Segurament molts de vosaltres coneixeu la història de dos venedors que van viatjar a l'Àfrica cap al 1900. Els havien enviat allà per a esbrinar si hi havia alguna oportunitat per a vendre sabates. I van escriure uns telegrames a Manchester. Un d'ells hi va escriure. "La situació és desesperant. Stop. Aquí no porten sabates." Mentre que l'altre va escriure: "Gran oportunitat. Encara no tenen sabates." (Riures)
Probably a lot of you know the story of the two salesmen who went down to Africa in the 1900s. They were sent down to find if there was any opportunity for selling shoes, and they wrote telegrams back to Manchester. And one of them wrote, "Situation hopeless. Stop. They don't wear shoes." And the other one wrote, "Glorious opportunity. They don't have any shoes yet." (Laughter)
Actualment, passa quelcom semblant en el món de la música clàssica, perquè hi ha alguna gent que creu que la música clàssica s'està morint. Però també hi ha alguns de nosaltres que creiem que encara no heu vist res. I, en comptes de mirar les estadístiques i tendències, i parlar-vos de les orquestres que estan tancant, i de les companyies discogràfiques que fan fallida, crec que hauríem de fer un experiment aquesta nit -- un experiment. En realitat, no es ben bé un experiment perquè jo ja sé el resultat.,
Now, there's a similar situation in the classical music world, because there are some people who think that classical music is dying. And there are some of us who think you ain't seen nothing yet. And rather than go into statistics and trends, and tell you about all the orchestras that are closing, and the record companies that are folding, I thought we should do an experiment tonight. Actually, it's not really an experiment, because I know the outcome.
(Laughter)
Però és semblant a un experiment. Abans de que... (Riures)
But it's like an experiment. Now, before we start --
...abans de que comencem he de fer dues coses. La primera és recordar-vos com sona el piano quan el toca un nen de set anys. Potser teniu un nen així a casa. Sona més o menys així. (Piano) Veig que alguns de vosaltres reconeixeu a aquest nen. Si estudia durant un any i va a classes, als vuit anys sona així. (Piano) Llavors estudia durant un altre any i va a més classes; ja en té nou.
(Laughter) Before we start, I need to do two things. One is I want to remind you of what a seven-year-old child sounds like when he plays the piano. Maybe you have this child at home. He sounds something like this. (Music) (Music ends) I see some of you recognize this child. Now, if he practices for a year and takes lessons, he's now eight and he sounds like this. (Music) (Music ends)
(Piano) Encara estudia durant un any més i va a més classes; té deu anys. (Piano)
He practices for another year and takes lessons -- he's nine. (Music) (Music ends) Then he practices for another year and takes lessons -- now he's 10.
(Music)
Arribats a aquest punt, normalment abandonen. (Riures) (Aplaudiments) Però, si haguéssiu esperat un any més, haurieu escoltat això: (Piano)
(Music ends) At that point, they usually give up. (Laughter) (Applause) Now, if you'd waited for one more year, you would have heard this. (Music) (Music ends)
El que va passar, potser no és el que esteu pensant, que és que, de cop es va apassionar, es va comprometre, es va involucrar, va tenir un professor nou, va arribar a la pubertat, o el que sigui. El que realment va passar és que es van reduir els accents. Si us hi fixeu, el primer cop el nen tocava amb un accent a cada nota. (Piano) I el segon amb un accent cada dues notes. (Piano) Ho podeu veure mirant el meu cap. (Riures) El nen de nou anys, posava un accent cada quatre notes. (Piano) I el nen de deu anys cada vuit notes. (Piano) I el nen d'onze anys, un accent per a tota la frase. (Piano)
Now, what happened was not maybe what you thought, which is, he suddenly became passionate, engaged, involved, got a new teacher, he hit puberty, or whatever it is. What actually happened was the impulses were reduced. You see, the first time, he was playing with an impulse on every note. (Music) And the second, with an impulse every other note. (Music) You can see it by looking at my head. (Laughter) The nine-year-old put an impulse on every four notes. (Music) The 10-year-old, on every eight notes. (Music) And the 11-year-old, one impulse on the whole phrase. (Music)
