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."
Ko'pchiligingiz bu ikki savdogar haqidagi hikoyani bilsangiz kerak ular 1900 chi yillarda Afrikaga borishadi. Ularning maqsadi u yerda oyoq kiyim sotish uchun imkoniyat bor yoki yo'qligini aniqlash edi. Va ular Manchesterga javob telegramma yuboradi. Ularning biri shunday yozadi: " Bu yerda umid yo'q. Nuqta. Bular oyoq kiyim kiymas ekan." Va ikkinchisi esa shunday yozadi: " Juda zo'r imkoniyat. Bularda hali oyoq kiyim yo'q ekan."
(Laughter)
(Kulgi)
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.
Hozirda mumtoz musiqa dunyosida shunga o'xhshash holat, chunki ba'zi odamlar mumtoz musiqa yo'qolib borayapti deb o'ylaydi. Va oramizda ba'zilarimiz siz hali hech narsa ko'rmagansiz deb o'ylaymiz. Hisobotlar va qaysi yo'nalishda ketayotganimiz, orkestrlar yopilishi, va musiqa kompaniyalarining qisqarishi haqida gapirgandan ko'ra, men bugun bir tajriba o'tkazsak deyman- tajriba. Aslida, bu haqiqiy tajriba emas, chunki men natijasini bilaman.
(Laughter)
But it's like an experiment. Now, before we start --
Lekin bu huddi tajribaday. Endi, boshlashdan oldin- (Kulgi)
(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.
-avvalambor ikkita narsadan boshlashimiz kerak. Birinchisi, men sizga yetti yashar bola pianinoni qanday o'ynashini eslatmoqchiman. Balki uyingizda shunday bola bordir. U bunday o'ynaydi.
(Music)
(Pianino)
(Music ends)
Ba'zi birlaringizga bu tanish.
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.
Agar u yana bir yil mashq qilsa, sakkiz yoshda endi u bunday o'ynaydi.
(Music)
(Pianino)
(Music ends)
U yana bir yil darslar olib mashq qiladi, va endi u to'qqiz yoshda.
He practices for another year and takes lessons -- he's nine.
(Music)
(Pianino)
(Music ends)
Keyin u yana bir yil mashq qiladi, u endi o'n yoshda.
Then he practices for another year and takes lessons -- now he's 10.
( Pianino)
(Music)
(Music ends)
At that point, they usually give up.
Mana shu paytda ular odatda musiqa chalishni to'xtatadi.
(Laughter)
(Kulgi)
(Applause)
(Qarsaklar)
Now, if you'd waited for one more year, you would have heard this.
Agar siz yana bir yil kutganingizda,
(Music)
mana buni tinglagan bo'lar edingiz:
(Music ends)
(Pianino)
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.
Bu siz o'ylganingiz emas, unda birdan ishtiyoq va qiziqish paydo bo'lgani yo'q, yoki yangi o'qtuvchi olgani yo'q, yoki ulg'ayib qolgani va boshqa sabablar ham emas. Aslida o'zgarish shundaki uning impluslari, yani urg'u berishi kamaydi Birinch marta o'ynaganida u har bir notaga urg'u berib chalgandi.
(Music)
(Pianino)
And the second, with an impulse every other note.
Ikkinchi martasida esa har ikki notaga bir urg'u beradi.
(Music)
(Pianino)
You can see it by looking at my head.
Buni mening boshimga qarab bilasiz.
(Laughter)
(Kulgi)
The nine-year-old put an impulse on every four notes.
To'qqiz yashar, to'qqiz yashar esa urg'uni har to'rtta notaga bir beradi.
(Music)
(Pianino)
The 10-year-old, on every eight notes.
Va o'n yashar esa har sakkiz notaga bir urg'u beradi.
(Music)
(Pianino)
And the 11-year-old, one impulse on the whole phrase.
Va 11-yashar esa butun qismni bir urg'u bilan o'ynaydi.
(Music)
(Pianino)
I don't know how we got into this position.
Men tanam bunday holatga qanday kelib qolganini bilmayman
(Laughter)
(Kulgi)
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.
