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."
Verovatno dosta vas zna priču o dvojici prodavaca koji su otišli u Afriku 1900-ih. Poslali su ih da ustanove da li postoji mogućnost za prodaju cipela. Odgovorili su telegramima Manchester-u. Jedan je napisao: "Očajna situacija. Stop. Ne nose cipele." Drugi je napisao: "Fantastična prilika. Još uvek nemaju cipele."
(Laughter)
(Smeh)
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.
U svetu klasične muzike situacija je slična, jer ima ljudi koji veruju da klasična muzika umire. Takođe ima nas koji verujemo da još ništa niste videli Radije nego da se upuštam u statistike i trendove i da vam pričam o orkestrima i izdavačkim kućama koji prestaju sa radom, mislio sam da izvedemo eksperiment večeras - eksperiment U stvari to nije eksperiment pošto ja znam ishod.
(Laughter)
But it's like an experiment. Now, before we start --
Ali jeste kao eksperiment. Pre nego što -- (Smeh)
(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.
-- pre nego što počnemo moram da uradim dve stvari. Prva, želim da vas podsetim kako sedmogodišnje dete zvuči dok svira klavir. Možda imate to dete kod kuće. Zvuči otprilike ovako.
(Music)
(Klavir)
(Music ends)
Vidim neki od vas prepoznaju dete.
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.
Ako vežba godinu dana i ide na časove, sad ima osam godina i ovako svira.
(Music)
(Klavir)
(Music ends)
Onda vežba još godinu dana i ide na časove; i sad ima devet
He practices for another year and takes lessons -- he's nine.
(Music)
(Klavir)
(Music ends)
Onda vežba još godinu i ide na časove; sad ima 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.
Tad obično odustanu.
(Laughter)
(Smeh)
(Applause)
(Aplauz)
Now, if you'd waited for one more year, you would have heard this.
Da ste čekali, da ste sačekali 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.
Ono što se desilo možda nije ono što ste očekivali, to jest, odjednom je postao strastven, zaokupljen, angažovan, našao novog nastavnika, ušao u pubertet, ili šta već. Šta se u stvari desilo jeste da su se naglasci smanjili. Vidite, prvi put je svirao sa naglaskom na svakoj noti.
(Music)
(Klavir)
And the second, with an impulse every other note.
Drugi sa naglaskom na svakoj drugoj.
(Music)
(Klavir)
You can see it by looking at my head.
To možete da uočite gledajući moju glavu.
(Laughter)
(Smeh)
The nine-year-old put an impulse on every four notes.
Devetogodišnjak, devetogodišnjak je stavljao naglasak na svaku četvrtu notu.
(Music)
(Klavir)
The 10-year-old, on every eight notes.
I desetogodišnjak na svaku osmu notu.
(Music)
(Klavir)
And the 11-year-old, one impulse on the whole phrase.
I jedanaestogodišnjak, jedan naglasak na celu frazu.
(Music)
(Klavir)
I don't know how we got into this position.
Znam - ne znam kako smo došli do ove pozicije.
(Laughter)
(Smeh)
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 pomeriti rame, pomeriti telo. Ne, muzika me je pregurala, zato ja to zovem sviranje na jednom guzu.
(Music)
(Klavir)
It can be the other buttock.
Može biti i na drugom guzu.
(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."
Znate, jedan gospodin je jednom gledao prezentaciju koju sam izvodio dok sam radio sa jednim mladim pijanistom. Bio je predsednik jedne korporacije u Ohaju (Ohio). I dok sam radio sa tim mladim pijanistom rekao sam, "Nezgoda sa tobom je što si ti dvoguzni svirač. Trebalo bi da budeš jednoguzni svirač." I tako sam mu pomerio telo dok je svirao. Odjednom je muzika zaživela. Poletela je. Publika je izgubila dah kad je čula razliku. I onda sam dobio pismo od tog gospodina. Rekao je, "Toliko sam bio potresen. Vratio sam se i pretvorio moju celu kompaniju u jednoguznu kompaniju."