No sé com he arribat a aquesta posició. (Riures) No he dit "Mouré la meva espatlla cap amunt, mouré el meu cos". No, la música m'hi ha portat. I és per això que ho anomeno "tocar amb una natja". (Piano) Podria ser amb l'altra natja. (Piano) Sabeu? Un senyor estaba en una presentació que jo feia quan jo treballava amb un jove pianista. Era el president d'una companyia d'Ohio. I jo estava treballant amb aquest jove pianista i li vaig dir, "El teu problema és que ets un intèrpret de dues natges" Hauries de ser un intèrpret d'una natja." I vaig moure el seu cos així mentre ell tocava. De sobte la música es va enlairar. L'audiencia es va quedar bocabadada quan van sentir la diferència. Llavors vaig rebre una carta d'aquest senyor. Deia, "Estava tan emocionat que vaig tornar i vaig transformar tota la meva companyia en una companyia d'una natja." (Riures)
I don't know how we got into this position. (Laughter) I didn't say, "I'm going to move my shoulder over, move my body." No, the music pushed me over, which is why I call it one-buttock playing. (Music) It can be the other buttock. (Music) You know, a gentleman was once watching a presentation I was doing, when I was working with a young pianist. He was the president of a corporation in Ohio. I was working with this young pianist, and said, "The trouble with you is you're a two-buttock player. You should be a one-buttock player." I moved his body while he was playing. And suddenly, the music took off. It took flight. The audience gasped when they heard the difference. Then I got a letter from this gentleman. He said, "I was so moved. I went back and I transformed my entire company into a one-buttock company." (Laughter)
La segona cosa que volia fer és parlar-vos sobre vosaltres. Hi ha 1.600 persones, crec. La meva estimació és que probablement 45 de vosaltres sou uns apassionats de la música clàssica. Adoreu la música clàssica. La vostra ràdio sempre està en una emissora de música clàssica. I teniu CDs al cotxe, i aneu a concerts. I els vostres fills toquen instruments. No podeu imaginar la vostra vida sense música clàssica. Aquest és el primer grup; és un grup molt reduït. Després hi ha un altre grup, més gran. Són les persones que no els importa la música clàssica. (Riures) Arribeu a casa després d'un llarg dia, preneu una copa de vi i poseu els peus en alt. Una mica de Vivaldi de fons no fa cap mal a ningú. (Riures) Aquest és el segon grup. Ara toca el tercer grup. Aquesta és la gent que mai escolta música clàssica. Simplement no forma part de la vostra vida. La podeu sentir com el fum de tabac aliè a un aeroport, però... (Riures) ... i potser una mica una marxa d'AÏda quan entreu al rebedor. Però si no, ni us en adoneu. Aquest és probablement el grup més gran de tots.
Now, the other thing I wanted to do is to tell you about you. There are 1,600 people, I believe. My estimation is that probably 45 of you are absolutely passionate about classical music. You adore classical music. Your FM is always on that classical dial. You have CDs in your car, and you go to the symphony, your children are playing instruments. You can't imagine your life without classical music. That's the first group, quite small. Then there's another bigger group. The people who don't mind classical music. (Laughter) You know, you've come home from a long day, and you take a glass of wine, and you put your feet up. A little Vivaldi in the background doesn't do any harm. That's the second group. Now comes the third group: people who never listen to classical music. It's just simply not part of your life. You might hear it like second-hand smoke at the airport ... (Laughter) -- and maybe a little bit of a march from "Aida" when you come into the hall. But otherwise, you never hear it.
També hi ha un grup molt reduït. De gent que es pensa que no tenen oïda musical. Un nombre sorprenent de gent creu que no tenen oïda musical. De fet, sovint sento dir, "El meu marit no té oïda musical." (Riures) En realitat, no pot ser que no tinguis oïda musical. A ningú li manca oïda musical.
That's probably the largest group. And then there's a very small group. These are the people who think they're tone-deaf. Amazing number of people think they're tone-deaf. Actually, I hear a lot, "My husband is tone-deaf." (Laughter)
Si no tinguéssiu oïda musical, no podrieu canviar les marxes del vostre cotxe. No podrieu diferenciar entre algú de Texas i algú de Roma. I al telèfon. Si la teva mare truca pel miserable telèfon, i diu "Hola" no només sabreu qui és que truca, a més sabreu el seu estat d'ànim. Teniu una oïda fantàstica. Tothom té una oïda fantàstica. Així que a ningú li manca oïda musical.
