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."
Seguramente moitos de vós coñecedes a historia dos dous vendedores que baixaron a África nos primeiros anos do século XX. Enviáronos para ver se había algunha oportunidade para vender zapatos. E dende aló enviaron uns telegramas a Manchester. E un deles escrebeu: "Situación desesperanzadora. Stop. Non levan zapatos postos". E o outro escrebeu: "Magnífica oportunidade. Ainda non levan zapatos postos".
(Laughter)
(Sorrisos)
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.
Ben, pois hai unha situación semellante no mundo da música clásica, porque hai algunha xente que pensa que a música clásica está a morrer. E hai algúns de nós que pensamos que está todo por ver. E mellor que ir ás estatísticas e as modas e falarvos de todas as orquestas que están a pechar, e as discográficas que están a virse abaixo, Pensei que deberíamos facer un experimento esta noite -- un experimento. De feito, non é realmente un experimento porque eu sei o resultado.
(Laughter)
But it's like an experiment. Now, before we start --
Mais é como un experimento. Agora ben, antes de -- (Sorrisos)
(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.
-- antes de comezar, preciso dúas cousas. A primeira, é que vos quero recordar como sona un neno de 7 anos cando toca o piano. Se cadra tedes este neno na casa. Sona máis ou menos así.
(Music)
(Piano)
(Music ends)
Vexo que algúns de vós recoñecedes a este neno.
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.
Agora ben, se practica durante un ano e toma leccións, ten 8 anos e sona así.
(Music)
(Piano)
(Music ends)
Entón practica durante outro ano, e toma leccións; agora ten 9.
He practices for another year and takes lessons -- he's nine.
(Music)
(Piano)
(Music ends)
Entón practica durante outro ano e toma leccións: agora ten 10.
Then he practices for another year and takes lessons -- now he's 10.
(Piano)
(Music)
(Music ends)
At that point, they usually give up.
Nese momento normalmente abandona.
(Laughter)
(Sorrisos)
(Applause)
(Aplausos)
Now, if you'd waited for one more year, you would have heard this.
Agora ben, se esperases, se esperases un ano máis,
(Music)
terías escoitado isto:
(Music ends)
(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.
Agora ben, o que aconteceu non foi se cadra o que pensáchedes, que de súpeto se voltara apaixoado, comprometido, involucrado, que tivo un novo profesor, chegou á pubertade, ou o que sexa. O que aconteceu foi que os impulsos se reduciron. Vedes, a primeira vez el tocaba cun impulso en cada nota.
(Music)
(Piano)
And the second, with an impulse every other note.
E a segunda vez cun impulso cada dúas notas.
(Music)
(Piano)
You can see it by looking at my head.
Podedes velo mirando a miña cabeza.
(Laughter)
(Sorrisos)
The nine-year-old put an impulse on every four notes.
O de 9 anos, o de 9 anos puña un impulso cada catro notas.
(Music)
(Piano)
The 10-year-old, on every eight notes.
E o de 10 anos cada 8 notas.
(Music)
(Piano)
And the 11-year-old, one impulse on the whole phrase.
E o de 11 anos, un impulso en toda a frase.
(Music)
(Piano)
I don't know how we got into this position.
Seino -- non sei como cheguei a esta posición.
(Laughter)
(Sorrisos)
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.
Non dixen que fora a mover a miñas costas ou o meu corpo. Non, a música levoume a facelo, que é o motivo polo que o chamo tocar a unha nádega.
(Music)
(Piano)
It can be the other buttock.
Pode ser a outra nádega.
(Music)
(Piano)
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."
Sabedes, un cabaleiro estaba unha vez vendo unha presentación miña cando estaba a traballar cun pianista novo. El era o presiente dunha corporación en Ohio. E eu estaba a traballar con este pianista novo e dixen, "o teu problema é que és un pianista de dúas nádegas. Deberías ser un pianista de unha nádega." E movín o seu corpo dese xeito cando estaba tocando. E de súpeto a música despegou. Colleu voo. Houbo un suspiro na audiencia cando escoitaron a diferencia. Entón recibín unha carta deste cabaleiro. El dixo, "estaba tan emocionado. Voltei e transformei toda a miña empresa nunha empresa dunha nádega."
