the gewandhausorchester in leipzig, the new york philharmonic orchestra, and the london philharmonic. >> never use rrrrrh....dada dieda dieda die ... it's so harsh very often. >> kurt masur also brought the paris orchestra to the top of european league. >> immediately the orchestra fall in love with him, his way to work, his character, his dynamism, lot of points that orchestra like in a conductor. >> it was something new for us and for me it was -- now i can't play without thinking of him, because i can't, i can't play one note without something inside. and it is him. >> masur was born in 1927 in silesia, which is now in poland. he studied conducting in leipzig, but quit shortly before his exams when a theater offered him a job as bandleader. >> when this offer came, it was clear to me i better take it because with the exams either i was good enough that no one would ask about my exam results, or i wasn't good enough with them. >> with his extraordinary energy, kurt masur had a dream career in communist east germany. in 1970, he became chief conductor of leipzig's gewandhaus orchest

one of those events was a concert that he gave on halloween night in 1964 at philharmonic hall. it was tough where i grew up. my dad ran a book shop in grays village, and it was right in the center of the folk revival. i had a father who got me free tickets to a bob dylan concert at 13 years old and i got my first copy of blond on blond. how do you rebel to that? you become a professor. [laughter] at any rate, i was at a concert, and i want to read a little bit about my description of what that was all about. dylan's management booked philharmonic hall for a big show that year on halloween night is testimony to his growing stature . i'm reading this because we're right down the block there and i couldn't resist. i couldn't resist. this is the new york portion of the evening force, and those of you in tv land, bare with us. it was testimony to his agreeing stature. opened only two years earlier as 9 first showcase as the neighborhood killer rornt moviegoers -- moses's hall. it was with its grandeur, an autotore yum in the manner. within two years of the release of his first album

philharmonic. at first made me think earth, wind and fire with the philharmonic. made sense. i heard it was an amazing show for my friends. here you are now with your rock stuff with an orchestra behind you. what do you make of the end result? >> a couple years ago i had the opportunity of working with the new zealand orchestra and doing a live show with them. the experience gave me this confidence in working with based orchestras and integrating them into the rock music, along with jazz moments. so this record -- the first solo record i did was a straight out rock record. this one ended up being something different. i wanted to integrate different elements, bring electronic and jazz elements along with the rock, but do it in a way with one voice. it works as a cohesive sound and that these different elements. tavis: what makes orchestra and a rock sound blend together nicely? what does that work? >> they both picked up a lot of frequency. the drums and guitar and bass take up a lot, and the orchestra has a beautiful way of taking out the full spectrum. you have t

philharmonic. he started a program in venezuela, and they believe every kid has some kind of gift, some kind of talent, and they believe music is the key to social change. i raise that only because i know is a child, your mother, against your will, force you to play piano. so your mother was right. she was old school. >> she was right. my mother piano, and i hated it. i rebelled, played the drums. i remember my dad picking me up from my drum lesson and the teacher taking my dad as side. within earshot of me he said, you might like to think about sports because it is not happening with music. i picked up the saxophone. music, the saxophone specifically, became my best friend and saving grace. in many ways, i think it's saved my life because i poured all of my emotions that i could not get out through words through the horn and it allowed me the opportunity to get to know myself. it is so painful to see the opportunity i had not be available to young people around the country with music programs goin

philharmonic. he started a program in venezuela, and they believe every kid has some kind of gift, some kind of talent, and they believe music is the key to social change. i raise that only because i know is a child, your mother, against your will, force you to play piano. so your mother was right. she was old school. >> she was right. my mother piano, and i hated it. i rebelled, played the drums. i remember my dad picking me up from my drum lesson and the teacher taking my dad as side. within earshot of me he said, you might like to think about sports because it is not happening with music. i picked up the saxophone. music, the saxophone specifically, became my best friend and saving grace. in many ways, i think it's saved my life because i poured all of my emotions that i could not get out through words through the horn and it allowed me the opportunity to get to know myself. it is so painful to see the opportunity i had not be available to young people around the country with music programs goin

with certain compositions, i now conducted in new york i think about 15 concerts with new york philharmonic, april, may. i traveled to get here because it was all kinds of-- we flew to africa and then to u.s. it was dramatic but it was wonderful experience. there were many, many pieces of stravinski performed. but no one knows for me that a long time ago, stravinski was close to fear what i felt. i felt i will never be able to master this complicated world. how to understand this musical stravinski and then of course there was petrushka, this russian ballet music which became such an explosion of-- became so famous, so big. maybe he was the number one in the world after this incredible compositions of russian ballet, famously. it was premiered in paris. it was a scandal at the premier. people were screaming. someone was saying oh, i need a dentist. then the other one saying no, not one dentist, deux. but it became one of the most famous compositions of all times. so that's music. it needs time for many, many people to understand the beauty or the power of the. >> and has there been an evolu

i was here about 2 1/2 years ago as part of the press delegation with the new york philharmonic whenoticed was for all of the talk about this being an isolationist state and it still is, closed off to much of the rest of the world, i did notice some signs of progress. quite remarkable. i didn't see street lights two years ago. there are street lights now. i even noticed that some private north korean citizens have cell phones. that was remarkable. i saw a thriving marketplace, the exchange of money, and i will talk much more about that in another live report live from pyongyang tomorrow on "american morning." >> look forward to hearing from you, alina. thanks so much. >>> meanwhile, six minutes past the hour to chile now where crews are getting closer to bringing those 33 trapped miners out of the ground. crews are lining the rescue tunnel with steel tubing. they want to reenforce it, prevent any rocks from falling down and hitting the escape capsule. >> live in copiapo, chile. there's been disagreement about who's going first and last. some showing solidarity saying no, no, no, you