Actually, you cannot be tone-deaf. Nobody is tone-deaf. If you were tone-deaf, you couldn't change the gears on your car, in a stick shift car. You couldn't tell the difference between somebody from Texas and somebody from Rome. And the telephone. The telephone. If your mother calls on the miserable telephone, she calls and says, "Hello," you not only know who it is, you know what mood she's in. You have a fantastic ear. Everybody has a fantastic ear. So nobody is tone-deaf.
Però us diré una cosa. No té sentit per a mi continuar amb aquest tema quan hi ha un abisme tan gran entre aquells que entenen, estimen i s'apassionen amb la música clàssica, i aquells que no tenen cap relació amb ella. La gent sense oïda musical, ja no existeix. Però inclús entre les tres categories, hi ha un abisme massa gran. Així que no continuaré fins que tota persona en aquesta sala, al pis d'abaix i a Aspen, i tota la resta que estigui mirant, acabi estimant i entenent la música clàssica. Això és el que farem.
But I tell you what. It doesn't work for me to go on with this thing, with such a wide gulf between those who understand, love and are passionate about classical music, and those who have no relationship to it at all. The tone-deaf people, they're no longer here. But even between those three categories, it's too wide a gulf. So I'm not going to go on until every single person in this room, downstairs and in Aspen, and everybody else looking, will come to love and understand classical music. So that's what we're going to do.
Adoneu-vos de que no tinc cap mena de dubte de que això funcionarà si em mireu a la cara, d'acord? És una de les característiques d'un lider, no dubtar ni un instant de la capacitat de la gent que esta liderant per a fer realitat allò que somia. Imagineu si en Martin Luther King hagués dit, "Tinc un somni. Naturalment, no estic segur de que estiguin a l'alçada." (Riures)
Now, you notice that there is not the slightest doubt in my mind that this is going to work, if you look at my face, right? It's one of the characteristics of a leader that he not doubt for one moment the capacity of the people he's leading to realize whatever he's dreaming. Imagine if Martin Luther King had said, "I have a dream. Of course, I'm not sure they'll be up to it." (Laughter)
D'acord. Vaig a escollir una peça de Chopin. Es tracta d'un bonic preludi de Chopin. Alguns de vosaltres ja el coneixereu. (Música) Sabeu que és el que crec que probablement ha passat en aquesta sala? Quan he començat, heu pensat, "Que bé que sona." (Música) "No crec que haguem d'anar al mateix lloc les properes vacances d'estiu." (Riures) És curiós, oi? Com tots aquests pensaments d'alguna manera floten al vostre cap. I naturalment... (Aplaudiments) ... i naturalment, si la peça és llarga i heu tingut un dia dur, us podrieu adormir. Llavors el vostre acompanyant us clavarà un cop a les costelles i us dirà, "Desperta! Això és cultura!" I llavors us sentireu encara pitjor.
All right. So I'm going to take a piece of Chopin. This is a beautiful prelude by Chopin. Some of you will know it. (Music) Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds." (Music) "I don't think we should go to the same place for our summer holidays next year." (Laughter) It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course -- (Applause) Of course, if the piece is long and you've had a long day, you might actually drift off. Then your companion will dig you in the ribs and say, "Wake up! It's culture!" And then you feel even worse.
Però se us ha acudit mai que potser el motiu pel qual us entra son
(Laughter)
amb la música clàssica no és per culpa vostra, sino per culpa nostra? Algú ha pensat mentre jo tocava, "Per què utilitza tants accents?" Si hagués fet això amb el cap certament ho haguéssiu pensat. (Música) I la resta de la vostra vida, cada cop que escolteu música clàssica sereu capaços d'escoltar aquests accents.
