I am a conductor, and I'm here today to talk to you about trust. My job depends upon it. There has to be, between me and the orchestra, an unshakable bond of trust, born out of mutual respect, through which we can spin a musical narrative that we all believe in.
我是个指挥家 今天我要谈的 是信任问题 这对我的工作很重要 我和乐队间必须有信任 建立在互相尊重基础上的 牢不可破的信任 我们坚信这是我们一起音乐创作的 基石
Now in the old days, conducting, music making, was less about trust and more, frankly, about coercion. Up to and around about the Second World War, conductors were invariably dictators -- these tyrannical figures who would rehearse, not just the orchestra as a whole, but individuals within it, within an inch of their lives. But I'm happy to say now that the world has moved on, music has moved on with it. We now have a more democratic view and way of making music -- a two-way street. I, as the conductor, have to come to the rehearsal with a cast-iron sense of the outer architecture of that music, within which there is then immense personal freedom for the members of the orchestra to shine.
以前,指挥,谱曲 跟信任没有太大关系,而是强迫性的 大概是二战期间 指挥家总是独裁者 这些独裁者们 不仅彩排乐队 也控制了所有成员,和他们的生活点滴 但我很高兴今天是世界已经不同了 音乐也是如此 如今我们创作音乐的视角和方法更加民主 是双向通道 作为指挥家的我要在彩排之前就对 曲子的大体结构一清二楚 在此架构内乐团的成员可以 自由地注入他们自己的理解
For myself, of course, I have to completely trust my body language. That's all I have at the point of sale. It's silent gesture. I can hardly bark out instructions while we're playing.
对我自己而言 我必须完全坚信我的肢体语言 因为这是我所有的卖点了 无声的语言 演奏的时候我很少喊指示
(Music)
(音乐)
Ladies and gentlemen, the Scottish Ensemble.
女士们先生们,苏格兰乐队
(Applause)
(掌声)
So in order for all this to work, obviously I have got to be in a position of trust. I have to trust the orchestra, and, even more crucially, I have to trust myself. Think about it: when you're in a position of not trusting, what do you do? You overcompensate. And in my game, that means you overgesticulate. You end up like some kind of rabid windmill. And the bigger your gesture gets, the more ill-defined, blurry and, frankly, useless it is to the orchestra. You become a figure of fun. There's no trust anymore, only ridicule.
为了一切顺利 我必须心怀信任 必须信任乐队 更关键的我必须信任自己 试想一下:如果你处在没有信任的状况下 会怎么做? 你会过犹不及 在我的游戏里就是太多地指手画脚 就像疯狂转动的风车一样 你的动作越大 对乐队来说反而越不明白越模糊 简单说就是毫无是处 你就是个搞笑的角色。没有信任只有荒诞
And I remember at the beginning of my career, again and again, on these dismal outings with orchestras, I would be going completely insane on the podium, trying to engender a small scale crescendo really, just a little upsurge in volume. Bugger me, they wouldn't give it to me. I spent a lot of time in those early years weeping silently in dressing rooms. And how futile seemed the words of advice to me from great British veteran conductor Sir Colin Davis who said, "Conducting, Charles, is like holding a small bird in your hand. If you hold it too tightly, you crush it. If you hold it too loosely, it flies away." I have to say, in those days, I couldn't really even find the bird.
我记得事业初期 在一次又一次跟乐队成员的出演中 我在指挥台上几欲抓狂 我只是想要一个小高潮 只是音量的稍稍提高 他们就是不给面子 那些年里我常常独坐在更衣室里 静静啜泣 英国大牌指挥家科林・戴维斯爵士给我的建议 仿佛一点用都没有 他说:“查尔斯,指挥家 就像手握一只小鸟 握太紧,会捏死它 握太松,鸟就飞了。” 不得不说那时候我还没找到这只鸟
Now a fundamental and really viscerally important experience for me, in terms of music, has been my adventures in South Africa, the most dizzyingly musical country on the planet in my view, but a country which, through its musical culture, has taught me one fundamental lesson: that through music making can come deep levels of fundamental life-giving trust. Back in 2000, I had the opportunity to go to South Africa to form a new opera company. So I went out there, and I auditioned, mainly in rural township locations, right around the country. I heard about 2,000 singers and pulled together a company of 40 of the most jaw-droppingly amazing young performers, the majority of whom were black, but there were a handful of white performers.
对我来说 一个至关重要触及内心的音乐经历 是在南非 在我看来南非是世界上在音乐上最惊人的国家 这个国家通过其音乐文化 给我上了重要一课 就是通过音乐创作 可以触及到 能够赋予生命的信任 2000年我去南非 创立一个歌剧公司 我去试镜招人 在全国城乡地区招募 从2000个歌手里 我挑选了最惊为天人的40个 组成了公司 大部分人都是黑人 有一些白人
Now it emerged early on in the first rehearsal period that one of those white performers had, in his previous incarnation, been a member of the South African police force. And in the last years of the old regime, he would routinely be detailed to go into the township to aggress the community. Now you can imagine what this knowledge did to the temperature in the room, the general atmosphere. Let's be under no illusions. In South Africa, the relationship most devoid of trust is that between a white policeman and the black community. So how do we recover from that, ladies and gentlemen? Simply through singing. We sang, we sang, we sang, and amazingly new trust grew, and indeed friendship blossomed. And that showed me such a fundamental truth, that music making and other forms of creativity can so often go to places where mere words cannot.
