTS MELISSA ALDAN

AND WYCLIFFE GORDON.

AND LATER, ON BOTH EVENINGS,

PERCUSSIONIST CYRO BAPTISTA WILL

PERFORM THE MUSIC OF LEGENDARY

COMPOSER AND

MULTI-INSTRUMENTALIS

MOACIR SANTOS, WITH THE JAZZ A

LINCOLN CENTER ORCHESTRA AND

WYNTON MARSALIS.

BRAZILIAN FESTIVAL CONCERTS AN

EVENTS WILL TAKE PLACE I

FREDERICK P. ROSE HALL O

OCTOBER 24th AND 25th.

FOR COMPLETE DETAILS PLEAS

VISIT JAZZ.ORG

AND FOR EVEN MORE INFORMATIO

ABOUT MUSIC, DANCE, THEATER,

OPERA AND FILM HERE AT

LINCOLN CENTER, YOU CAN VISI

THEIR WEBSITE AT

LINCOLNCENTER.ORG.

>> WE HOPE YOU'RE ENJOYING THI

WEEK'S "NYC-ARTS" PROGRAM.

FOR THIS AND OTHER "NYC-ARTS

SHOWS, FIND US ONLINE AT

"NYC-ARTS.ORG.

AND YOU CAN TAKE "NYC-ARTS" WITH

YOU.

OUR EASY TO USE, FREE SMARTPHONE

APP GIVES YOU INFORMATION ABOU

ARTS EVENTS AROUND THE CITY WHEN

YOU MOST NEED IT

>> NEXT WE HEAD TO THE MUSEUM OF

MODERN ART FOR A LOOK AT

VINCENT VAN GOGH'S ICONI

PAINTING, "THE STARRY NIGHT.

WHEN HE FINISHED IT IN 1889,

VAN GOGH WROTE TO HIS BROTHE

THAT THROUGH THIS PAINTING H

WAS TRYING TO GIVE CONSOLATION

EITHER TO HIMSELF OR THE PEOPL

WHO WOULD EVENTUALLY SEE IT.

NOW A BELOVED FAVORITE OF MUSEUM

VISITORS, THIS PAINTING HAS COME

A LONG WAY FROM SUCH A HUMBL

BEGINNING.

>> I'M ANN TEMKIN, THE

MARIE-JOSEE AND HENRY KRAVIS

CHIEF CURATOR OF PAINTING AN

SCULPTURE AT THE MUSEUM OF

MODERN ART IN NEW YORK AND WE'LL

BE DISCUSSING VINCENT VAN GOGH'S

"STARRY NIGHT.

"STARRY NIGHT" IS PROBABLY THE

MOST FAMOUS PICTURE IN THE

COLLECTION OF THE MUSEUM O

MODERN ART AND ONE OF THE BEST

KNOWN PAINTINGS OF MODERN ART IN

THE WORLD, I IMAGINE

IT'S A VERY DIFFERENT FATE THA

THE ARTIST COULD'VE EVER DREAM

OF FOR IT.

IT WAS A PAINTING THAT HE MADE

WHEN HE WAS 36 YEARS OLD IN JUNE

OF 1889.

HE WAS ALREADY IN THE ASYLUM A

SAINT-REMY IN THE SOUTH OF

FRANCE, WHERE HE HAD COMMITTED

HIMSELF AFTER REALIZING THAT H

HAD PSYCHOLOGICAL ISSUES AND

NEEDED TO BE TAKEN CARE OF

HE WAS PRETTY MUCH PENNILESS

HAD NO ARTISTIC REPUTATION

CERTAINLY AT THAT TIME, VAN GOGH

HAD NO IDEA OF THE REPUTATIO

THAT HE WOULD GAIN AS AN ARTIS

AND OF COURSE NOT THE INCREDIBLE

CELEBRITY THAT THIS PICTUR

ITSELF WOULD ACQUIRE

ALTHOUGH THE PAINTING SEEMS AS

THOUGH IT MAY HAVE BEEN DONE I

THE IMPRESSIONIST TECHNIQUE OF

STANDING OUTSIDE AND PAINTING IN

WHAT THEY CALLED PLEIN AIR

BEFORE THE MOTIF, THAT'S

ACTUALLY NOT THE CASE.