But has it ever occurred to you that the reason you feel sleepy in classical music is not because of you, but because of us? Did anybody think while I was playing, "Why is he using so many impulses?" If I'd done this with my head you certainly would have thought it. (Music) (Music ends) And for the rest of your life, every time you hear classical music,
Així que anem a veure que està passant realment aquí. Tenin un Si. Això és un Si. La següent nota és un Do. I la funció del Do és fer que el Si estigui trist. I ho fa, oi? (Riures) Els compositors ho saben. Si volen música trista
you'll always be able to know if you hear those impulses. So let's see what's really going on here. We have a B. This is a B. The next note is a C. And the job of the C is to make the B sad. And it does, doesn't it? (Laughter)
toquen només aquestes dues notes. (Música) Però bàsicament només és un Si, amb quatre tristes. (Riures) Ara baixa a un La. Ara a un Sol i finalment a un Fa. Tenim Si, La, Sol, Fa. I si tenim Si, La, Sol, Fa, que esperem a continuació? Oh, això pot haver estat sort.
Composers know that. If they want sad music, they just play those two notes. (Music) But basically, it's just a B, with four sads. (Laughter) Now, it goes down to A. Now to G. And then to F. So we have B, A, G, F. And if we have B, A, G, F, what do we expect next?
Provem-ho de nou. Ooh, el cor de TED.
(Music) That might have been a fluke. Let's try it again.
(Riures) Veieu com a ningú li manca oïda musical?
(Music) Oh, the TED choir. (Laughter)
Sabeu, a cada poble de Bangladesh i a cada vila a Xina. Tothom sap: na, na, na, na... na. Tothom sap qui està esperant aquest Mi.
And you notice nobody is tone-deaf, right? Nobody is. You know, every village in Bangladesh and every hamlet in China -- everybody knows: da, da, da, da -- da.
Bé, Chopin no volia arribar al Mi encara,
Everybody knows, who's expecting that E.
per què, què hagués passat? S'hagués acabat, com a Hamlet. Recordeu Hamlet? 1r acte, escena 3: esbrina que el seu tiet va matar al seu pare. Recordeu que se'n va a buscar al seu oncle i quasi el mata. I després se'n va i torna de nou i quasi el mata. I els crítics, que seuen a darrera fila, han de fer-se una opinió, així que diuen, "Hamlet ho posposa tot." (Riures) O dirán, "Hamlet té complex d'Edip." No, si no fos així, l'obra s'acabaria, burro. Per aquesta raó en Shakespeare omple Hamlet amb tot això. Ja sabeu, Ofelia tornant-se boja i l'obra dins de l'obra, i la calavera de Yorick, i els enterradors. Tot plegat per a posposar, fins al 5è acte, l'assassinat.
Chopin didn't want to reach the E there, because what will have happened? It will be over, like Hamlet. Do you remember? Act One, scene three, he finds out his uncle killed his father. He keeps on going up to his uncle and almost killing him. And then he backs away, he goes up to him again, almost kills him. The critics sitting in the back row there, they have to have an opinion, so they say, "Hamlet is a procrastinator." Or they say, "Hamlet has an Oedipus complex." No, otherwise the play would be over, stupid. (Laughter) That's why Shakespeare puts all that stuff in Hamlet -- Ophelia going mad, the play within the play, and Yorick's skull, and the gravediggers. That's in order to delay --
Passa el mateix que amb Chopin. Està a punt d'arribar al Mi,
until Act Five, he can kill him.
i diu, "Mmh, millor tornar enrere i tornar-ho a fer." Així que ho torna a fer. Aquí ell s'anima, això és agitació,
It's the same with the Chopin. He's just about to reach the E, and he says, "Oops, better go back up and do it again." So he does it again. Now, he gets excited.
no us heu de preocupar pas. I ara arriba al Fa sostingut per finalment arribar fins al Mi, però fa un acord erroni. Perquè l'acord que ell busca és aquest, i en comptes ell fa... Bé, això s'anomena cadència enganyosa perquè ens enganya. Jo sempre dic als meus alumnes, "Si feu una cadència enganyosa assegureu-vos d'aixecar les celles, llavors tothom se n'adonarà." (Riures) (Aplaudiments)
(Music) That's excitement, don't worry about it. Now, he gets to F-sharp, and finally he goes down to E, but it's the wrong chord -- because the chord he's looking for is this one, and instead he does ... Now, we call that a deceptive cadence, because it deceives us. I tell my students, "If you have a deceptive cadence, raise your eyebrows, and everybody will know." (Laughter)
Correcte. Així que arriba al Mi, però és l'acord erroni. Ara, prova el Mi de nou. Aquest acord no funciona. Prova el Mi un altre cop. L'acord no funciona. Torna a provar el Mi de nou i continua sense funcionar. I llavors finalment... Hi ha hagut un senyor de la primera fila que ha fet, "Mmmm." És el mateix gest que fa quan arriba a casa després d'una llarg dia, apaga el cotxe i diu, "Aah, ja estic a casa." Perquè tots sabem on està la nostra casa.
