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."
Vjerojatno većinom poznajete priču o dva trgovca koji su otputovali u Afriku 1900-ih. Poslani su tamo kako bi pronašli postoji li mogućnost prodaje cipela. I poslali su telegrame natrag u Manchester. I jedan je napisao: "Situacija beznadna. Stop. Oni ne nose cipele." A drugi je napisao: "Veličanstvena mogućnost. Oni još nemaju nikakvih cipela."
(Laughter)
(Smijeh)
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.
Slična je situacija i u svijetu klasične glazbe, jer neki ljudi misle da klasična glazba umire. A postoje i neki od nas koji misle kako još ništa niste vidjeli. I umjesto upuštanja u statistike i trendove i govora o svim orkestrima koji se zatvaraju, i snimateljskim kućama koje prestaju s radom, pomislio sam kako bismo večeras mogli napraviti jedan pokus. Zapravo, to nije baš pravi pokus jer ja znam rezultat.
(Laughter)
But it's like an experiment. Now, before we start --
Ali jest poput pokusa. Pa, prije nego -- (Smijeh)
(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.
-- prije nego počnemo, trebam napraviti dvije stvari. Prvo, želim vas podsjetiti kako sedmogodišnje dijete zvuči dok svira klavir. Možda takvo dijete imate kod kuće. Zvuči poput ovoga.
(Music)
(Klavir)
(Music ends)
Vidim da neki od vas prepoznaju ovo dijete.
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.
Sad, ako vježba i uči godinu dana, sada ima osam godina i zvuči poput ovoga.
(Music)
(Klavir)
(Music ends)
Onda vježba i uči još jednu godinu, sada je devetgodišnjak.
He practices for another year and takes lessons -- he's nine.
(Music)
(Klavir)
(Music ends)
Onda vježba i uči još godinu dana, sada mu je deset.
Then he practices for another year and takes lessons -- now he's 10.
(Klavir)
(Music)
(Music ends)
At that point, they usually give up.
U tom trenu obično odustanu.
(Laughter)
(Smijeh)
(Applause)
(Pljesak)
Now, if you'd waited for one more year, you would have heard this.
No, da ste čekali, da ste čekali još godinu dana,
(Music)
čuli biste ovo:
(Music ends)
(Klavir)
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.
E sad, ono što se dogodilo možda nije ono što ste mislili, a to je, da je on odjednom postao strastven, angažiran, uključen, dobio novog nastavnika, ušao u pubertet, što već. Ono što se zapravo dogodilo je da se količina naglašavanja smanjila. Vidite, kada je prvi puta svirao imao je naglasak na svakom tonu.
(Music)
(Klavir)
And the second, with an impulse every other note.
Drugi puta na svakom drugom tonu.
(Music)
(Klavir)
You can see it by looking at my head.
Možete to vidjeti prateći moju glavu.
(Laughter)
(Smijeh)
The nine-year-old put an impulse on every four notes.
Devetogodišnjak, devetogodišnjak stavljao je naglasak na svake četiri note.
(Music)
stavljao je naglasak na svake četiri note.
The 10-year-old, on every eight notes.
Desetogodišnjak na svakih osam nota.
(Music)
Desetogodišnjak na svakih osam nota.
And the 11-year-old, one impulse on the whole phrase.
A jedanaestgodišnjak, po jedan naglasak na cijelu frazu.
(Music)
A jedanaestgodišnjak, po jedan naglasak na cijelu frazu.
I don't know how we got into this position.
Ne znam kako smo došli do ovog položaja.
(Laughter)
Ne znam kako smo došli do ovog položaja.
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.
Nisam rekao da ću pomaknuti svoje rame, svoje tijelo. No, glazba me pogurala, i zato ju zovem sviranje "na pola guze".
(Music)
(Klavir)
It can be the other buttock.
Može biti i na drugoj polovici.
(Music)
(Klavir)
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."