Men, birnichi, yelkamni keyin tanamni bir tomonga yonbo'stiraman deganim yo'q. Yo'q, bu musiqa meni siljitdi, men buni bir bo'ksada o'ynash deyman.
(Music)
(Pianino)
It can be the other buttock.
yoki boshqa tomonga yonboshlasa bo'ladi.
(Music)
(Pianino)
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."
Bir kuni men yosh pianinochi bilan ishlab ko'rsatayotgan taqdimotimni bir kishi kuzatib turgandi. U Ohayo shtatidagi bir korporatsiyaning prezidenti edi. Va men yosh pianinochiga shunday dedim " sening muammong shundaki sen ikkala bo'ksang bilan o'ynayapsan. Sen bir bo'ksada o'ynashing kerak" Va u chalayotgan paytda men uning tanasini bir tomonga yonboshlatib siljitdim. Va birdaniga musiqa yuksalib ketdi.Go'yo qanot chiqarganday. Tomoshobinlar farqni eshitgan zahoti hayajondan oh urishdi. Va keyin men o'sha kuzatib turgan kishidan xat oldim. U shunday deb yozdi: " Men shunchalik ta'sirlanib ketdimki, men qaytgach butun kompaniyamni bir bo'ksali kompaniyaga o'zgartirdim."
(Laughter)
(Kulgi)
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.
Men sizga aytmoqchi bo'lgan yana bir narsa bu Siz haqingizdadir. menimcha bu yerda 1600 odam bor. Menimcha orangizda 45 tangiz mumtoz musiqani juda katta ishtiyoq bilan yoqtiradi. Siz uni judayam yaxshi ko'rasiz. Radiongizni har doim mumtoz musiqa kanaliga buraysiz. Va mashinangizda Disklar bor, va siz simfoniya konsertlariga borasiz. Va sizning bolalaringiz ham musiqa asboblarini chaladi. Siz hayotingizni mumtoz musiqasiz tasavvur qilolmaysiz. Bu birinchi guruh; juda kichik guruh. Keyin sal kattaroq guruh bor. Bu odamlarga mumtoz musiqa xalaqit bermaydi.
(Laughter)
(Kulgi)
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 ...
siz uzun kun tugab uyga kelgach, vino ichib, oyog'ingizni ko'tarib o'tirganda Vivaldi musiqasi o'ynab tursa hech narsa qilmaydi. (Kulgi) Bu ikkinchi guruh. Yana uchinchi guruh bor. Bu odamlar hech qachon mumtoz musiqa tinglamaydi. Unga sizning hayotingizda umuman o'rin yo'q. siz uni aeroportlarda eshitishingiz mumkin, xuddi chekuvchilar yonida turib sigaret hidini hidlaganday- lekin
(Laughter)
(Kulgi)
-- 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.
balki atrofda chalinib turgan Aida marshidan biroz tinglarsiz. Lekin undan tashqari siz hech qachon uni tinglamaysiz. Bu balkim eng ko'pchlikdir. Va yana bir kichik guruh bor.
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."
Bu odamlar o'zlarida ohang yo'q deb o'ylaydi. Juda ajablanarli ko'pchilik o'zlarini ohangga moyil emas deb o'ylaydi. Aslida, men buni ko'p eshitaman: " Mening erimda musiqiy ohanglik yo'q" deyishadi. (Kulgi)
(Laughter)
Aslida sizda ohang bo'lmasligi mumkin emas. Heck him ohangsiz emas.
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.
Agar siz ohang farqiga bormaganingizda, mashinangizda qo'l bilan boshqarishni eplayolmagan bo'lardingiz. Siz Texaslik va Rimlik odamlarni gapirishidan farqini aytib berolmagan bo'lardingiz. Va telefonda, onangiz telefon qilsa va sizga "salom" desa, siz nafaqat uning kimligini bilasiz, balki uning kayfiyatini ham sezasiz. Sizning quloqlaringiz juda ajoyib. Hammaning quloqlari ajoyib. Shunday ekan, hammada ohangrabolik bor.
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.