IT'S A PAINTING THAT COMES FRO

VAN GOGH'S IMAGINATION, PROBABLY

FROM HAVING OBSERVED THE

LANDSCAPE ON WALKS AROUND TH

ASYLUM DURING THE DAY AND ALSO

WHAT HE WOULD HAVE REMEMBERE

FROM PICTURES OF HIS OWN

IT'S A PAINTING THAT WAS

PROBABLY DONE IN JUST TWO OR

THREE DIFFERENT SESSIONS

ONE OF THE THINGS OBVIOUSLY THAT

IS MOST SPECIAL AND ENDURING

ABOUT IT, I THINK, IS THE COLO

OF IT.

IT'S THIS INTENSE BLUE, THIS

KIND OF SYMPHONY OF DIFFEREN

BLUES, AND THEN THE COUNTERPAR

TO THE BLUE ARE THE YELLOW

ORANGES OF THE STARS MAKING THIS

GLOWING KIND OF LIFE

THE THING ABOUT THE PAINTING

THAT'S ALSO IMPORTANT TO NOTIC

THOUGH IS THAT THERE'S LITTL

BITS AND FLECKS OF WHITE THROUGH

IT, WHICH ALLOW THOSE COLORS T

BREATHE AND WHAT ALLOWS TH

PAINTING TO FEEL LIGHT AND OPE

INSTEAD OF KIND OF DENSE AND

CLOTTED.

BUT, IT'S ALSO A VER

BEAUTIFULLY CONSTRUCTED PAINTING

JUST IN PURELY FORMAL TERMS.

THE WAY THE TUMBLING OF TH

MOUNTAINS IS OFF-SET BY THE TALL

VERTICAL CYPRESS TREES ON TH

LEFT, THE WAY YOU HAVE THE

STEEPLE OF THE CHURCH IN THE

CENTER BEING A NICE VERTICAL

PARALLEL TO THE TRESS.

THERE ARE THESE VERY, VERY

SIMPLE CONSTRUCTIVE DEVICES THAT

VAN GOGH USED TO MAKE IT A VER

POWERFUL, CLEAR IMAGE, AND I

THINK THAT'S ANOTHER REASON THAT

IT RESONATES WITH SO MAN

PEOPLE

I THINK ONE OF THE THINGS THAT

MAKES A LOT OF PAINTINGS WORTH

LOOKING AT FOR A LONG TIME OVE

MANY DECADES AND EVEN CENTURIE

IS THAT THERE IS SOMETHING

CONTRADICTORY GOING ON IN THEM

AND A KIND OF MYSTERIOUS ASPEC

THAT KEEPS THE VIEWER LOOKIN

FOR MORE OR TRYING TO SOLVE IT

AND I THINK ONE OF THE TENSION

IN THIS PAINTING IN PARTICULAR

IS THAT RHYTHMIC MOVEMENT THAT

NEVER STOPS.

THERE IS A VIBRANCY AND A LIFE

IN THAT PICTURE.

I THINK WHAT'S SUMMONED THERE IS

THIS IDEA OF THE MOTIVATIN

ENERGY OR FORCE BEHIND THE WORLD

AS WE SEE IT, BECAUSE IT IS VERY

MOVING AND I THINK SPEAKS TO

SOME VERY DEEP THINGS THAT

PEOPLE HAVE IN THEIR SOULS OR IN

THEIR MINDS AND RARELY

ARTICULATE

BUT I THINK IT'S ALSO A JOYFUL

IMAGE.

I THINK IT NOT NECESSARILY ANY

ONE REACTION THAT ONE PERSON HAS

THAT WOULD BE DUPLICATED I

ANOTHER AND YET IT TOUCHES

PEOPLE

>> NOW, FOR MORE INFORMATION O

ARTS EVENTS IN OUR AREA, HERE IS

THE NEWS

♪♪

HI, I'M CHRISTINA HA, ON

LOCATION AT KYKUIT, TH

ROCKEFELLER ESTATE

LOCATED JUST NORTH O

NEW YORK CITY IN WESTCHESTER

COUNTY

IT IS ONE OF THE GREAT ESTATES

OF THE HISTORIC HUDSON VALLEY.

OVERLOOKING THE HUDSON RIVER

KYKUIT WAS BUILT BY OIL TYCOON

AND PHILANTHROPIST

JOHN D. ROCKEFELLER.

COMPLETED IN 1913, THE

CONSTRUCTION OF THE CLASSICA

REVIVAL STYLE HOUSE AN

EXTENSIVE GARDENS WERE LARGELY

OVERSEEN BY HIS SON,

JOHN D. ROCKEFELLER, JR.

THE TERRACED GARDENS WER

FURTHER ENRICHED BY THE AR

COLLECTION OF HIS GRANDSON

GOVERNOR, LATER VICE-PRESIDENT

NELSON A. ROCKEFELLER.

