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."
Ilmselt paljud teie seast teavad lugu kahest müügimehest, kes läksid 20. sajandi alguses Aafrikasse. Nad saadeti uurima, kas seal oleks võimalik müüa kingi. Ja nad saatsid telegramme tagasi Manchesteri. Üks neist kirjutas: "Olukord lootusetu. Punkt. Nad ei kanna kingi." Ja teine kirjutas: "Suurepärane võimalus. Neil pole veel ühtki kinga."
(Laughter)
(Naer)
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.
Sarnane olukord valitseb klassikalise muusika maailmas, sest on inimesi, kes arvavad, et klassikaline muusika on hääbumas. Ja on teisi, kes arvavad, et see on alles algus. Ja selmet pöörduda statistika ja trendide poole, ja rääkida teile orkestritest, mida suletakse, ja plaadifirmadest, mis pankrotistuvad, mõtlesin ma, et me võiks täna teha ühe eksperimendi. Tegelikult see pole päris eksperiment, sest ma tean juba tulemust.
(Laughter)
(Naer)
But it's like an experiment. Now, before we start --
Aga see on eksperimendi moodi. Nüüd, enne kui ...
(Laughter)
(Naer)
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.
Enne kui alustame, pean ma tegema kaks asja. Esiteks, tahaksin teile meenutada, kuidas seitsme-aastane laps kõlab klaverit mängides. Võib-olla teil on selline laps kodus. Ta kõlab umbes niimoodi.
(Music)
(Muusika)
(Music ends)
(Muusika lõpeb)
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.
Ma näen, et mõned tundsid selle lapse ära. Kui ta nüüd harjutab aastakese ja käib tundides, ta on nüüd kaheksane ja ta kõlab niimoodi.
(Music)
(Muusika)
(Music ends)
(Muusika lõpeb)
He practices for another year and takes lessons -- he's nine.
Siis ta harjutab veel ühe aasta ja võtab tunde - ta on üheksane.
(Music)
(Muusika)
(Music ends)
(Muusika lõpeb)
Then he practices for another year and takes lessons -- now he's 10.
Siis ta harjutab veel ühe aasta käib tundides - nüüd on ta kümnene.
(Music)
(Muusika)
(Music ends)
(Muusika lõpeb)
At that point, they usually give up.
Sellel hetkel ta tavaliselt loobub.
(Laughter)
(Naer)
(Applause)
(Aplaus)
Now, if you'd waited for one more year, you would have heard this.
Kui te oleksite veel aasta oodanud, oleksite kuulnud seda.
(Music)
(Muusika)
(Music ends)
(Muusika lõpeb)
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.
Mis nüüd juhtus polnud see, nagu te võib-olla arvasite, et ta äkitselt muutus kirglikuks, pühendunuks, haaratuks, sai uue õpetaja, jõudis puberteeti või midagi sellist. Mis tegelikult juhtus, oli see, et rõhutamine harvenes. Esimest korda, mängis ta rõhutades igat nooti.
(Music)
(Muusika)
And the second, with an impulse every other note.
Teist korda, rõhuga igal teisel noodil.
(Music)
(Muusika)
You can see it by looking at my head.
Te märkate seda, kui vaatate mu pead.
(Laughter)
(Naer)
The nine-year-old put an impulse on every four notes.
Üheksa-aastane pani rõhu igale neljandale noodile.
(Music)
(Muusika)
The 10-year-old, on every eight notes.
Kümneaastane igale kaheksandale noodile
(Music)
(Muusika)
And the 11-year-old, one impulse on the whole phrase.
Ja üheteistaastane ühe rõhu tervele fraasile.
(Music)
(Muusika)
I don't know how we got into this position.
Ma ei tea, kuidas ma sattusin sellesse asendisse.
(Laughter)
(Naer)
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.
Ma ei mõelnud, et liigutan oma õla ette, liigutan oma keha. Ei, muusika lükkas mu viltu, mistõttu ma kutsun seda ühe-kannika mänguks.
(Music)
(Muusika)
It can be the other buttock.
See võib olla ka teine kannikas.
(Music)
(Muusika)
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."