(Laughter)
(Smeh)
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 hteo da uradim je da vam pričam o vama. Verujem da je ovde 1600 ljudi. Mojom procenom verovatno vas 45 strasno voli klasičnu muziku. Obožavate klasičnu muziku, Vaš je radio uvek na stanici klasične muzike, imate CD-e u svom autu, idete da slušate simfonije. Vaša deca sviraju. Ne možete da zamislite svoj život bez klasične muzike. To je prva grupa, prilično je mala. Onda postoji druga, veća grupa. To su osobe kojima ne smeta klasična muzika.
(Laughter)
(Smeh)
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 kući nakon dugog dana uzmete čašu vina i dignete noge na sto. Malo Vivaldija u pozadini ne smeta. (Smeh) To je druga grupa. Sada sledi treća grupa. To su ljudi koji nikad ne slušaju klasičnu muziku. Jednostavno nije deo njihovog života. Možda je čujete kao što osetite dim tuđe cigare na aerodromu, ali --
(Laughter)
(Smeh)
-- 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. Inače, nikad je ne čujete. To je verovatno 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. Neverovatan broj ljudi misli da nema sluha. U stvari, često čujem, "Moj muž nema sluha." (Smeh)
(Laughter)
U stvari, ne možete da budete bez sluha. Niko 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.
Kad ne biste imali sluha, ne biste mogli da promenite brzine u autu sa ručnim menjačem. 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 ko zove, već i kakvog je raspoloženja. Imate fantastično uvo. Svako ima fantastično uvo. I niko 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.
Ali reći ću vam. Nema svrhe nastaviti ovako sa tako velikim jazom između onih koji razumeju, i strasno vole klasičnu muziku, i onih koji sa njom nemaju nikakve veze. Ljudi bez sluha, oni više nisu ovde. Ali čak i između preostale tri kategorije je razlika prevelika. Zato neću nastaviti dok svaka pojedinačna osoba u ovoj dvorani, dole i u Aspenu i svako ko ovo gleda, ne zavoli i ne počne da razume klasičnu muziku. To ćemo uraditi.
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, primećujete da ni u mojim mislima ni na mom licu nema ni najmanje sumnje da će ovo uspeti, zar ne? To je jedna od karakteristika vođe da ne posumnja, ni u jednom trenutku, u sposobnosti osoba koje vodi kako bi ostvario sve o čemu sanja. Zamislite da je Martin Luther King rekao, "Ja imam san. Naravno, nisam baš siguran da ste tome dorasli."
(Laughter)
(Smeh)
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. Uzeću jedno Šopenovo (Chopin) delo. Ovo je predivan Šopenov uvod. Neki od vas ga znaju.
(Music)
(Muzika)
Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds."
Da li znate šta mislim da se dogodilo u ovoj sobi? Kad sam počeo, pomislili ste, "Kako ovo divno zvuči."
(Music)
(Muzika)
"I don't think we should go to the same place for our summer holidays next year."
"Mislim da ne treba da idemo na isto mesto na letovanje sledeće godine."
(Laughter)
(Smeh)
It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course --
Smešno, zar ne? Smešno je kako se te misli nekako umuvaju u naš glavu. I naravno -- (Aplauz)
(Applause)
-- i naravno, ako je delo 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.
mogli biste i zadremati. Tada će vas vaša pratnja gurnuti laktom u rebra i reći, "Budi se! To je kultura!" I tada se osećate još gore.
(Laughter)
Da li vam je ikada palo na pamet da razlog što se osećate 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 muziku niste vi, nego mi? Da li je iko pomislio dok sam svirao, "Zašto toliko naglašava tonove?" Da sam to radio pokretima glave sigurno biste to pomislili.
(Music)
(Muzika)
(Music ends)
I do kraja života, svaki put kada čujete klasičnu muziku
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.
znaćete da čujete ta naglašavanja. Da vidimo šta se ovde stvarno dešava.
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. Sledeća nota je C. Posao note C je da ušini notu H tužnom. Uspeva joj, zar ne? (Smeh)
(Laughter)
Kompozitori to znaju. Ako žele tužnu muziku
Composers know that. If they want sad music, they just play those two notes.
oni samo odsviraju ta dva tona.
(Music)
(Muzika)
But basically, it's just a B, with four sads.
Ali suštinski, to je samo H sa četri tuge.
(Laughter)
(Smeh)
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, šta sledeće očekujemo? Oh, pa to je možda bila slučajnost.
(Music)
That might have been a fluke. Let's try it again.