DESIGNATED A NATIONAL HISTORIC

LANDMARK IN 1976, THE ESTATE WAS

BEQUEATHED BY NELSON ROCKEFELLER

TO THE NATIONAL TRUST FO

HISTORIC PRESERVATION.

KYKUIT IS NOW OPEN TO THE PUBLIC

FOR TOURS, A POPULAR ATTRACTIO

DURING THE FALL SEASON

SLEEPY HOLLOW, TARRYTOWN AND

OTHER NEARBY LOCATIONS IN TH

HISTORIC HUDSON VALLEY ARE ALS

FAVORITE DESTINATIONS DURING THE

HALLOWEEN SEASON

FAMILY-FRIENDLY ACTIVITIES

INCLUDE THE ILLUMINATED PUMPKINS

OF THE GREAT JACK O'LANTER

BLAZE AT VAN CORTLANDT MANOR

THE HAUNTED HORSEMAN'S HOLLOW AT

PHILIPSBURG MANOR, READINGS OF

WASHINGTON IRVING'S CLASSIC "THE

LEGEND OF SLEEPY HOLLOW," AT THE

OLD DUTCH CHURCH AND OTHER

ACTIVITIES AT SUNNYSIDE, THE

AUTHOR'S 19th CENTURY HOME

BACK IN MANHATTAN, THE MUSEUM OF

THE CITY OF NEW YORK PAY

TRIBUTE TO ONE OF NEW YORK'S

ORIGINAL MAD MEN, A COMMERCIAL

ARTIST WHO HELPED DEFINE

AMERICAN STYLE AND CULTURE I

THE YEARS AFTER WORLD WAR II

"MAC CONNER: A NEW YORK LIFE" IS

THE FIRST EXHIBITION OF MORE

THAN 70 ORIGINAL ARTWORKS BY THE

ILLUSTRATOR MCCAULEY "MAC"

CONNER

FROM THE 1940s THROUGH

THE 1960s, CONNER'S WORK

APPEARED REGULARLY I

ADVERTISING CAMPAIGNS AS WELL AS

THE EDITORIAL PAGES OF MAGAZINES

FROM COSMOPOLITAN TO COLLIER'S

CONNER'S DRAMATIC PERSPECTIVES

AND DISTINCTIVE GRAPHIC STYL

COULD EVOKE A CERTAIN FEMININE

MYSTIQUE OR GIVE A FILM NOIR

LOOK TO HIS ILLUSTRATIONS.

"MAC CONNER: A NEW YORK LIFE" IS

AT THE MUSEUM OF THE CITY OF

NEW YORK THROUGH JANUARY 19th.

IT IS A BUSY SEASON FOR TH

TALENTED ISRAELI-BORN PIANIS

INON BARNATAN.

AND HE'S BRINGING HIS ECLECTIC

REPERTOIRE TO SEVERAL VENUES I

OUR AREA

AFTER GOING SOLO FOR

SUBCULTURE'S PIANOFEST LAS

MONTH, BARNATAN EMBARKS ON A

SERIES OF CONCERTS WITH A RANG

OF COLLABORATORS

NEXT WEEK HE GETS UP CLOSE AND

PERSONAL IN A PROGRAM CALLED

"INTIMATE BRAHMS" AT THE

92nd STREET Y.

HERE HE JOINS FORCES WITH TH

JERUSALEM QUARTET FOR 3 EVENINGS

OF SELECTED SONATAS BY BRAHMS.

OTHER ENGAGEMENTS INCLUD

PERFORMANCES WITH THE CHAMBE

MUSIC SOCIETY OF LINCOLN CENTE

FEATURING THE MUSIC OF SCHUBERT,

AND THE NEW JERSEY SYMPHON

ORCHESTRA WITH WORKS BY CHOPIN

THEN BARNATAN WILL RETURN TO THE

92nd STREET Y FOR THE CHAMBE

MUSIC OF DVORAK WITH CELLIST

ALISA WEILERSTEIN.

IT'S BEEN 30 YEARS SINCE

TANZTHEATER WUPPERTA

PINA BAUSCH MADE ITS NEW YOR

DEBUT AT THE BROOKLYN ACADEMY OF

MUSIC.

NEXT WEEK THE COMPANY RETURNS TO

BAM WITH ONE OF BAUSCH'S MOS

ICONIC WORKS

CREATED IN 1978, KONTAKTHO

TAKES PLACE IN A DANCE HALL.