Kord vaatas üks härra ettekannet, mis ma tegin, kus ma töötasin ühe noore pianistiga. Ta oli ühe korporatsiooni president Ohios. Ma töötasin selle noore pianistiga ja ütlesin: "Sinu viga on selles, et sa oled kahe-kannika mängija. Sa peaksid olema ühe-kannika mängija." Ma liigutasin ta keha, mängimise ajal. Ja äkitselt, muusika tõusis lendu. See võttis tuule alla. Publik ahhetas, kui kuulis muutust. Siis sain ma kirja sellelt härrasmehelt. Ta ütles: "Ma olin nii liigutatud. Ma läksin tagasi ja muutsin oma firma ühe-kannika firmaks."
(Laughter)
(Naer)
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.
Teine asi, mis ma tahtsin teha, oli rääkida teile teist. Siin on 1600 inimenest, ma arvan. Minu hinnangul on arvatavasti 45 inimest teie hulgast üdini kirglikud klassikalise muusika suhtes. Te jumaldate klassikalist muusikat. Te raadio on alati klassika peal. Teil on CD-d autos ja te käite sümfooniaid kuulamas, teie lapsed mängivad pilli. Te ei kujuta oma elu ette ilma klassikalise muusikata. See esimene rühm on üsna väike. Siis on järgmine, suurem rühm. Inimesed, kes ei pane klassikalist muusikat pahaks.
(Laughter)
(Naer)
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 ...
Teate, tulete koju peale pikka päeva ja võtate klaasi veini ja panete jalad toolile. Natuke Vivaldit taustal ei sega. See on teine rühm. Nüüd on kolmas rühm - inimesed, kes ei kuula kunagi klassikalist muusikat. See pole osa teie elust. Te võite seda kogeda passiivselt, nagu sigaretisuitsu, lennujaamas.
(Laughter)
(Naer)
-- and maybe a little bit of a march from "Aida" when you come into the hall. But otherwise, you never hear it. That's probably the largest group.
Ja võib-olla üks väike marss "Aidast" kui te sisenete koridori. Kuid muidu, ei kuule te seda kunagi. See on ilmselt kõige suurem rühm.
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."
Ja siis on veel üks tilluke rühm. Need on inimesed, kes arvavad, et neil pole muusikalist kuulmist. Hämmastav hulk inimesi arvab, et neil pole "kõrva". Tegelikult kuulen tihti: "Mu abikaasal pole kuulmist".
(Laughter)
(Naer)
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.
Tegelikult, pole see võimalik. Igaühel on "kõrva". Kui teil poleks, te ei saaks käiku vahetada oma manuaal-käigukastiga autos. Te ei suudaks eristada inimest Texasest ja inimest Roomast. Ja telefon. Kui teie ema helistab oma viletsa telefoniga, ta helistab ja ütleb "Halloo", te mõistate mitte üksnes, kes see on, vaid ka, mis tuju tal on. Teil on imeline kuulmine. Igaühel on imeline kuulmine. Seega kõigil on muusikaline kuulmine.
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.
Aga ma ütlen teile. ma pole nõus niimoodi jätkama, sellise suure lõhega nende vahel, kes mõistavad, armastavad ja on kirglikud klassikalise muusika vastu, ja nende vahel, kellel pole sellega mingit suhet. Muusikalise kuulmiseta inimesi, neid enam pole. Aga isegi nende kolme rühma vahel, on liiga suur kuristik. Seega ma ei jätka enne, kui iga viimane inimene selles ruumis, all saalis ja kõrgmägedes, ja kõik, kes vaatavad, hakkavad armastama ja mõistma klassikalist muusikat. Seda me nüüd teemegi.
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."
Nagu näete, pole mul kübetki kõhklust et see tuleb välja, kui te mu nägu vaatate, eks? See on üks juhi omadustest, et ta ei kahtle hetkeksi nende inimeste võimetes, keda ta juhib. tema visiooni täideviimisel. Kujutlege, kui Martin Luther King oleks öelnud: "Mul on unistus. Aga ma pole kindel, et nad on selleks valmis."
(Laughter)
(Naer)
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.
Olgu. Ma võtan ühe Chopini pala. See on kaunis prelüüd Chopinilt. Mõned teist teavad seda.
(Music)
(Muusika)
Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds."
Teate, mis ma arvan, et siin juhtus? Kui ma alustasin, te mõtlesite: "Kui kaunilt see kõlab!"