Jedan gospodin je gledao moju prezentaciju dok sam radio s mladim pijanistom. Bio je predsjednik tvrtke u Ohiou. I radio sam s tim mladim pijanistom i rekao, "Tvoj problem je da sviraš s cijelom guzom. Trebao bi svirati s jednom polovicom." I dok je svirao, ovako sam mu pomaknuo tijelo. I odjednom je glazba krenula. Poletjela. Publika je uzdahnula kada je čula razliku. I tada sam dobio pismo od tog gospodina. Rekao je, "Bio sam toliko dirnut. Vratio sam se i preokrenuo cijelu svoju tvrtku u tvrtku na pola guze."
(Laughter)
(Smijeh)
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.
Druga stvar koju sam htio napraviti je pričati vam o vama. Vjerujem da je ovdje 1600 ljudi. Moja procjena je da vjerojatno vas 45 strastveno voli klasičnu glazbu. Obožavate klasičnu glazbu. Vaš je radio uvijek na stanici klasične glazbe. Imate CD-e u svom autu, odlazite slušati simfonije. Vaša djeca sviraju. Ne možete zamisliti svoj život bez klasične glazbe. To je prva grupa, prilično je mala. Onda postoji druga, veća grupa. To su osobe kojima ne smeta klasična glazba.
(Laughter)
(Smijeh)
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 ...
Znate, dođete doma nakon dugog dana uzmete čašu vina i stavite noge na stol. Malo Vivaldija u pozadini ne škodi. (Smijeh) To je druga grupa. Sada slijedi treća grupa. To su ljudi koji nikad ne slušaju klasičnu glazbu. Jednostavno nije dio njihovog života. Možda ju čujete kao što osjetite tuđi dim cigarete na aerodromu, ali --
(Laughter)
(Smijeh)
-- 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.
-- i možda malo marša iz Aide kada uđete u dvoranu. No inače, nikad ju ne čujete. To je vjerojatno najveća grupa. I onda postoji jedna vrlo mala grupa.
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."
To su ljudi koji misle da nemaju sluha. Nevjerojatan broj osoba misli da nemaju sluha. Zapravo, često čujem, "Moj muž nema sluha." (Smijeh)
(Laughter)
Zapravo, ne možete biti bez sluha. Nitko to nije.
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.
Kada ne biste imali sluha, ne biste mogli promijeniti brzine u autu s ručnim mjenjačem. Ne biste razlikovali govor nekoga iz Teksasa i nekoga iz Rima. I telefon. Telefon. Ako vaša majka nazove na taj jadni telefon, nazove i kaže "Halo", ne samo da znate tko zove, već i kakvog je raspoloženja. Imate fantastično uho. Svatko ima fantastično uho. I nitko nije bez sluha.
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.
No reći ću vam. Nema svrhe ovako nastaviti s tako velikim ponorom između onih koji razumiju, strastveno vole klasičnu glazbu, nemaju nikakve veze. Ljudi bez sluha, oni više nisu ovdje. No čak i između ostalih triju kategorija, razlika je prevelika. Zato neću nastaviti dok svaka pojedina osoba u ovoj dvorani, dolje i gore, i svatko tko ovo gleda, ne zavoli i ne počne razumijevati klasičnu glazbu. To ćemo napraviti.
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."
Naravno, primjećujete da u mojim mislima ni na mome licu nema ni najmanje sumnje da će ovo upaliti, zar ne? To je jedno od svojstava vođe: da ne posumnja, ni jedan trenutak, u mogućnosti osoba koje vodi kako bi ostvario bilo što o čemu sanja. Zamislite da je Martin Luther King rekao, "Ja sanjam. Naravno, nisam siguran da će biti tome dorasli."
(Laughter)
(Smijeh)
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.
U redu. Uzet ću jedno Chopinovo djelo. Ovo je prekrasan Chopinov preludij. Neki od vas ga znaju.
(Music)
(Glazba)
Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds."
Znate li što mislim da se vjerojatno dogodilo u ovoj sobi? Kada sam počeo, pomislili ste, "Kako divno ovo zvuči."
