Wyld Ryce

S3 E30 | FULL EPISODE

May 21, 1980

A visual look at the beauty of water, Rampal and his students, and a look a oriental art.

AIRED: May 21, 1980 | 0:28:50
ABOUT THE PROGRAM
TRANSCRIPT

POSSIBLE IN PART BY A GRANT

FROM THE DAYTON HUDSON

FOUNDATION.

[ ♪♪ ]

>> THIS IS THE TWIN CITIES

WEEKLY ARTS MAGAZINE.

IN THIS EDITION OF WYLD RYCE,

WE'LL SEE A BEAUTIFUL PIECE

ABOUT MINNESOTA'S GREATEST

RESOURCE, WATER.

WE'LL GO TO A MASTER CLASS,

CONDUCTED BY THE WORLD'S MOST

RENOWNED FLUTIST, AND WE'LL

GET A LOOK AT A NEW GALLERY

FOR ONE OF AMERICA'S FINEST

ASIAN ART COLLECTIONS.

HELLO.

I'M SAM SAX, DIRECTOR OF THE

MINNEAPOLIS INSTITUTE OF ARTS.

I SPEND A LOT OF TIME TALKING

TO PEOPLE ABOUT HOW TO ENJOY

AND APPRECIATE THE ARTS.

SOMETIMES I WORRY THAT PEOPLE

HAVE A TENDENCY TO TRY TOO

HARD.

I TELL PEOPLE NOT JUST TO LOOK

BUT ALSO TO SEE.

OFTEN IT'S MUCH BETTER JUST TO

RELAX AND LET THE IMAGES FLOW.

I THINK THIS APPLIES TO OUR

FIRST PIECE ON WYLD RYCE.

IT'S PART OF A SERIES CALLED

MINNESOTA "LANDSCAPES" THAT

KTCA HAS COMMISSIONED FROM

VIDEO ARTISTS AROUND THE

COUNTRY.

THIS PIECE WAS MADE BY

MINNESOTA ARTIST JAMES BIORN,

AND IT DEALS, IN PART, WITH A

LANDSCAPE THAT ISN'T LAND AT

ALL.

IT'S WATER.

IT'S A WONDERFUL PIECE THAT

SHOWS US ALL DIFFERENT KINDS

OF BEAUTY IN WATER.

BIORN.

AND BEYOND THAT, HE'S CREATED

SOME PURELY VISUAL IMAGES.

DON'T TRY TOO HARD TO DECIPHER

WHAT YOU'RE SEEING, JUST WATCH

WITH AN OPEN MIND AND TAKE THE

IMAGES FOR WHAT THEY ARE.

BURNE.

UAL

>> I CAN SEE SPUN GOLD OR

LIQUID PLATINUM.

HOW ABOUT YOU?

IT'S NOT VERY FAR FROM THOSE

IMAGES TO MUSIC.

IN FACT, THAT'S VISUAL MUSIC

IF I EVER SAW IT.

OUR NEXT PIECE IS ABOUT MUSIC

FOR THE EAR.

IT'S ABOUT FRENCH FLUTIST JEAN

PIERRE RONPAUL AND I SHOULD

CONFESS AT THIS POINT THAT I'M

HIGHLY PREJUDICE.

I THINK HE'S TERRIFIC.

HE GETS A QUALITY OF SOUND OUT

OF THAT STICK THAT NO ONE ELSE

CAN AND HE MAKES IT SEEM SO

EFFORTLESS.

WHICH IS WHAT MAKES HIM THE

MASTER HE IS.

COMES BACK TO THE IDEA OF NOT

TRYING TOO HARD.

HE MAKES THE MUSIC JUST SEEM

TO HAPPEN.

IN A MOMENT YOU'LL SEE HIM

TRYING TO CONVEY SOME OF HIS

MASTERY TO A GROUP OF YOUNG

STUDENTS.

HIS MASTER CLASS IN THE TWIN

CITIES THIS SPRING WAS

SPONSORED BY THE WOMEN'S

ASSOCIATION OF THE MINNESOTA

ORCHESTRA AND BROUGHT TOGETHER

A GROUP OF PROMISING YOUNG

FLUTISTS FROM AROUND THE

REGION.

IF THEY SEEM A BIT NERVOUS,

REMEMBER, NOT ONLY IS THEIR

TEACHER THE MOST FAMOUS

FLUTIST IN THE WORLD BUT THEIR

AUDIENCE CONSISTS OF 500 OTHER

FLUTE PLAYERS, WHO KNOW EVERY

NOTE.

[ ♪♪ ]

>> INK PROBABLY IN THE SHORT

AMOUNT OF TIME THAT WE'LL EACH

BE PLAYING, HE'LL BE ABLE TO

GIVE US SOME MUSICALITY IDEAS

AND PHRASING AND

INTERPRETATION.

[ ♪♪ ]

>> GREAT TO GET OUT AND SEE

OTHER PEOPLE.

>> WE HAVE TO START.

>> I THINK HE'LL PROVIDE A NEW

WAY OF LOOKING AT THE PIECE

THAT I'M WORKING ON.