(Applause) Right. He gets to E, but it's the wrong chord. Now, he tries E again. That chord doesn't work. Now, he tries the E again. That chord doesn't work. Now, he tries E again, and that doesn't work. And then finally ... There was a gentleman in the front row who went, "Mmm." (Laughter) It's the same gesture he makes when he comes home after a long day, turns off the key in his car and says, "Aah, I'm home."
Així que això és una peça musical que s'allunya de casa. I la tocaré tota sencera i vosaltres el seguireu. Si, do, si, do, si, do, si... baixant al La, després al Sol i més tard al Fa. Quasi arribem al Mi, però llavors l'obra s'acabaria. Torna al Si, s'emociona. Va al Fa sostingut. Arriba al Mi. És l'acord erroni. És l'acord erroni. És l'acord erroni. I finalment arriba a Mi, i ja està a casa. I el que veureu és com es toca amb una natja. (Riures)
Because we all know where home is. So this is a piece which goes from away to home. I'm going to play it all the way through and you're going to follow. B, C, B, C, B, C, B -- down to A, down to G, down to F. Almost goes to E, but otherwise the play would be over. He goes back up to B, he gets very excited. Goes to F-sharp. Goes to E. It's the wrong chord. It's the wrong chord. And finally goes to E, and it's home. And what you're going to see is one-buttock playing.
Perquè per a mi, per a unir el Si amb el Mi, he de parar de pensar en cadascuna de les notes que hi ha pel camí i començar a pensar en el llarg, llarg viatge del Si al Mi.
(Laughter) Because for me, to join the B to the E, I have to stop thinking about every single note along the way, and start thinking about the long, long line from B to E.
Per exemple, si parlem de Sudàfrica, no pots fer-ho sense pensar en Mandela i el seu empresonament durant 27 anys. En què pensava? En el dinar? No, pensava en la visió de Sudàfrica i els éssers humans. Amb això es quedava... es tracta de tenir visió; es tracta del llarg viatge. Com l'ocell que vola sobre els camps i no es preocupa dels tancats que té a sota, oi? Així que ara seguireu tot el viatge des del Si fins al Mi. I tinc una darrera petició abans de que toqui tota la peça sencera. Podrieu pensar en algú que estimeu, que ja no estigui entre nosaltres? Una àvia estimada, un amant, algú de la vostra vida a qui estimeu amb tot el cor, però que ja no teniu amb vosaltres. Porteu aquesta persona al vostre cap, i al mateix temps seguiu tot el viatge des del Si fins al Mi, i sentireu tot el que Chopin tenia per dir. (Música)
You know, we were just in South Africa, and you can't go to South Africa without thinking of Mandela in jail for 27 years. What was he thinking about? Lunch? No, he was thinking about the vision for South Africa and for human beings. This is about vision. This is about the long line. Like the bird who flies over the field and doesn't care about the fences underneath, all right? So now, you're going to follow the line all the way from B to E. And I've one last request before I play this piece all the way through. Would you think of somebody who you adore, who's no longer there? A beloved grandmother, a lover -- somebody in your life who you love with all your heart, but that person is no longer with you. Bring that person into your mind, and at the same time, follow the line all the way from B to E, and you'll hear everything that Chopin had to say. (Music)
(Aplaudiments)
(Music ends) (Applause)
Bé, us estareu preguntant, us estareu preguntant perquè aplaudeixo.
Now, you may be wondering -- (Applause)
Bé, vaig fer això en una escola de Boston amb uns 70 alumnes de setè, de 12 anys d'edat. I vaig fer exactament el que he fet amb vosaltres, I vaig parlar amb ells i els vaig explicar tot plegat. I al final es van tornar bojos, aplaudint. Es van posar a aplaudir. Jo aplaudia. Ells aplaudien. Finalment, vaig dir "Per què estic aplaudint?" I un dels nens va dir "Per què estàvem escoltant." (Riures) Penseu-ho bé. 1.600 persones, gent ocupada, involucrada en tot tipus de coses diferents. Escoltant, entenent i commovent-se per una peça de Chopin. Això és alguna cosa. Bé, estic segur que cadascuna de les persones ho ha seguit, ho ha entès i s'ha commogut. Naturalment no en puc estar del tot segur. Però us diré què em va passar.