(Music)
(Glazba)
"I don't think we should go to the same place for our summer holidays next year."
"Mislim da ne bismo trebali ići na isto mjesto na ljetovanje iduće godine."
(Laughter)
(Smijeh)
It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course --
Smiješno je, zar ne? Smiješno je kako te misli nekako dolepršaju u naš um. I naravno -- (Pljesak)
(Applause)
-- i naravno, ako je djelo dugačko i imali ste težak dan,
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.
doista biste mogli odlutati. Tada će vas vaša pratnja gurnuti laktom u rebra i reći, "Budi se! To je kultura!" I tada se osjećate još gore.
(Laughter)
No je li vam ikad palo na pamet da razlog što se osjećate pospano
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.
uz klasičnu glazbu niste vi, već mi? Je li itko pomislio da dok sam svirao, "Zašto toliko naglašava tonove?" Da sam to radio pokretima glave sigurno biste to pomislili.
(Music)
(Glazba)
(Music ends)
I do kraja života, svaki puta kada čujete klasičnu glazbu
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.
znat ćete čujete li ta naglašavanja. Pa da vidimo što se zapravo ovdje događa.
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?
Imamo ton H. Ovo je H. Sljedeća nota je C. Posao note C je učiniti notu H tužnom. To i čini, zar ne? (Smijeh)
(Laughter)
Skladatelji to znaju. Ako žele tužnu glazbu
Composers know that. If they want sad music, they just play those two notes.
oni samo odsviraju ta dva tona.
(Music)
(Glazba)
But basically, it's just a B, with four sads.
No u osnovi, to je samo H s tužnim uvodom.
(Laughter)
(Smijeh)
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?
E, sad se spušta na A. Pa na G, pa na F. Tako imamo H, A, G, F. I ako imamo H, A, G, F, što sljedeće očekujemo? Oho, pa to bi mogla biti puka sreća.
(Music)
That might have been a fluke. Let's try it again.
Probajmo opet. O, TED zbor.
(Music)
Oh, the TED choir.
(Smijeh)
(Laughter)
I primijetili ste da svi imate sluha, zar ne? Svi.
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.
Znate, svako selo u Bangladešu i svako seoce u Kini. Svi znaju: da, da, da, da -- da. Svi znaju tko očekuje taj E. E sad, Chopin nije htio tu doći do tona E,
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.
jer što bi se dogodilo? Bio bi kraj, kao u Hamletu. Sjećate se Hamleta? 1. čin, 3. prizor: otkriva da je njegov ujak ubio svog oca. Sjećate se kako nastavlja ići svom ujaku i skoro ga ubija. I tada se povlači i odlazi opet i ponovno ga zamalo ubija. I kritičari, koji svi sjede tamo u zadnjem redu, oni moraju imati mišljenje, kažu, "Hamlet odugovlači." (Smijeh) Ili kažu, "Hamlet ima Edipov kompleks." Ne, jer inače bi predstava bila gotova, glupani!
(Laughter)
Zato Shakespeare stavlja sve te stvari u Hamleta.
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.
Znate, Ofelija koja ludi i predstava unutar predstave, i Yorikova lubanja, kopači grobova. To je radi zavlačenja -- do 5. čina kada ga može ubiti. Isto je i sa Chopinom. Taman se sprema doseći E,
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.
kada kaže, "Oops, bolje da se vratim gore i ponovno to napravim." Pa to ponovi. Sad se zanese -- to je uzbuđenje,
(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."
ne trebate se brinuti oko toga. Sada konačno dođe do F# i krene na E, no to je krivi akord. Jer akord kojeg traži je ovaj, i umjesto toga on napravi ... sad, mi to nazivamo deceptivnom kadencom jer nas je prevarila. Uvijek kažem svojim studentima, "Ako imate deceptivnu kadencu obavezno podignite svoje obrve kako bi svi to znali." (Smijeh)
(Laughter)
(Pljesak)
(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."