(Laughter)
(Sorrisos)
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.
Ben, a outra cousa que quería facer é falarvos de vós. Hai 1.600 persoas, penso. A miña estimación é que probablemente 45 de vós sodes apaixoados absolutos da música clásica. Adorades a música clásica. A vosa radio está sempre nese dial clásico. E tedes CDs no voso coche, e ides escoitar a sinfónica. E os vosos nenos tocan instrumentos. Non podedes imaxinar a vosa vida sen música clásica. Ese é o primeiro grupo; un grupo bastante pequeno. Hai outro grupo máis grande. O composto pola xente á que non lle molesta a música clásica.
(Laughter)
(Sorrisos)
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 ...
Xa sabedes, chegaches a casa despois dun longo día colles un vaso de viño e recóstaste. Un pouco de Vivaldi de fondo non fai ningún dano. (Sorrisos) Ese é o segundo grupo. Agora ven o terceiro grupo. O composto pola xente que nunca escoita música clásica. Simplemente non é parte da súa vida. Podedes escoitala como fume de segunda man no aeroporto, pero --
(Laughter)
(Sorrisos)
-- 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.
-- e quizais un pouco dunha marcha de Aida cando entrades na sala. Pero á marxe diso, nunca a escoitades. Este é probábelmente o grupo maior. E despois está un grupo moi pequeno.
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."
O composto por aqueles que pensan que non teñen ouvido musical. Un incríbel número de xente pensa que non ten ouvido musical. De feito, escoito frecuentemente, "o meu marido non ten ouvido musical." (Sorrisos)
(Laughter)
De feito, non podedes non ter ouvido musical. Ninguén carece de ouvido 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.
Se non tivérades ouvido musical, non poderiades cambiar as marchas no voso coche, nun coche con cambio manual. Non poderiades ver a diferencia entre alguén de Texas e alguén de Roma. E o teléfono. O teléfono. Se a vosa nai chama polo miserábel teléfono, chama e di "Ola," non só sabedes quen é, senón en que estado de ánimo se atopa. Tedes un ouvido fantástico. Todo o mundo ten un ouvido fantástico. Así que ninguén carece de ouvido musical.
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.
Porén, ¿sabedes o q vos digo? Non me apetece a min continuar con esta cousa con ese abismo tan grande entre os que entenden, aman e se apaixoan coa música clásica, e os que non teñen ningunha relación con ela. A xente sen ouvio musical, eses xa non están aquí. Mais incluso entre esas tres categorías, hai un abismo demasiado grande. Así que non vou continuar ata que todas e cada unha das persoas desta sala, os que están no piso de abaixo, e en Aspen, e todos os demáis que estexan vendo, cheguen a amar e comprender a música clásica. Así que iso é o que imos facer.
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."
Por certo, notades que non hai a menor dúbida na miña mente se mirades a miña cara, sobre se vai funcionar ou non, verdade? É unha das características dun líder que non dubide por un intre da capacidade da xente que está a liderar para facer realidade o que sexa que está a soñar. Imaxinade se Martin Luther King tivera dito, "Teño un soño. E por suposto, non estou seguro de que eles estean á altura."
(Laughter)
(Sorrisos)
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.
Ben. Vou escoller agora unha peza de Chopin. É un preludio fermoso de Chopin. Algúns de vós coñecerédelo.
(Music)
(Música)
Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds."
Sabedes o que creo que pasou nesta sala? Cando comecei, pensáchedes, "Que fermoso sona."
(Music)
(Music)
"I don't think we should go to the same place for our summer holidays next year."
"Penso que non deberíamos ir ao mesmo lugar o próximo ano nas vacacións de verán."