Lekin sizga shuni aytay. Meni bu mumtoz musiqani yaxshi ko'radigan va unga umuman qiziqmaydigan odamlar soni orasidagi katta farq meni tinch qo'ymaydi va menda musiqiy ohangli quloq yo'q deydiganlar endi bu yerda yo'q. Baribir bu uchta guruh orasidagi farq juda katta. Shuning uchun men bu xonadagi har bir odamni uzoq yaqindagi, Aspenda turib bizni tomosha qilayotganlar va hamma hammani mumtoz musiqani sevadigan qilaman. Hozir mana shuning ustida ishlaymiz.
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."
Agar e'tibor bergan bo'lsangiz, mening hayolimda umuman shubha yo'q yuzimda bundan darak yo'q, to'g'rimi? Mana shu liderning ya'ni boshlovchi odamning belgisidir. ya'ni o'z orzusini odamlar amalga oshira olishiga bir zum ham shubhalanmaslikdir. Tasavvur qiling-a, Martin Luther King " Mening orzuim shuki. Va albatta , odamlarning bunga tayyorligiga shubham bor" desa
(Laughter)
( Kulgi)
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.
Xo'sh, endi Chopin yozgan musiqani chalay. Bu kompozitor Chopinning juda chiroyli musiqasi. Ba'zilaringiz bilarsiz.
(Music)
( Musiqa)
Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds."
Men sizga aytaymi bu yerda hozir nima bo'ldi? Men chalish boshlaganda, siz " bu naqadar go'zal" deb o'yladingiz
(Music)
( Musiqa)
"I don't think we should go to the same place for our summer holidays next year."
" Kelasi yil yozgi ta'tilda biz o'tgan yilgi joyga bormasak yaxshi bo'lardi"
(Laughter)
( Kulgi)
It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course --
Bu juda qiziq, shundaymi? Hayol qay tomonga boshlab ketishini qarang. Va albatta- ( qarsaklar)
(Applause)
va albatta, agar musiqa uzun bo'lsa va siz kun bo'yi charchagan
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.
bo'lsangiz, aslida bu sizni uyquga eltishi mumkin. Va sherigingiz sizni turtib " Uyg'onsangchi axir, bu madaniyat!" desa, siz o'zingizni undan ham yomon his qilasiz.
(Laughter)
Hech o'ylaganmisiz, siz mumtoz musiqa tinglaganda
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.
mizg'ib ketishingizga sabab sizda emas, balki bizda bo'lsachi? Men chalganimda, hech biringiz "u nega shuncha ko'p urg'u berib o'ynayaptimi "deb o'yladingizmi? Agar men buni boshim bilan ko'rsatganda, albatta e'tibor bergan bo'lardingiz.
(Music)
(Musiqa)
(Music ends)
Va endi umringiz oxirigacha, har safar mumtoz musiqa tinglaganda
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.
siz bu umpuls, urg'ularni seza oladigan bo'lasiz. Keling yaqindan ko'rib chiqaylik.
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?
Bizda B (bi) ohangi bor, Bu Bi, keyingi nota C (si). Sining vazifasi Bini homush qilishdir. Qarang-a! (Kulgi)
(Laughter)
Kompozitorlar buni biladi. Agar homush musiqa kerak bo'lsa
Composers know that. If they want sad music, they just play those two notes.
mana shu ikki notani o'ynashadi.
(Music)
(musiqa)
But basically, it's just a B, with four sads.
Aslida bu faqat Bi, 4 ta homush nota bilan.
(Laughter)
(Kulgi)
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?
Endi A (Ei) ga o'tamiz.Keyin G ( Dji) va keyin F (ef). Endi bizda, Bi, Ei, Dji, Ef, va yana bu B,A,G, F bo'lsa keyingisi nima bo'ladi? Oh, qaytadan harakat qilingchi.
(Music)
That might have been a fluke. Let's try it again.
Qani TED Xori, Ooh.
(Music)
Oh, the TED choir.
(Kulgi)
(Laughter)
Ko'rdingizmi? hammada ohangrabolik bor.
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.