(Music)
(Muusika)
"I don't think we should go to the same place for our summer holidays next year."
"Ma arvan, et me ei peaks järgmisel aastal samasse kohta suvepuhkusele minema."
(Laughter)
(Naer)
It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course --
See on naljakas, eks? See on naljakas, kuidas sellised mõtted hõljuvad teie peadesse. Ja muidugi ...
(Applause)
(Aplaus)
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.
Muidugi, kui lugu on pikk ja teil on pikk päev seljataga, te võite ära vajuda. Siis teie kaaslane äsab teile ribidesse ja ütleb: "Ärka üles! See on kultuur!" Ja te tunnete end veelgi halvemini.
(Laughter)
(Naer)
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.
Kas teile on kunagi tulnud pähe, et põhjus, mis te olete unine klassikalise muusika ajal, ei ole teie, vaid meie pärast? Kas keegi teist mõtles mu mängu ajal: "Miks ta nii palju rõhke kasutab?" Kui ma oleks seda koos peaga teinud, oleks te kindlasti seda mõelnud.
(Music)
(Muusika)
(Music ends)
(Muusika lõpeb)
And for the rest of your life, every time you hear classical music, you'll always be able to know if you hear those impulses.
Ja kogu ülejäänud elu, alati kui kuulete klassikalist muusikat, olete alati võimelised ära tundma, kas te kuulete neid rõhke.
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?
Vaatame, mis siin tegelikult toimub. Meil on siin B. See on B. Järgmine noot on C. Ja C töö on muuta B kurvaks. Ja ta teeb seda, kas pole?
(Laughter)
(Naer)
Composers know that. If they want sad music, they just play those two notes.
Heliloojad teavad seda. Kui nad tahavad kurba muusikat, mängitakse lihtsalt neid kahte nooti.
(Music)
(Muusika)
But basically, it's just a B, with four sads.
Aga põhimõtteliselt on see lihtsalt B, koos nelja kurvaga.
(Laughter)
(Naer)
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?
Nüüd läheb see A-sse. Nüüd G. Ja siis F. Seega meil on B, A, G, F. Ja kui meil on B, A, G, F, mida me ootame järgmisena?
(Music)
(Muusika)
That might have been a fluke. Let's try it again.
See võis olla juhus. Proovime uuesti.
(Music)
(Muusika)
Oh, the TED choir.
TEDi koor!
(Laughter)
(Naer)
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. Everybody knows, who's expecting that E.
Ja märkasite, et kõigil on muusikaline kuulmine, eks? Kõigil. Igas külas Bangladeshis ja igas Hiina asulas - kõik teavad: taa, taa, taa, taa - taaaa. Kõik teavad, ootavad seda E-d.
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.
Chopin ei tahtnud E-ni jõuda selles kohas, sest mis siis oleks juhtunud? See oleks läbi, nagu Hamlet. Mäletate Hamletit? Esimene vaatus, kolmas stseen, ta saab teada, et tema onu tappis ta isa. Ta käib üha oma onu juures ja peaaegu tapab ta. Aga siis ta loobub, ta läheb jälle tema juurde, peaaegu tapab. Ja kriitikud tagareas, neil peab olema mingi arvamus, nii nad ütlevad: "Hamlet on edasilükkaja". Või nad ütlevad: "Hamletil on Oidipuse kompleks." Ei! Muidu saaks etendus ju läbi, tobud!
(Laughter)
(Naer)
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 -- until Act Five, he can kill him.
Seepärast paneb Shakespeare kogu selle värgi Hamletisse - Ophelia hullumise, etendus etenduses, Yoricku pealuu ja hauakaevajad. See on selleks, et viivitada - viienda vaatuseni, kus ta tema tapab.
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.
Sama lugu on Chopiniga. Ta hakkab just E-ni jõudma, ja ütleb: "Oih, ma parem lähen tagasi üles ja kordan seda." Nii ta kordab seda. Nüüd ta erutub.
(Music)
(Muusika)
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."
See on erutus, ärge muretsege. Nüüd ta läheb F-dieesi, ja lõpuks jõuab ta alla E-sse, aga tal on vale akord - sest akord, mida ta ootab; on see ja selle asemel ta teeb ... Me nimetame seda poolikuks kadentsiks, sest ei paku lahendust. Ma räägin oma õpilastele: "Kui tuleb poolik kadents, tõstke oma kulme, siis kõik teavad."