(Laughter)
(Sorrisos)
It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course --
Divertido, verdade? Divertido como eses pensamentos esperan dalgún xeito na vosa cabeza. E por suposto -- (Aplauso)
(Applause)
-- e por suposto, se a peza é longa e tivéchedes un día longo,
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.
podedes de feito quedarvos durmidos. Entón o voso acompañante daravos un cobadazo nas costelas e dirá, "Acorda! É cultura!" E entón ainda vos sentides peor.
(Laughter)
Mais pensáchedes algunha vez que a razón pola que vos sentides somnolentos
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.
na música clásica non é culpa vosa, senón culpa nosa? Alguén pensou mentres eu tocaba, "Por que está usando tantos impulsos?" Se tivera feito isto coa miña cabeza seguramente teríadelo pensado.
(Music)
(Música)
(Music ends)
E durante o resto das vosas vidas, cada vez que escoitedes música clásica
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.
sempre seredes quen de saber se escoitades eses impulsos. Así que vexamos que está acontecendo realmente aquí.
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?
Temos un Si. Esta é un Si. A seguinte é Do. O Do ten a función de facer triste ao Si. ¿Conségueo, verdade? (Sorrisos)
(Laughter)
Os compositores sábeno. Se queren música triste
Composers know that. If they want sad music, they just play those two notes.
simplemente tocan esas dúas notas.
(Music)
(Música)
But basically, it's just a B, with four sads.
Mais básicamente é só Si, con catro tristes.
(Laughter)
(Sorrisos)
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?
Agora baixa a La. Agora a Sol, e logo a Fa. Entón temos Si, La, Sol, Fa. E se temos Si, La, Sol, Fa, ¿que agardamos despois? Ah, podía ter sido unha casualidade.
(Music)
That might have been a fluke. Let's try it again.
Probemos de novo. Ooh, o coro de TED.
(Music)
Oh, the TED choir.
(Sorrisos)
(Laughter)
¿E notades que non hai ninguén sen ouvido musical? Ninguén.
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.
Sabedes, en cada aldea de Bangladesh e cada aldea da China. Todos saben: da, da, da, da -- da. Todos saben que esperan un Mi. Agora ben, Chopin non quería chegar ao Mi aí,
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.
porque que tería acontecido? Tería rematado, como Hamlet. Lembrades Hamlet? Acto 1, Escea 3: averigua que o seu tio matou ao seu pai. Lembrades que continua indo na busca do seu tio e case o mata. E entón retrocede e fuxe e vai por el de novo e case o mata. E os críticos, que están todos sentados aí na fila de atrás teñen que tener unha opinión, así que din, "Hamlet é un procastinador." (Sorrisos) Ou din, "Hamlet ten o complexo e Edipo." Non, é que doutro xeito a obra remataría, estúpido.
(Laughter)
Esa é a razón pola que Shakespeare introduciu todo ese contido en Hamlet.
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.
Xa sabedes, Ofelia voltándose tola e a obra dentro da obra, e a calavera de Yorick e os escavadores de tumbas. Iso ten o obxectivo de retrasar -- ata que no Acto 5 pode matalo. Ocorre o mesmo no caso de Chopin. Está a piques chegar a Mi,
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.
e di, "Ups, mellor retroceder e comezar de novo." E faino de novo. E entón excítase -- iso é excitación,
(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."
non tedes que preocuparvos por iso. Chega a Fa sostido e finalmente baixa a Mi, pero é o acorde equivocado. Porque o acorde que está a buscar é este, e entón fai... ben, chamámolo unha cadencia enganosa, porque nos engana. Sempre lles digo aos meus estudantes, "Se tedes unha cadencia enganosa asegurádevos de elevar as vosas cellas, de xeito que todo o mundo o saiba." (Sorrisos)
(Laughter)
(Aplauso)
(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."
Ben. Entón ven un Mi, pero é o acorde trabucado. Agora, tenta un Mi de novo. Ese acorde non funciona. Agora, proba de novo Mi. Ese acorde non funciona. Agora, ténta Mi de novo, e non funciona. E entón finalmente... Había un cabaleiro la fila de adiante, que dixo, "Mmm."