Probajmo opet. Uuu, TED hor.
(Music)
Oh, the TED choir.
(Smeh)
(Laughter)
I primetili 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 ko očekuje taj E. E sad, Šopen nije tad hteo da dođe 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 šta bi se dogodilo? Bio bi kraj, kao u Hamletu. Sećate se Hamleta? 1. čin, 3. scena: otkriva da mu je ujak ubio oca. Sećate se kako nastavlja da ide svom ujaku i skoro ga ubija. I onda se povlači i odlazi opet i ponovno ga zamalo ubija. I kritičari, koji svi sede tamo u zadnjem redu, oni moraju da imaju mišljenje, zato kažu, "Hamlet odugovlači." (Smeh) Ili kažu, "Hamlet ima Edipov kompleks." Ne, jer inače bi predstava bila gotova, glupane!
(Laughter)
Zato Šekspir 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 u predstavi, i Jorikova lobanja, kopači grobova. To je radi razvlačenja -- do 5. čina kada može da ga ubije. Isto je i sa Šhopenom. Taman se spremi da dođe do 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, "Uups, bolje da se vratim gore i to ponovim." 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 treba da se brinete oko toga. Sada konačno dođe do F# i krene na E, ali to je pogrešan akord. Jer akord koji traži je ovaj i umesto njega on odsvira... e sad, mi to zovemo deceptivnom kadencom jer nas je prevarila. Uvek kažem svojim studentima, "Ako imate deceptivnu kadencu obavezno podignite svoje obrve kako bi svi to znali." (Smeh)
(Laughter)
(Aplauz)
(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, ali to je pogrešan akord. Sada proba E ponovno. Taj akord nije dobar. Sada proba ponovo sa E. Ali ni taj ne valja. Sada pokuša E ponovo, to nije dobro. I onda konačno ... U prvom je redu gospodin uzdahnuo, "Mmm".
(Laughter)
To je isti gest koji napravi kad 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 teškog dana, izvadi ključ iz auta i kaže, " Aah, stigao sam kući." Jer svi znamo gde nam je kuća. Tako ovo delo ide izdaleka do kuće
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 odsviraću ga celog, a vi pratite. H, C, H, C, H, C, H -- dole na A, dole na G, dole na F. Skoro na E, ali u tom slučaju bi komad bio gotov. Vraća se na H. Uzbuđuje se. Dolazi na F#. Dolazi na E. Pogrešan akord. Pogrešan akord. Pogrešan akord. I konačno dođe do E i kod kuće je. A vi ćete videti sviranje na jednom guzu. (Smeh)
(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 spojio notu H sa E, moram da prestanem da razmišljam o svakoj noti na putu i da počnem da razmišljam o dugom, 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 da odete u Južnu Afriku, a da ne mislite o Mandeli u zatvoru 27 godina. 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 razmišlja o ogradama ispod sebe, u redu? I sad ćete pratiti niz celim putem od H do E. Imam poslednju molbu pre nego što odsviram ovo delo od početka do kraja Hoćete li zamisliti nekoga koga obožavate, a nije više tu? Voljenu baku, ljubav, nekoga u vašem životu koga volite svim srcem, ali ta osoba nije više sa vama. Ponesite je u mislima i u isto vreme pratite niz celim putem od H do E, i čućete sve što je Šopen hteo reći.
(Music)
(Muzika)
(Music ends)
(Applause)
(Aplauz)
Now, you may be wondering --
Možda se pitate,
(Applause)
možda se pitate zašto ja tapšem.
(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, to sam uradio u školi u Bostonu sa oko 70 sedmaka -- 12-godišnjaka. Uradio sam isto što i ovde i rekao sam im i objasnio celu priču. I na kraju su poludeli, tapšući. Oni su tapšali. Ja sam tapšao. Oni su tapšali. Na kraju, rekao sam, "Zašto ja tapšem?" A jedno dete je reklo, "Zato što smo mi slušali."