U redu. Tako on dođe do E, no to je krivi akord. Sada pokuša E ponovno. Taj akord nije dobar. Sada pokuša ponovno s E. Taj akord ne valja Sada pokuša E ponovno, to nije dobro. I tada konačno ... U prvom je redu gospodin napravio, "Mmm".
(Laughter)
To je ista gesta koju napravi kada dođe kući
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.
nakon dugog dana, izvadi ključ iz auta i kaže, "Aah, stigao sam doma." Jer svi znamo gdje nam je dom. Tako je ovo djelo koje ide izdaleka do doma.
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.
I odsvirat ću ga cijelog a vi ćete slijediti. H, C, H, C, H, C, H -- dolje na A, dolje na G, dolje na F. Skoro na E, no u tom slučaju svirka je završena. Ide natrag na H, vrlo se uzbudi. Dolazi na F#. Dolazi na E. Krivi akord. Krivi akord. Krivi akord. I konačno dođe do E, i doma je. A vi ćete vidjeti - sviranje na pola guze. (Smijeh)
(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.
Jer za mene, kako bih združio ton H s E, moram prestati razmišljati o svakoj noti na putu i početi razmišljati o dugom nizu od H do E.
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.
Znate, upravo smo bili u Južnoj Africi, i ne možete otići u Južnu Afriku bez da mislite na Mandelu 27 godina u zatvoru. O čemu je razmišljao? O ručku? Ne, razmišljao je o viziji za južnu Afriku i za ljudska bića. To ga je držalo -- radi se o viziji, o dugom nizu. Kao ptica koja leti preko polja i ne zamara se ogradama ispod sebe, u redu? I sad ćete slijediti niz cijelim putem od H do E. Imam posljednju molbu prije nego odsviram ovo djelo od početka do kraja Hoćete li zamisliti o nekoga koga volite, a tko više nije ovdje? Voljenu baku, ljubav, nekoga u vašem životu koga volite svim srcem, no ta osoba nije više s vama. Donesite ju u misli, i u isto vrijeme slijedite niz cijelim putem od H do E, i čut ćete sve što je Chopin imao reći.
(Music)
(Glazba)
(Music ends)
(Applause)
(Pljesak)
Now, you may be wondering --
Sad, možda se pitate,
(Applause)
možda se pitate zašto ja plješćem.
(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."
Pa, napravio sam to u školi u Bostonu s oko 70 sedmaša -- 12-godišnjaka. Napravio sam isto što i ovdje, i rekao sam im i objasnio sam im cijelu priču. I na kraju su poludjeli, plješćući. Oni su pljeskali. Ja sam pljeskao. Oni su pljeskali. Konačno, rekao sam, "Zašto ja plješćem?" A jedan od klinaca je rekao, "Zato jer smo mi slušali."
(Laughter)
A jedan od klinaca je rekao, "Zato jer smo mi slušali."
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.
Razmislite. 1600 osoba, zaposlenih osoba, bave se svim mogućim stvarima. Slušaju, shvaćaju i dirnuti su Chopinovim djelom. To je već nešto. E sad, jesam li siguran da je svaka osoba to slijedila, shvatila i bila dirnuta. Naravno, ne mogu biti siguran. No reći ću vam što mi se dogodilo.
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 ..."
Bio sam u Irskoj tijekom nereda prije deset godina, i radio sam s katoličkom i protestantskom djecom na rješavanju sukoba. I napravio sam ovo s njima. Riskantan potez za napraviti jer su to bila djeca s ulice. I jedan mi je od njih došao sljedeće jutro i rekao, "Znate, nikad u životu nisam slušao klasičnu glazbu, ali kad ste odsvirali to djelo od shoopinga..." (Smijeh)
(Laughter)
Rekao je, "Moj brat je ubijen prošle godine, a ja nisam plakao za njim.
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.
Ali zadnje noći, kad ste to odsvirali, on je bio onaj o kome sam razmišljao. I osjetio sam kako mi suze teku niz lice. I znate, osjećao sam se doista dobro plaćući zbog brata." U tom sam trenutku odlučio da je klasična glazba za svakoga. Svakoga.