(Laughter)
(Naer)
(Applause)
(Aplaus)
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."
Ta jõuab E-sse, aga see on vale akord. Ta proovib veel E-d. See akord ei sobi. Ta proovib E-d jälle. See akord ei sobi. Ta proovib veel E-d, ja see ei sobi. Ja lõpuks... Esireas oli üks härra, kes tegi: "Mmm."
(Laughter)
(Naer)
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." Because we all know where home is.
See on sama liigutus, mis ta teeb, kui jõuab koju peale pikka päeva, peatab auto mootori ja ütleb: "Aah, ma olen kodus." Sest me kõik teame, kus kodu on.
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.
Niisiis see on pala, mis käib ära ja tuleb koju. Ma mängin selle otsast lõpuni ja teie jälgite. B,C,B,C,B,C,B - A-sse, G-sse, F-i. Peaaegu tuleb E-sse, aga muidu oleks etendus läbi. Ta läheb tagasi B-sse, erutub väga. Läheb F-dieesi. Läheb E-sse. Vale akord. Vale akord. Ja lõpuks ta läheb E-sse, ja seal on kodu. Ja te näete nüüd ühe-kannika mängu.
(Laughter)
(Naer)
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.
Sest kui ma tahan ühendada B E-ga, ma ei saa mõelda igale noodile, mis tee peale jääb, ma pean mõtlema pikale teekonnale B-st E-sse.
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.
Me olime just Lõuna-Aafrikas, ja ei saa minna Lõuna-Aafrikasse mõtlemata Mandela 27-aastasele vangistusele. Millele ta mõtles? Lõunasöögile? Ei, ta mõtles Lõuna-Aafrika tulevikule, inimeste tulevikule. Asi on visioonis. Asi on pikemas perspektiivis. Nagu lind, kes lendab üle põllu ega hooli aedadest allpool, eksole? Nüüd siis jälgite te teekonda B-st E-sse. Ja mul on veel üks palve, enne kui ma mängin selle pala otsast lõpuni. Kas võiksite mõelda kellelegi, keda jumaldate, kuid keda enam pole? Armastatud vanaema, kallim - keegi teie elus, keda te armastasite südamepõhjast, kuid keda pole enam teiega. Manage see inimene silme ette ja samal ajal jälgige teekonda B-st E-sse ja te kuulete kõike, mis Copinil oli öelda.
(Music)
(Muusika)
(Music ends)
(Muusika lõpeb)
(Applause)
(Aplaus)
Now, you may be wondering --
Te võite mõelda ...
(Applause)
(Aplaus)
(Applause ends)
(Aplaus lõpeb)
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."
Te võite imestada, miks mina plaksutan. Ma tegin seda ühes koolis Bostonis umbes 70 seitsmendikuga, 12-aastastega. Ma tegin täpselt nii, nagu teiega tegin, ja ma seletasin kõike seda. Lõpus nad läksid pööraseks, plaksutasid. Mina plaksustasin. Nemad plaksutasid. Lõpuks ma küsisin: "Miks mina plaksutan?" Ja üks lastest ütles: "Sest meie kuulasime."
(Laughter)
(Naer)
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.
Mõelge sellele. 1600 inimest, töist inimest, igasugu erinevatest valdkondadest, kuulamas, mõistmas ja liigutatud Chopini palast. See juba on midagi. Kas ma olen kindel, et igaüks jälgis seda, mõistis seda, oli liigutatud? Muidugi, ei saa ma kindel olla.
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 ..."
Aga ma räägin, mis juhtus minuga Iirimaal 10 aastat tagasi, ma töötasin katoliikliklastest ja luterlastest lastega konflikti lahendamise teemal. Ja ma tegin neile seda - riskantne ettevõtmine, sest need olid tänavalapsed. Ja üks neist tuli minu juurde järgmisel hommikul ja ütles: "Tead, ma pole kunagi kuulanud klassikalist muusikat, aga kui sa mängisid seda šoppamislugu ..."
(Laughter)
(Naer)
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.