Bangladeshning har bir qishlog'idan tortib Xitoyning har bir burchagidagi odamlar- hamma hamma buni biladi: ta-ta-ta-ta.. Hamma keyin E ( i) kelishini biladi. Endi Chopin E ( I) ga birdan yetib borgisi kelmaydi,
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.
chunki aks holda u tugab qoladi. Huddi Gamletga o'xshab. Gamletni eslaysizmi. 1 chi qism, 3 chi ko'rinishi: U tog'asi otasini o'ldirganini bilib qoladi. Eslasangiz u borib tog'asini o'ldirmoqchi bo'ladi yaqinlashadiyu, lekin yana orqaga qaytadi va u yana yaqinlashib, uni o'ldirmoqchi bo'ladi, lekin yana qaytadi. Va orqa qatorda o'tirgan tanqidchilar fikr bildirish kerak bo'lganda " Gamlet ishni orqaga qoldiradiganlardan" degan bo'lardi. (Kulgi) Yoki ular " Gamlet Edipus kasaliga uchragan" deydi. Yo'q, aks holda spektakl oxiriga yetgan bo'lardi.
(Laughter)
Shuning uchun Shekspir Gamlet spektakliga bu narsalarni qo'shgan.
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.
Yani Ofelianing aqldan ozishi, spektakl ichida spektakl Yorikning kallasi, go'r qazuvchilar, bularning bari o'ldirish sahnasini biroz ortga surib turish uchundir. Chopin ham shunday qiladi. Yani E notasiga yetay deganda
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.
u " qani bunga bir aylanib qaytib kelaychi " deydi shuning uchun u yana takrorlaydi. Endi u hayajonlanib ketadi- bu hayajon,
(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."
bu haqida qayg'urmay qo'ya qoling. Endi u keskin Ef (F) notaga o'tadi, va oxiri E -i notasiga yeta boshlaydi, lekin bu noto'g'ri nota, chunki u izlayotgani mana bu, va uning o'rniga u shuni chaladi... biz buni aldovchi qadam deymiz, chunki u bizni aldaydi. Men har doim talabalarimga shunday deyman: " Agar sizda aldovchi qadam bo'lsa, qoshalringizni bir ko'tarib qo'ying, shunda hamma biladi " (Kulgi)
(Laughter)
(Qarsaklar)
(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."
Endi u E (i) notasiga keladi, lekin bu noto'g'ri nota. Va u yana E ni chalib ko'radi. Lekin davomiylik yo'q. U yana E ni chaladi. U yana to'g'ri kelmaydi. Endi u yana E (i) notasini chalib ko'radi, yana to'g'ri kelmaydi. va oxiri.. mana bu birinchi qatordagi kishi " mmm..." deyishini ko'ring.
(Laughter)
U uzun kundan keyin uyiga kelib, mashinadan tushganida
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.
huddi shunday yengil tortadi. " Ahh..Men uydaman". Chunki biz hammamiz uy nimaligi bilamiz. Va mana bu yerda uzoqdan uyiga keladi.
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.
Va men boshidan boshlab chalaman va siz men bilan birga kuzating. B, Si, B, Si, B, Si, B- dan A gacha, va G (Dji) va F (ef) gacha. E ga boray boray deydi, lekin bormaydi, aks holda musiqa tugagan bo'lardi. Va u yana B (Bi) ga qaytadi. Va hayajonlanadi, keyin keskin F (ef) ga buriladi. Keyin E ( i) ga boradi. Bu noto'g'ri nota. Noto'g'ri nota. Noto'g'ri nota. va oxiri u E (i) ga keladi, huddi uyga kelganday. Va siz hozir bir bo'ksada yonboshlab chalishimga guvoh bo'lasiz. (Kulgi)
(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.
Chunki men Bi va E notalarini birlashtirishim uchun oradagi hamma notalar haqida alohida o'ylamasdan, balki Bi dan E gacha bo'lgan uzun yo'lni o'ylashim kerak.
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.