(Applause ends) You may be wondering why I'm clapping. Well, I did this at a school in Boston with about 70 seventh graders, 12-year-olds. I did exactly what I did with you, and I explained the whole thing. At the end, they went crazy, clapping. I was clapping. They were clapping. Finally, I said, "Why am I clapping?" And one of them said, "Because we were listening." (Laughter) Think of it. 1,600 people, busy people, involved in all sorts of different things, listening, understanding and being moved by a piece by Chopin. Now, that is something. Am I sure that every single person followed that, understood it, was moved by it? Of course, I can't be sure.
Vaig estar a Irlanda durant el conflicte irlandés fa 10 anys, i vaig estar treballant amb alguns nens catòlics i protestants sobre resolució de conflictes. I vaig fer aquest experiment amb ells. Quelcom arriscat perquè eren nens de carrer. I un d'ells va venir a veure'm el següent matí i va dir-me, "Saps, mai abans havia sentit música clàssica, però quan has tocat aquesta peça de 'shopping'' (sona com Chopin, N. d. T.)"... (Riures) Va dir, "Al meu germà li van disparar l'any passat i no vaig plorar per ell.
But I'll tell you what happened to me in Ireland during the Troubles, 10 years ago, and I was working with some Catholic and Protestant kids on conflict resolution. And I did this with them -- a risky thing to do, because they were street kids. And one of them came to me the next morning and he said, "You know, I've never listened to classical music in my life, but when you played that shopping piece ..." (Laughter)
Però ahir per la nit, quan vas tocar aquella peça, era la persona en qui pensava. I vaig sentir les llàgrimes caient per les meves galtes. I, saps? Em va fer sentir molt bé plorar pel meu germà." Així que en aquell instant vaig decidir que la música clàssica és per a tothom. Per a tothom.
He said, "My brother was shot last year and I didn't cry for him. But last night, when you played that piece, he was the one I was thinking about. And I felt the tears streaming down my face. And it felt really good to cry for my brother." So I made up my mind at that moment that classical music is for everybody. Everybody.
Llavors, com caminarieu... perquè com sabreu, a la meva professió, la professió de músic no ho veu de la mateixa manera. Ells diuen que al 3% de la població els agrada la música clàssica. Si només poguéssim pujar al 4% els nostres problemes s'haurien acabat. I jo dic, "Com caminarieu? Com parlarieu? Com us sentirieu si penséssiu que al 3% de la població els agrada la música clàssica? Si només poguéssim pujar-ho al 4%. Com caminarieu? Com parlarieu? Com us sentirieu si penséssiu que tothom estima la música clàssica... però que encara no se n'han adonat." (Riures) Veieu, això són dos móns completament diferents.
Now, how would you walk -- my profession, the music profession doesn't see it that way. They say three percent of the population likes classical music. If only we could move it to four percent, our problems would be over. (Laughter) How would you walk? How would you talk? How would you be? If you thought, "Three percent of the population likes classical music, if only we could move it to four percent." How would you walk or talk? How would you be? If you thought, "Everybody loves classical music -- they just haven't found out about it yet." See, these are totally different worlds.
Mireu, vaig tenir una experiència increíble quan tenia 45 anys. Havia estat dirigint durant 20 anys, i de sobte vaig tenir una revelació. El director d'una orquestra no emet cap so. Les meves fotografies apareixen a les portades dels CD... (Riures) ... però el director no emet cap so. Depèn de la seva capacitat per a treure el màxim dels demés. Això va canviar-ho tot per a mi. Em va canviar totalment la vida. La gent de la meva orquestra em venia i em deia, "Ben, què ha passat?" Això és el que va passar. Em vaig adonar que la meva feina era despertar les possibilitats en altres persones. I, naturalment, volia saber si ho estava aconseguint. Sabeu com esbrinar-ho? Mirant als seus ulls. Si els seus ulls estan brillant, saps que ho estàs aconseguint. Podríeu il·luminar una vila amb els ulls d'aquest senyor. (Riures) Correcte. Així que si els ulls brillen, saps que ho estàs aconseguint. Si els ulls no brillen, t'has de fer una pregunta. I la pregunta és la següent: Què estic fent perquè els ulls dels meus músics no brillin? Podem preguntar-nos-ho també amb els nostres nens. Què estic fent perquè els ulls dels meus nens no brillin? Això és un món completament diferent.