>> IT'S A MISTAKE.

>> NOT DISCUSSION POSSIBLE.

>> YOU KNOW, WAY BACK, START

PLAYING,.

[ Applause ]

>> GOOD MORNING.

>> GOOD MORNING TO YOU.

>> PATRICK WILL PLAY.

>> YOU SEE THAT PICTURE ON

ALBUM COVERS AND YOU SEE HIM

NEXT TO YOU IN THE FLESH, AND

YOU'RE PLAYING FOR HIM AND

IT'S BEEN A DREAM OF MINE TO

DO IT SINCE I STARTED PLAYING.

YOU'RE SCARED.

YOU'RE THINKING, YOU KNOW,

WELL, LET'S GO AHEAD.

ONCE HE STARTED TO PLAY, YOU

GET INTO IT.

YOU PLAY IT. THAT'S WHAT IT SHOULD BE.

AND THAT'S -- YOU KNOW.

>> NOT FEELING CONFIDENT IN

YOURSELF, IT'S BETTER TO STAY

AT HOME.

YOU KNOW.

YOU MUST KNOW ALL YOUR

MISTAKES.

>> YOU HAVE TO BE ON TOP OF IT

ALL THE TIME.

WHOLE MOUTH, STOMACH.

MIND, INTERPRETATION, ALL AT

ONCE AND IT'S NOT EASY.

[ ♪♪ ]

>> WELL, I'M WAITING FOR A LOT

OF TECHNIQUE.

AND ALSO PERSONALITY.

[ AUDIO UNINTELLIGIBLE ]

PEOPLE TRY WHEN THEY ARE YOUNG,

THEY MUST BRING SOME WARMNESS

IN THEIR PLAYING, IT'S VERY

IMPORTANT.

IF THEY ARE COLD, IF THEY ARE

NO TEMPERMENT, THEN THERE IS

NO HOPE.

[ ♪♪ ]

>> OKAY.

LET ME SHOW YOU.

YOU KNOW.

HUH?

WE HAVE TO START.

[ ♪♪ ]

>> THE MOST DIFFICULT THING

WHEN YOU TEACH SOMEBODY, IT'S

WHEN HE'S ALREADY AND THERE'S

A LOT OF MISTAKES.

THEN IT'S REALLY PAINFUL.

IT'S TERRIBLE.

BECAUSE YOU HAVE TO DESTROY

EVERYTHING FOR IT TO BE GOOD

AND IT'S JUST -- THE THING I

HATE BECAUSE I HATE TO

DESTROY.

>> THE SAME WAY, AT THE SAME

RESANCE IS WHEN YOU SING THAN

WHEN YOU PLAY THE FLUTE.

HUH?

RESONANCE.

IT DOESN'T BECOME AN ORGAN.

>> NO.

>> YOU KNOW WHAT I MEAN?

>> YEAH.

>> JUST -- LIKE THAT, YOU

KNOW.

[ WHISTLES ]

THERE'S NO HUMANITY IN ORGAN.

IT'S A SPECIAL INSTRUMENT,

BEAUTIFUL.

BUT, YOU KNOW, IT'S JUST --

>> YOU SEE SOMEBODY PLAY FOR

HALF AN HOUR, YOU ARE NOT

GOING TO SAY EVERYTHING YOU DO

IS BAD, YOU KNOW.

YOU HAVE TO START AGAIN.

GO AND PLAY, PLAY THE DRUMS,

YOU KNOW.

PLAY SOMETHING ELSE, YOU KNOW.

>> YOU KNOW, HE SEEMS VERY

SERIOUS.

>> HE IS. HE IS VERY SERIOUS.

>> WELL, I WAS THRILLED TO

HEAR HIM SAY THAT.

ANYBODY LIKE HIM, THAT

IMPORTANT, SAY SOMETHING NICE

LIKE THAT.

[ ♪♪ ]

>> OKAY.

[ Applause ]

>> THANK YOU.

[ ♪♪ ]

[ ♪♪ ]

>> THREE CENTURIES OF FRENCH

HISTORY, THE 20th CENTURY

FLUTIST, PLAYING 19th CENTURY

MUSIC IN AN 18th CENTURY

PERSIAN DRAWING ROOM.

THAT ROOM, BY THE WAY, IS IN

THE MINNEAPOLIS INSTITUTE OF

ARTS.

SO-SO IS OUR FINAL PIECE.

IT'S ABOUT OUR NEW ORIENTAL

GALLERY.

I WON'T SAY MUCH MORE.

JUST REMEMBER, THAT AS MUCH AS

WE CAN LEARN ABOUT THE HISTORY

AND THE CULTURES THAT PRODUCE

THESE WORKS OF ART, HE WE

SHOULDN'T LET THAT KEEP US

FROM THE SIMPLE VISUAL

ENJOYMENT OF THEM.

THAT'S WHERE IT ALL HAS TO

START.

[ ♪♪ ]

>> THE MINNEAPOLIS INSTITUTE

OF ARTS HAS ONE OF THE FINEST

COLLECTIONS OF ORIENTAL ART IN

THE COUNTRY.