SET TO SONGS FROM THE 1930s, THE

WORK IS BOTH ENTERTAINING AN

DISTURBING, DEPICTING TH

COMPLEX SOCIAL INTERACTION

BETWEEN MEN AND WOMEN SEARCHIN

FOR LOVE

TANZTHEATER WUPPERTA

PINA BAUSCH IS AT THE BAM HOWARD

GILMAN OPERA HOUSE OCTOBER 23r

THROUGH NOVEMBER 2nd

IN THEATER, A NEW POLITICA

COMEDY WHOSE BEST PUNCHLINES ARE

LITERALLY RIPPED FROM TH

HEADLINES LANDS OFF BROADWAY

"TAIL! SPIN!" IS ABOUT THE

SEXUAL SCANDALS OF POLITICIANS

FROM U.S. SENATOR FROM IDAHO

LARRY CRAIG TO NEW YORK'S OW

CONGRESSIONAL REPRESENTATIVE

ANTHONY WEINER

THE PLAY USES ONLY THE ACTUA

WORDS SPOKEN, EMAILED OR TWEETED

BY THOSE INVOLVED.

>> I HAVE A FOLLOWER

>> HOW'S MY FAVORITE YOUNG STU

DOING?

>> I AM NOT GAY AND I DON'

CRUISE AND I DON'T HIT ON MEN.

>> "SATURDAY NIGHT LIVE" ALU

RACHEL DRATCH TAKES A STAR TUR

PLAYING NEARLY ALL THE LADIES'

PARTS, FROM WRONGED WIVES TO

VACANT MISTRESSES.

"TAIL! SPIN!" IS AT TH

LYNN REDGRAVE THEATER AT CULTURE

PROJECT.

THE AMERICAN MUSEUM OF NATURAL

HISTORY LOOKS TO THE PAST TO

MOVE FORWARD IN ITS ANNUAL

MARGARET MEAD FILM FESTIVAL.

THE FESTIVAL WILL SCREEN SOM

44 FILMS FROM MORE THA

50 COUNTRIES INCLUDING

14 U.S. PREMIERES.

SOME OF THE DOCUMENTARY FILM

FOCUS ON THE RECLAIMING OF LOS

TRADITIONS

OTHERS, ON THE PRESERVATION OF

CULTURES BEFORE THEY ARE WASHE

AWAY

THE FILMS CAPTURE THE RHYTHM

THAT SHAPE EVERYDAY LIVES.

THEY CHALLENGE AUDIENCES T

REDEFINE THEIR UNDERSTANDING O

PEOPLE AND CULTURES AROUND THE

WORLD AND CLOSER TO HOME

THE MARGARET MEAD FILM FESTIVA

IS AT THE AMERICAN MUSEUM OF

NATURAL HISTORY FROM

OCTOBER 23rd TO THE 26th

AND THAT'S THE "NYC-ARTS" NEWS

FOR MORE INFORMATION ON CULTURAL

EVENTS IN OUR AREA, SIGN UP FO

OUR TWO FREE WEEKLY EMAILS @

NYC-ARTS.ORG/EMAIL

TOP FIVE PICKS AND NYCKIDSARTS

THIS WEEK WILL KEEP YOU UP T

DATE ALL YEAR ROUND.

FROM KYKUIT, THE ROCKEFELLER

ESTATE IN POCANTICO HILLS, I'M

CHRISTINA HA

>> WE HOPE YOU'VE ENJOYED OU

PROGRAM THIS EVENING

I'M PHILIPPE DE MONTEBELLO A

THE TISCH WNET STUDIOS A

LINCOLN CENTER

SEE YOU NEXT TIME.

>> NEXT WEEK ON "NYC-ARTS" -

A PROFILE OF DANCE

WENDY WHELAN

LOOKING AT HER 30-YEAR CAREER AT

"NEW YORK CITY BALLET" AND A

HER UPCOMING PROJECTS.

AND, FROM THE PARRISH AR

MUSEUM, A LOOK AT THE WORK O

ARTIST WILLIAM MERRITT CHASE

>> Announcer: FUNDING FO

NYC-ARTS IS MADE POSSIBLE BY -

ROSALIND P. WALTER

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ART

FOUNDATION

AND ELROY AND TERRY KRUMHOLZ

FOUNDATION

THIS PROGRAM IS SUPPORTED, I

PART, BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT O

CULTURAL AFFAIRS IN PARTNERSHI

WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

"NYC-ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

FLEXIBILITY, COORDINATION,

EXCELLENCE

FIRST REPUBLIC BANK, IT'S

PRIVILEGE TO SERVE YOU

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