Bilasizmi, biz yaqinda Janubiy Afrikada bo'ldik, va Janubiy Afrikaga borganda Mandela 27 yil qamoqda bo'lganini o'ylamay qo'ymaysiz. U nima haqida o'ylagan ekan shuncha payt? Tushlik haqidami? Yo'q, u Janubiy Afrikaning kelajagini orzu qilgan va odamzot hayotini yaxshilashni o'ylagan. Ana shu narsa- uning orzulari va niyatlari uni maqsadiga yetkazdi. Bu o'sha uzun chiziqdir. Huddi qushlar uzun dalalar ustidan uchganday ular pastdagi devorlarga qaramaydi to'g'rimi? Va siz hozir men bilan B dan E notasigacha davomiylikni kuzatasiz. Boshlashimdan oldin , sizdan bir narsani so'rayman. Siz juda yaxhshi ko'rgan, lekin endi orangizda bo'lmagan odam haqida o'ylang. Sevimli buvingizmi, sevgan odamingizmi, kimdir, siz butun qalbingiz bilan yaxshi ko'rgan inson lekin u odam orangizda endi yo'q. Ana shu insonni hayolingizga keltiring, va ayni paytda B dan E notasigacha bo'lgan chiziqni kuzating, va shunda siz Chopin aytgisi kelgan hamma narsani tinglay olasiz.
(Music)
( Musiqa)
(Music ends)
(Applause)
(Qarsaklar)
Now, you may be wondering --
Siz balki hayron bo'lgandirsiz
(Applause)
Nima uchun men qarsak chalayapman.
(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."
Men Bostonda bir maktabda shunday qildim taxminan 70 ta 12 yoshli yettinchi sinf o'quvchilariga. Men ularga hozir siz bilan nima qilgan bo'lsam huddi shunday qildim, ularga aytdim, tushuntirdim. Va oxiri ular hayajonlanib qarsak chalishdi. Men ham qarsak chaldim. Ular ham qarsak chaldi. Oxiri men aytdim: Men nima uchun qarsak chalayapman?" Kickhina bolalarning biri esa : " Chunki biz sizni tingladik" deb javob berdi.
(Laughter)
(Kulgi)
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.
O'ylab ko'ringa, 1600 odam, band odamlar har hil ish bilan mashg'ul odamlar. Chopinning musiqasini, tinglab, uni tushinib ta'sirlandi. Bu e'tiborga sazovordir. Har bir odam buni tushunib, ta'sirlanganiga ishonaman. Albatta men bunga aminman deb aytolmayman. Lekin men sizga bir narsani aytaman.
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 ..."
Men Irlandiyada 10 yil oldin muammo paytlarida bo'lgandim va men Katolik va Protestant bolalari orasida qarama qarshilikni hal qilish ustida ishlayotgandim. Va men ham ular bilan huddi shunday qildim. Bu xavfli, chunki ular ko'chada o'sgan bolalar. Ertasiga bolarning biri menga kelib shunday dedi: " Bilasizmi, men hayotimda hech qachon mumtoz musiqa tinglamaganman, lekin siz o'sha "shopping" ni chalganda... (shopping- bozor qilish degani. Bola Chopinni adashtirib Shopping deydi) (Kulgi)
(Laughter)
u shunday dedi " mening akam o'tgan yili otib o'ldirilgan edi. Men u uchun hech yig'lamagandim
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.
Lekin kecha siz o'sha musiqani chalganda men u haqida o'ylayotgan edim. va men ko'z yoshlarimni to'xtata olmadim. Bilasizmi, men akam uchun yig'lab, ancha yengil tortdim." Va men shunda bir qarorga keldim y'ani mumtoz musiqa hamma uchundir. Hamma uchun.
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.
Lekin qanday yashash mumkin, qanday yurish mumkin- chunki mening musiqiy kasbim buni ko'rmaydi. Ular aytadiki, aholining 3 foizi mumtoz musiqani sevadi. Agar biz ularning sonini 4 foizga ko'tarsak, muammolarimiz hal bo'lardi deyishadi.
(Laughter)
men esa aytaman, qanday qilib yurish mumkin, qanday qilib so'zlash mumkin,
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.
agar aholining faqat 3 foizi mumtoz musiqani sevadi deb o'ylasangiz, qanday yashash mumkin? Agar faqatgina 4 foizga ko'tarsak. Qanday qilib yurasiz? Qanday qilib gapira olasiz? Agar hamma mumtoz musiqani sevadi, lekin ular o'zlari hali buni tushunib yetishgani yo'q desangizchi, qanday qilib yashardingiz? (Kulgi) Qarang-a bu umuman boshqa dunyo.