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.
E sad, kako biste vi hodali -- jer, znate, moja profesija, glazbena profesija to ne gleda na taj način. Oni kažu da 3% populacije voli klasičnu glazbu. Kada bismo to samo mogli povećati na 4%, naši bi problemi nestali.
(Laughter)
Ja kažem, "Kako biste vi hodali? Govorili? Živjeli
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.
kada biste mislili da 3% populacije voli klasičnu glazbu? Kada bismo to pomaknuli na 4%. Kako biste hodali? Govorili? Kako živjeli kada biste pomislili da svi vole klasičnu glazbu -- samo što to još ne znaju." (Smijeh) Vidite, to su potpuno različiti svjetovi.
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 --
Imao sam nevjerojatno iskustvo. Bilo mi je 45 godina, dirigirao sam 20 godina, i odjednom shvatio. Dirigent orkestra ne proizvodi zvuk. Moja se slika pojavi na naslovnici svakog CD-a --
(Laughter)
(Smijeh)
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.
-- ali dirigent ne proizvodi zvuk. Njegova snaga ovisi o njegovoj mogućnosti da druge osobe učini snažnima. I za mene se sve promijenilo. Bila je to potpuna promjena života. Osobe u mom orkestru su mi došle i rekle, "Bene, što se dogodilo?" Eto, to se dogodilo. Shvatio sam da je moj posao probuditi mogućnost u drugim ljudima. I naravno, htio sam znati činim li to. I znate kako to saznate? Pogledate u njihove oči. Ako se njihove oči sjaje, znate da vam to uspjeva. Mogli biste osvijetliti selo s očima ovog čovjeka.
(Laughter)
Mogli biste osvijetliti selo s očima ovog čovjeka.
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.
Točno. Dakle, ako oči sjaje, znate da vam to polazi za rukom. Ako oči ne sjaje, trebate si postaviti pitanje. A pitanje je: Tko sam ja sada da oči mojih svirača ne sjaje? Možemo to primijeniti i na našu djecu. Tko sam ja sada da oči moje djece ne sjaje? To je potpuno drugačiji svijet.
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.
Pri kraju smo ovog čarobnog tjedna na planini, i vraćamo se natrag u svijet. I kažem, prikladno je da se zapitamo ovo pitanje: Tko smo mi dok se vraćamo u svijet? Znate, imam definiciju uspjeha. Za mene je to vrlo jednostavno. Ne radi se o bogatsvu, slavi i moći. Već o tome koliko sjajnih očiju imam oko sebe.
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.
Imam zadnju misao, koja glasi ono što govorimo doista čini razliku. Riječi koje izlaze iz naših usta. Naučio sam to od žene koja je preživjela Auschwitz, jedna od rijetkih preživjelih. Odvedena je u Auschwitz kada joj je bilo 15 godina, njenom bratu 8, a roditelji su nestali. I rekla mi je ovo, "Bili smo u vlaku koji je vozio u Auschwitz, pogledala sam i vidjela da moj brat nema cipele. I rekla sam mu, "Kako si tako glup, zar se ne možeš brinuti za svoje stvari, za Boga miloga?" -- na način kako starija sestra razgovara s mlađim bratom. Nažalost, bile su to zadnje riječi koje mu je ikad rekla jer ga nikada više nije vidjela. Nije preživio. Kad je izašla iz Auschwitza, zavjetovala se. Povjerila mi je to. Rekla je, "Izašla sam iz Auschwitza u život i zavjetovala se. Zavjet je bio, nikad neću reći ništa što ne bi mogle biti posljednje riječi koje ću ikad reći." E sad, možemo li to? Ne. I činit ćemo zlo sebi i zlo drugima. No to je mogućnost koju možemo živjeti. Hvala vam.
Thank you.
(Applause)
(Pljesak)
Shining eyes.
Sjajne oči, sjajne oči.
(Applause)
Shining eyes.
(Applause)
Thank you, thank you.
Hvala vam, hvala.