Now, I had an amazing experience. I was 45 years old, I'd been conducting for 20 years, and I suddenly had a realization. The conductor of an orchestra doesn't make a sound. My picture appears on the front of the CD -- (Laughter) But the conductor doesn't make a sound. He depends, for his power, on his ability to make other people powerful. And that changed everything for me. It was totally life-changing. People in my orchestra said, "Ben, what happened?" That's what happened. I realized my job was to awaken possibility in other people. And of course, I wanted to know whether I was doing that. How do you find out? You look at their eyes. If their eyes are shining, you know you're doing it. You could light up a village with this guy's eyes. (Laughter) Right. So if the eyes are shining, you know you're doing it. If the eyes are not shining, you get to ask a question. And this is the question: who am I being that my players' eyes are not shining? We can do that with our children, too. Who am I being, that my children's eyes are not shining? That's a totally different world.
Bé, estem a punt d'acabar aquesta setmana màgica, i tornarem al món real. I jo dic, és adequat que ens formulem la pregunta: Què farem nosaltres quan tornem al món real? I, sabeu? Tinc una definició de l'èxit. Per mi és molt senzill. No es tracta de benestar, fama o poder. Es tracta de quants ulls brillants tinc al meu voltant.
Now, we're all about to end this magical, on-the-mountain week, we're going back into the world. And I say, it's appropriate for us to ask the question, who are we being as we go back out into the world? And you know, I have a definition of success. For me, it's very simple. It's not about wealth and fame and power. It's about how many shining eyes I have around me.
Tinc un darrer pensament, que es que allò que diem pot ser decisiu. Les paraules que surten de les nostres boques. Vaig aprendre-ho d'una dona que va sobreviure a Auschwitz, una de les poques supervivents. La van enviar a Auschwitz quan tenia 15 anys, el seu germà en tenia vuit i els pares estaven desapareguts. Ella em va dir, "Estàvem al tren camí a Auschwitz i vaig mirar abaix i vaig veure que el meu germà havia perdut les sabates. I vaig dir, "Per què ets tan estúpid, no pots tenir cura de les teves coses, per l'amor de Déu? -- com una germana gran li parlaria al seu germà petit. Desafortunadament, va ser la última cosa que ella li va dir perquè mai més el va tornar a veure. Ell no va sobreviure. Així que quan va sortir d'Auschwitz, va fer un jurament. Em va dir. "Quan vaig sortir d'Auschwitz vaig ressucitar i vaig fer un jurament. Vaig jurar, no diré mai més res que pugui ser la darrera cosa que digui." Bé, podem fer això? No. I ens farem mal a nosaltres i als demés. Però ens podria succeïr. Gràcies.
So now, I have one last thought, which is that it really makes a difference what we say -- the words that come out of our mouth. I learned this from a woman who survived Auschwitz, one of the rare survivors. She went to Auschwitz when she was 15 years old. And ... And her brother was eight, and the parents were lost. And she told me this, she said, "We were in the train going to Auschwitz, and I looked down and saw my brother's shoes were missing. I said, 'Why are you so stupid, can't you keep your things together for goodness' sake?'" The way an elder sister might speak to a younger brother. Unfortunately, it was the last thing she ever said to him, because she never saw him again. He did not survive. And so when she came out of Auschwitz, she made a vow. She told me this. She said, "I walked out of Auschwitz into life and I made a vow. And the vow was, "I will never say anything that couldn't stand as the last thing I ever say." Now, can we do that? No. And we'll make ourselves wrong and others wrong. But it is a possibility to live into.
(Aplaudiments) Ulls brillants, ulls brillants.
Thank you. (Applause) Shining eyes.
(Applause)
Shining eyes.
Gràcies, gràcies. (Música)
(Applause) Thank you, thank you.