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 --
Men 45 yoshimda bir ajoyib narsa sodir bo'ldi. Men 20 yildan beri derejer bo'lgach, birdaniga shuni tushunib yetdim: Orkestraning direjori umuman ovoz yoki musiqa chiqarmaydi. Mening rasmim CD yuzida chiqadi-
(Laughter)
(Kulgi)
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.
-lekin dirijor umuman tovush chiqarmaydi. Uning bor kuchi boshqa odamlarni kuchlantirishdan iboratdir. Buni tushunib yetish mening hayotimni butunlay o'zgartirdi. Mening orkestramdagi odamlar mendan " Ben, senga nima bo'ldi?" deb so'rash boshladi. Menga ana shu narsa sodir bo'ldi. Men shuni angladimki, mening ishim boshqa odamlarning qobiliyatlarini uyg'otishdan iborat. Va albatta, men buni bajarayapmanmi yo'qmi bilgim keldi. Buni qanday bilsa bo'ladi? Ularning ko'zlaridan. Agar ularning ko'zlari porlab tursa, to'g'ri ish qilayotganingizni bilasiz. Qarang, mana bu kishing ko'zlari bilan butun qishloqni yoritsa bo'ladi.
(Laughter)
(Kulgi)
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.
Haqiqatdan, agar ko'zlari porlasa , demak siz to'g'ri ish qildingiz. Agar ko'zlari charaqlamasa, o'zingizga savol bering. Savol shuki: Men ularning ko'zlari charaqlamaydigan nima qilayapman? Va biz farzandlarimiz bilan ham shunday qilsak bo'ladi. mening farzandlarim ko'zlari porlamaydigan nima ish qilayapman? Bu umuman boshqa dunyo.
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.
Biz mana bir tog'dek ajoyib haftaning yakuniga kelayapmiz, va biz kundalik hayotlarimizga qaytamiz. biz shuni so'rasak bo'ladi: men kundalik hayotga qaytib, dunyoda kim bo'layapman? Bilasizmi, muvaffaqiyatni men qanday ta'riflayman. Men uchun bu juda sodda. Bu boylik, mashhurlik yoki kuch emas. Bu atrofimda porlab turgan ko'zlar sonidadir.
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.
Va mening oxirgi bir o'yim shuki, biz aytgan so'zlarimiz ahamiyati katta. Og'zimizdan chiqqan har bir so'z narsalarni o'zgartira oladi. Men buni Osventsim (Aushvitz) fashist qamoq lageridan qutulib chiqqan tirik qolgan ozchilik odamlar orasidagi bir ayoldan o'rgandim. U 15 yoshida Aushvitzga boradi, uning ukasi esa 8 yoshli edi, ota-onalari yo'qolgan edi. Va u menga aytdiki, " Biz Aushvitzga poezdda ketayotganda, ukamning oyoq kiyimi yo'qligini ko'rib qoldim, va unga "Shunchalik ham ahmoq bo'lasanmi, narsalaringa qarab yurolmaysanmi, voy-ey?" dedim, huddi opa ukasiga gapiradiganday. Afsuski, bu unga aytgan oxirgi so'zlari edi chunki u ukasini qaytib hech ko'rmadi. Ukasi tirik qolmadi. Va u Aushvitzdan qutulib chiqqanda, shunday ont ichdi. U menga aytdi : Aushvitzdan hayotga qaytganda men ont ichdim. Ont shuki, men hech qachon so'nggi so'z bo'lolmaydigan narsani aytmayman" Biz shunday qila olamizmi? Yo'q. Biz o'zimizni va boshqalarni ham noto'g'ri qilamiz. Lekin bu nazarda tutadigan ehtimol, imkoniyatdir. Rahmat.
Thank you.
(Applause)
(Qarsaklar)
Shining eyes.
Charaqlagan ko'zlar, porlagan ko'zlar.
(Applause)
Shining eyes.
(Applause)
Thank you, thank you.
Rahmat sizga, Rahmat.