(Laughter)
É o mesmo xesto que fai cando chega a casa
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.
despois dun longo día, desconecta a chave no coche e di, "Aah, estou na casa." Porque todos sabemos onde está a casa. Así que esta é unha peza que ven dende lonxe ata a casa.
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.
E vouna tocar completa e vós ides seguila. Si, Do, Si, Do, Si, Do, Si -- e baixa a La, baixa a Sol, baixa a Fa. E case chega a Mi, pero nese caso a obra remataría. Entón sube de novo a Si. Excítase. Vai a Fa sostido. Vai a Mi. É o acorde incorrecto. É o acorde incorrecto. É o acorde incorrecto. E finalmente vai a Mi, e é casa. E o que ides ver é tocar a unha nádega. (Sorrisos)
(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.
Porque para min, para xuntar o Si ao Mi, teño que parar de pensar en cada unha das notas do camiño e comezar a pensar na longa longa liña dende Si ata Mi.
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.
Xa entendedes, estamos en Suráfrica, e non se pode ir a Suráfrica sen pensar en Mandela na cadea durante 27 anos. En que estaba el a pensar? Na comida? Non, estaba a pensar na visión para Suráfrica e para os seres humanos. Iso é o que permaneceu -- isto é sobre a visión; é sobre a liña longa. Como o paxaro que voa sobre un campo e non se preocupa dos valados que sobrevoa, verdade? Así que agora imos seguir toda a liña dende Si ata Mi. E teño unha última solicitude, antes de tocar a peza completa. Poderiades pensar nalguén ao que adoredes, que xa non estea? Unha avoa querida, un amor, alguén na vosa vida ao que queredes con todo o voso corazón, pero que esa persoa xa non está con vós. Traede esa persoa á vosa mente, e ao mesmo tempo seguide toda a liña que vai de Si a Mi, e escoitaredes o que Chopen tiña que dicir.
(Music)
(Música)
(Music ends)
(Applause)
(Aplauso)
Now, you may be wondering --
Agora ben, podedes estarvos a preguntar,
(Applause)
podedes estarvos a preguntar por que estou a aplaudir.
(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."
Ben, fixen isto nunha escola en Boston cuns 70 alumnos de séptimo curso -- de 12 anos. E fixen exactamente o que fixen agora con vós, e díxenlles e expliqueilles e todo o tema. E ao final voltáronse tolos, a aplaudir. Estaban a aplaudir. Eu estaba a aplaudir. Eles estaban a aplaudir. Finalmente, dixen, "Por que estou a aplaudir?" E un dos nenos pequenos dixo, "Porque estábamos a escoitar."
(Laughter)
(Sorrisos)
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.
Pensádeo. 1600 persoas, xente ocupada, involucrados en todo tipo de cousas diferentes. Escoitando, comprendendo e sendo emocionados por unha peza de Chopin. Iso é algo importante. Agora ben, estou seguro de que todos e cada un seguíchedes isto, entendíchedelo, e emocionáchedesvos. Por suposto, non podo estar seguro. Pero direivos o que me aconteceu.
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 ..."
Estaba en Irlanda durante os conflictos, fai 10 anos, e estaba a traballar con algúns rapaces Católicos e Protestantes en resolución de conflictos. E fixen isto con eles. Algo arriscado, xa que eran nenos da rúa. E un deles veu falar conmigo á mañá seguinte e dixo, "Sabes, eu nunca na vida escoitara música clásica mas cando tocaches esa peza de 'shopping' (NT: xogo de palabras entre 'mercar' e Chopin) (Sorrisos)
(Laughter)
Dixo, "o meu irmán matárono dun tiro o ano pasado e non chorei por el.
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.
Pero a pasada noite cando tocaches a peza, el era en quen estaba a pensar. E notei as bágoas baixando pola miña cara. E sabes, realmente sentinme ben a chorar polo meu irmán" Así que me decatei nese momento de que a música clásica é para todo o mundo. Todo o mundo.