(Laughter)
(Smeh)
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 o tome. 1600 osoba, zauzetih osoba, angažovanih na raznim različitim stvarima. Slušaju, razumeju i dirnuti su Šopenovim delom. To je već nešto. E sad, jesam li siguran da je svaka osoba pratila, shvatila i bila dirnuta. Naravno, ne mogu da budem siguran. Ali ću vam reći šta 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 tokom nereda pre deset godina, i radio sam sa katoličkom i protestantskom decom na rešavanju sukoba. I ovo sam uradio sa njima. To je bio riskantan potez jer su to bila deca sa ulice. I jedan od njih mi je prišao sledećeg jutra i rekao, "Znate, nikad u životu nisam slušao klasičnu muziku, ali kad ste odsvirali to Shopping delo..." (Smeh)
(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 sinoć kad ste odsvirali to delo, on je bio taj o kome sam razmišljao. I osetio sam kako mi suze teku niz lice. I znate, osećao sam se stvarno dobro plačući za brata." U tom sam trenutku odlučio da je klasična muzika za sve ljude. Sve.
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, muzička profesija to ne gleda na taj način. Oni kažu da 3% populacije voli klasičnu muziku. Kada bi smo to samo mogli da povećamo na 4%, naši problemi bi nestali.
(Laughter)
Ja kažem, "Kako bi ste vi hodali? Govorili? Bili
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 bi ste mislili da 3% populacije voli klasičnu muziku? Kada bi smo to samo mogli da povećamo na 4%. Kako biste hodali? Govorili? Bili, kada biste mislili da svi vole klasičnu muziku -- samo što to još ne znaju." (Smeh) Vidite, to su potpuno različiti svetovi.
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 neverovatno iskustvo. Imao sam 45 godina, dirigovao sam 20 godina i odjednom došao do saznanja. Dirigent orkestra ne proizvodi nijedan zvuk. Moja se slika pojavi na naslovnoj strani CD-a --
(Laughter)
(Smeh)
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 nijedan zvuk. Njegova snaga zavisi od njegove sposobnosti da druge osobe učini moćnim. I to mi je sve promenilo. Bila je to potpuna promena života. Osobe u mom orkestru su mi došle i rekle, "Bene, šta se dogodilo?" Eto, to se dogodilo. Shvatio sam da je moj posao da probudim sposobnosti u drugim ljudima. I naravno, hteo sam da saznam da li to radim. I znate kako to da saznate? Pogledajte im u oči. Ako im se oči sjaje, znajte da uspeva. Možete da osvetlite selo sa očima ovog čoveka.
(Laughter)
(Smeh)
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.
Dakle, ako oči sjaje, znajte da vam uspeva. Ako oči ne sjaje, morate da sebi postavite pitanje. A pitanje je: Ko sam ja sada da oči mojih svirača ne sjaje? To možemo primeniti i na našu decu. Ko sam ja sada da oči moje dece ne sjaje? To je potpuno drugačiji svet.
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 ove čarobne nedelje na planini i vraćamo se nazad u svet. I kažem vam, odgovara da se zapitamo: Ko smo mi dok se vraćamo u svet? Znajte, imam definiciju uspeha. Za mene je vrlo jednostavno. Ne radi se o bogatstvu i 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 poslednju misao, koja glasi ono što govorimo stvarno pravi razliku. Reči koje izlaze iz naših usta. Naučio sam to od žene koja je preživela Aušvic, jedna od retkih preživelih. Odvedena je u Aušvic kada joj je bilo 15 godina, njenom bratu 8, a roditelji su nestali. I ovo mi je ispričala, "Bili smo u vozu koji je išao u Aušvic, pogledala sam i videla da moj brat nema cipele. I rekla sam mu, "Kako si tako glup, zar ne možeš da se brineš o svojim stvarima, Gospode bože?" -- na način na koji starija sestra razgovara sa mlađim bratom. Nažalost, to su bile poslednje reči koje mu je ikada rekla jer ga nikada više nije videla. Nije preživeo. Kad je izašla iz Aušvica, zavetovala se. Poverila mi se. Rekla je, "Izašla sam iz Aušvica u život i zavetovala se. Zavet je bio, nikad neću reći ništa što ne bi mogle biti poslednje reči koje ću ikada reći." E sad, da li je to izvodljivo? Ne. I postali bi smo loši i drugi takođe. Ali to je mogućnost da proživimo. Hvala vam.
Thank you.
(Applause)
(Aplauz)
Shining eyes.
Sjajne oči, sjajne oči.
(Applause)
Shining eyes.
(Applause)
Thank you, thank you.
Hvala vam, hvala.