>> MOST OF THE COLLECTION

COMES FROM THE PRIVATE

HOLDINGS OF THREE MEN WHOSE

FORTUNES CAME FROM THE MILLING

INDUSTRY.

ALFRED PILLSBURY CONTRIBUTED

HIS OUTSTANDING COLLECTION OF

ANCIENT CHINESE BRONZES AND

JADE, MORE THAN 700

EXCEPTIONAL PIECES, FROM

AUGUSTUS SERRO, AN EARLY

BUSINESS PARTNER OF PILLSBURY,

THE INSTITUTE RECEIVED AN

EXTENSIVE COLLECTION OF

CHINESE CERAMICS, JADE, GOLD

AND SILVER, AND WHEN RICHARD

GAIL, PILLSBURY'S NEPHEW,

DONATED OVER 300 JAPANESE

PRINTS AND PAINTINGS, THE

MUSEUM'S COLLECTION HAD GROWN

TO INTERNATIONAL STATURE.

THE MINNEAPOLIS INSTITUTE OF

ARTS WAS BUILT IN 1915, ONE OF

THE OUTSTANDING MUSEUM

BUILDINGS OF ITS DAY.

BUT GROWING COLLECTIONS AND A

LACK OF EXHIBITION SPACE MADE

EXPANSION NECESSARY.

AND IN 1974, A NEW ADDITION

OPENED.

BUT MUCH OF THE ORIENTAL

COLLECTION STAYED IN THE OLDER

PART OF THE MUSEUM, IN A

HALLWAY BETWEEN GREEK COLUMNS.

OBJECTS WERE PACKED TOGETHER

IN SMALL CASES MAKING IT HARD

TO DISTINGUISH ONE PIECE FROM

ANOTHER.

THE LIGHTING CAME FROM HIGH

ABOVE AND THE SMALL ARTIFACTS

SEEMED TO DISAPPEAR INTO EMPTY

SPACE.

MUCH OF THE ORIENTAL

COLLECTION HAD NO SPACE AT

ALL.

HUNDREDS OF OUTSTANDING WORKS

OF ART WERE LOCKED AWAY IN

OVERFILLED STORAGE ROOMS.

UNSEEN BY THE PUBLIC.

SO, IN THE SUMMER OF 1978,

CONSTRUCTION BEGAN ON A NEW

GALLERY FOR THE ORIENTAL

COLLECTION.

YOU WERE THE DIRECTION OF

ORIENTAL CURATOR ROBERT

JACOBSON, A SPACE WAS DESIGNED

TO REFLECT THE CHARACTER OF

ASIAN ART.

THE ARCHITECTURE HAS A

JAPANESE AESTHETIC.

NATURAL CHERRY WOOD CREATES A

MOOD OF WARMTH AND QUIET.

IN SEPTEMBER, 1979, THE NEW

GALLERY OPENED.

NOW THE COLLECTION HAS AN

APPROPRIATE SHOW PLACE.

[ ♪♪ ]

BUDDHA, THE PRIMARY SUBJECT OF

ASIAN SCULPTURE.

THIS 12th CENTURY STATUE WAS

CARVEnd JAPAN OUT OF CYPRUS

WOOD.

NOW IT OCCUPIES ITS PLACE AS A

CENTERPIECE OF THE MUSEUM'S

COLLECTION.

[ ♪♪ ]

>> THE JADE MOUNTAIN WAS

COMMISSIONED BY THE EMPEROR OF

CHINA IN THE 18th CENTURY,

WEIGHING 640 POUNDS, IT'S THE

SECOND LARGEST PIECE OF CARVED

JADE IN THE WORLD.

[ ♪♪ ]

>> THESE CERAMIC FIGURES COME

FROM THE TOMB OF A CHINESE

ARISTOCRAT OF THE EIGHTH

CENTURY.

THIS SET IS THE ONLY ONE OF

ITS KIND IN AMERICA,

EXCEPTIONALLY RARE AND NOW

PROMINENTLY DISPLAYED.

[ ♪♪ ]

THE NEW ORIENTAL GALLERY GIVES

THE PUBLIC AN EXCITING

OPPORTUNITY TO SEE ONE OF THE

MOST SPECTACULAR COLLECTIONS

IN THE COUNTRY.

JADE, LACQUER, TEXTILES,

PRINTS, PAINTINGS, CERAMICS,

SCULPTURE AND MUCH MORE.

A UNIQUE COLLECTION HAS FOUND

ITS PROPER PLACE.

[ ♪♪ ]

[ ♪♪ ]

[ ♪♪ ]

>> SO MUCH VARIETY AND SO MANY

DIFFERENT MATERIALS.

I NEVER TIRE OF LOOKING AT

THAT COLLECTION.

AND I WORK THERE.

NEXT WEEK WILL BE THE LAST

PROGRAM IN THIS SEASON OF WYLD

RYCE. I HOPE YOU'LL BE WATCHING.

I'M SAM SAX.

[ ♪♪ ]

[ ♪♪ ]

>> Announcer: PRODUCTION

FUNDING OF WYLD RYCE IS MADE

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