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.
Agora ben, como camiñaríades -- porque sabedes, a miña profesión, a profesión da música, non o ve dese xeito. Eles afirman que ao 3 por cento da poboación lle gusta a música clásica. Se fósemos quen de movelo ao 4 por cento os nosos problemas estarían solucionados.
(Laughter)
E eu digo, "Como poderiades camiñar? Como poderiades falar? Como estariades
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.
se pensarades que ao 3 por cento da poboación lle gusta a música clásica? Se puidésemos subilo ao 4 por cento. Como poderiades camiñar? Como poderiades falar? Como estariades se pensarades que todo o mundo ama a música clásica -- e simplemente ainda non o descubriron." (Sorrisos) Como vedes, son mundos totalmente distintos.
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 --
Eu tiven unha experiencia maravillosa. Tiña 45 anos, levo dirixindo 20 anos, e de súpeto tiven unha iluminación. O director dunha orquesta non fai sons. A miña foto aparece na portada do CD --
(Laughter)
(Sorrisos)
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.
-- pero o director non fai ningún son. O seu poder depende da súa habilidade para facer a outra xente poderosa. E iso mudou todo para min. Foi algo que me mudou a vida. A xente da miña orquesta viña a falar comigo e dicíame, "Ben, que aconteceu?" Iso é o que aconteceu. Decateime de que o meu traballo era facer aparecer a posibilidade noutra xente. E por suposto, quería saber se o estaba a facer. E sabedes como se pode averiguar? Mirándolles aos ollos. Se os seus ollos están a brillar, estás a facelo. Poderiades iluminar unha vila cos ollos deste home.
(Laughter)
(Sorrisos)
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.
Dacordo. Se os ollos están a brillar, sabes que o estás a facer. Se os ollos non están a brillar, teste que preguntar algo. E esta é a pregunta: Quen estou eu a ser para que os ollos dos meus músicos non estean a brillar? Podemos facer iso cos nosos fillos tamén. Quen estou eu a ser para que os ollos dos meus fillos non estean a brillar? É un mundo totalmente diferente.
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.
Ben, estamos a piques de rematar esta semana máxica na montaña e imos regresar ao mundo. E digo, é axeitado que nos fagamos a pregunta: Quenes estamos a ser en canto imos de volta ao mundo? E sabedes, teño unha definición de éxito. Para min é moi sinxelo. Non ten relación coa riqueza e a sona e o poder. Ten relación con cantos ollos brillantes teño arredor de min.
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.
Así que agora teño un último pensamento, que é que realmente o que dicimos marca a diferencia. As palabras que saen pola nosa boca. Aprendín isto dunha muller que sobreviviu a Auschwitz, unha das poucas supervivintes. Foi a Auschwitz cando tiña 15 anos, e o seu irmán tiña 8, e perderan aos pais. E contoume o seguinte, dixo, "Estabamos no tren indo cara a Auschwitz e mirei cara a abaixo e vin que os zapatos do meu irmán non estaban. E dixen, "Como podes ser tan parvo, que non podes manterte perto das túas cousas polo amor de Deus?" - na forma na que unha irmá maior pode falar a un irmán pequeno. Desafortunadamente, foi a última cousa que lle dixo porque nunca voltou a velo. El non sobreviviu. Así que cando saiu de Auschwitz, fixo unha promesa. Ela díxome. Dixo, "Saín camiñando de Auschwitz á vida e fixen unha promesa. E a promesa foi que nunca diría nada de novo que non puidera ficar como a última cousa que eu diga." Podemos facelo? Non. E enganámonos a nós mesmos e aos outros. Mais esa é unha posibilidade na que podemos vivir. Grazas
Thank you.
(Applause)
(Aplausos)
Shining eyes.
Ollos brillantes, ollos brillantes.
(Applause)
Shining eyes.
(Applause)
Thank you, thank you.
Grazas, grazas.