Ta ütles: "Mu vend lasti maha eelmisel aastal ja ma ei nutnud tema pärast. Aga eile, kui sa mängisid seda pala, mõtlesin ma tema peale. Ja ma tundsin pisaraid mööda nägu voolamas. Ja oli väga hea tunne nutta oma venna pärast." Seega ma otsustasin sellel hetkel, et klassikaline muusika on kõigi jaoks. Igaühele.
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.
Kuidas sa käid - minu erialal, muusikud ei näe seda niimoodi. Nad ütlevad, et 3% inimestele meeldib klassikaline muusika. Kui me suudaks kuidagi liikuda neljale protsendile, oleks mured murtud.
(Laughter)
(Naer)
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.
Kuidas sa käid? Kuidas sa räägid? Kuidas sa oled, kui sa usud: "3%-le inimestest meeldib klassikaline muusika, kui me saaks liikuda neljale." Kuidas sa käiks või räägiks? Kuidas sa oleks, kui sa usuks, et igaüks armastab klassikalist muusikat - nad lihtsalt ei tea seda veel. Need on täiesti erinevad maailmad.
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 --
Mul oli imeline kogemuse. Ma olin 45-aastane, olin dirigeerinud 20 aastat, ja äkki ma taipasin. Orkestri dirigent ei tee ühtki häält. Minu pilt on plaadiümbrisel ...
(Laughter)
(Naer)
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.
Aga dirigent ei tee häält. Tema võim sõltub oskusest muuta teisi inimesi võimsaks. Ja see muutis minu jaoks kõik. See muutis täielikult mu elu. Inimesed mu orkestris ütlesid: "Ben, mis juhtus?" See juhtuski. Ma mõistsin, et minu töö on äratada potentsiaal teistes inimestes. Ja loomulikult tahtsin teada, kas ma teen seda. Teate, kuidas teada saada? Tuleb vaadata nende silmadesse. Kui nende silmad säravad, siis sa tead, et sa teed seda. Terve küla võiks ära valgustada selle selli silmadega.
(Laughter)
(Naer)
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.
Ehk, kui silmad säravad, siis tead, et teed seda. Kui silmad ei sära, siis saad küsida. Ja küsimus on selline: kes ma olen, et mu mängijate silmad ei sära? Me saame seda oma lastega ka teha. Kes ma olen, et minu laste silmad ei sära? See on täiesti teine maailm.
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.
Nüüd kui meie imeline teekond hakkab lõpule jõudma, laskume jälle alla maa peale. Ja meil tuleks esitada endale küsimus: millised me oleme, kui oleme taas maa peal? Ja teate, mul on edu valem. Mulle on see väga lihtne. See ei seostu rikkuse, kuulsuse ja võimuga. See seostub paljude säravate silmadega minu ümber.
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.
Mul on üks viimane mõte, sellest, et on väga oluline, mida me ütleme - sõnad, mis tulevad üle meie huulte. Ma kuulsin seda ühelt naiselt, kes pääses Auschwitzist, ühelt vähestest pääsejatest. Ta läkes Auschwitzi kui ta oli 15-aastane. Ja ... ta vend oli kaheksane ja nende vanemad olid kadunud. Ja ta rääkis mulle, ta ütles: "Me olime rongis teel Auschwitzi, ja ma vaatasin alla ja nägin, et venna kingad olid kadunud. Ja ma ütlesin: "Kuidas sa oled nii loll; et sa ei suuda oma asju koos hoida, jumalapärast!"" Nagu vanem õde võib nooremale vennale öelda. Kahjuks, see oli viimane asi, mis ta talle ütles, sest rohkem ta teda enam ei näinud. Ta ei jäänud ellu. Niisiis, kui ta tuli Auschwitzist tagasi, andis ta lubaduse. Ta rääkis mulle. Ta ütles: "Ma sammusin Auschwitzist välja ellu ja ma andsin tõotuse. Ja see tõotus oli: "Ma ei ütle kunagi midagi, mis ei võiks jääda mu viimasteks sõnadeks."" Kas me suudame seda? Ei. Ja me teeme endale liiga ja teistele liiga. Aga selle nimel on võimalik elada.
Thank you.
Tänan.
(Applause)
(Aplaus)
Shining eyes.
Säravad silmad.
(Applause)
(Apalus)
Shining eyes.
Säravad silmad.
(Applause)
(Aplaus)
Thank you, thank you.
Tänan, tänan.