从第一场彩排就出现了问题 一个白人 曾经是 南非一名警察 以前的时候 他常常去镇上 骚扰居民 你可以想像这会让屋子里 气氛如何 让我们实际一点 在南非,最缺乏信任的关系 就是一个白人警察 和黑人社区间的关系 诸位,怎样解决这个问题? 很简单,歌唱 我们唱啊唱 一直唱 信任开始建立起来 友谊之花盛开 这告诉我们一个重要事实 音乐创作还有其他形式的创作 可以抵达 语言力所不及的地方
So we got some shows off the ground. We started touring them internationally. One of them was "Carmen." We then thought we'd make a movie of "Carmen," which we recorded and shot outside on location in the township outside Cape Town called Khayelitsha. The piece was sung entirely in Xhosa, which is a beautifully musical language, if you don't know it. It's called "U-Carmen e-Khayelitsha" -- literally "Carmen of Khayelitsha." I want to play you a tiny clip of it now for no other reason than to give you proof positive that there is nothing tiny about South African music making.
我们开始展露头角 去世界各地演出 其中一个就是“卡门” 我们接着用“卡门”拍了一部电影 在开普敦城外一个叫卡雅利沙的镇上 我们录制了这部电影 全部都是由科萨语演唱 如果你懂这个语言的话会明白这是个美丽的音乐语言 这个电影叫"U-Carmen e-Khayelitsha" 就是“卡雅利沙的卡门” 我给各位演奏一小段 只是想向您展示 南非的音乐创作是非常伟大的
(Music)
(音乐)
(Applause)
(掌声)
Something which I find utterly enchanting about South African music making is that it's so free. South Africans just make music really freely. And I think, in no small way, that's due to one fundamental fact: they're not bound to a system of notation. They don't read music. They trust their ears. You can teach a bunch of South Africans a tune in about five seconds flat. And then, as if by magic, they will spontaneously improvise a load of harmony around that tune because they can. Now those of us that live in the West, if I can use that term, I think have a much more hidebound attitude or sense of music -- that somehow it's all about skill and systems. Therefore it's the exclusive preserve of an elite, talented body. And yet, ladies and gentlemen, every single one of us on this planet probably engages with music on a daily basis.
我感受到了 南非音乐创作中迷人的是 其自由性 南非人自由地创造音乐 我认为主要是 由于一个重要事实: 他们不受谱号的约束 他们从不读音乐 他们相信自己的耳朵 你只教一个南非人5秒的调子 然后奇迹般地 他们就能依此即兴创作出和谐的曲子 因为他们有这个能力 如果生活在西方的我们中的音乐人 我们有种迂腐守旧的对音乐的态度- 就是音乐全是跟技巧和系统相关 所以我们的音乐都是保守的 天才和精英 但是,各位,也许世界上每一个人 每天都会接触到音乐
And if I can broaden this out for a second, I'm willing to bet that every single one of you sitting in this room would be happy to speak with acuity, with total confidence, about movies, probably about literature. But how many of you would be able to make a confident assertion about a piece of classical music? Why is this? And what I'm going to say to you now is I'm just urging you to get over this supreme lack of self-confidence, to take the plunge, to believe that you can trust your ears, you can hear some of the fundamental muscle tissue, fiber, DNA, what makes a great piece of music great. I've got a little experiment I want to try with you.
如果就此说开 我敢打赌这个屋子里的每一个人 都能针对电影,文学话题 充满信心地激烈讨论 但是你们能对一段古典音乐表达一些 确定的描述吗? 为什么? 我想告诉你的是 请克服 这种严重的自信缺乏 冒个险 去相信你的耳朵 你可以听到音乐的组织 纤维,DNA 这些是让音乐伟大的东西 我想跟你们一个做个小实验
Did you know that TED is a tune? A very simple tune based on three notes -- T, E, D. Now hang on a minute. I know you're going to say to me, "T doesn't exist in music." Well ladies and gentlemen, there's a time-honored system, which composers have been using for hundreds of years, which proves actually that it does. If I sing you a musical scale: A, B, C, D, E, F, G -- and I just carry on with the next set of letters in the alphabet, same scale: H, I, J, K, L, M, N, O, P, Q, R, S, T -- there you go. T, see it's the same as F in music. So T is F. So T, E, D is the same as F, E, D. Now that piece of music that we played at the start of this session had enshrined in its heart the theme, which is TED. Have a listen.
你知道吗 TED是个调 一个基于T,E,D的简单调子 等一下 你是不是想说音乐里没有T大调 不过各位,这个久经时间考验的 被作曲家用了几百年的系统 证明可以有这个调 如果我唱出音阶: A, B, C, D, E, F, G 只要按照字母表解下去: H, I, J, K, L, M, N, O, P, Q, R, S, T-成啦 T,音乐里就是F 所以T是F TED就是FED 那么这部分开头弹的音乐的 贯穿始终的主题 就是TED 听一下
(Music)
(音乐)
Do you hear it? Or do I smell some doubt in the room? Okay, we'll play it for you again now, and we're going to highlight, we're going to poke out the T, E, D. If you'll pardon the expression.
听出来了? 有人还心有疑虑是吧? 再弹一遍 给你把TED弄出来 原谅我的表述
(Music)
(音乐)
Oh my goodness me, there it was loud and clear, surely. I think we should make this even more explicit. Ladies and gentlemen, it's nearly time for tea. Would you reckon you need to sing for your tea, I think? I think we need to sing for our tea. We're going to sing those three wonderful notes: T, E, D. Will you have a go for me?
天哪,非常清晰了吧 我觉得能更明白一点 各位,快到下午茶时间了 想不想唱歌? 我觉得我们应该在下午茶唱歌 让我们唱这个三个音符:TED 跟我一起来吧
Audience: T, E, D.
听众:TED
Charles Hazlewood: Yeah, you sound a bit more like cows really than human beings. Shall we try that one again? And look, if you're adventurous, you go up the octave. T, E, D.
查尔斯・海泽伍德:你们听起来更像奶牛而不是人 再来一遍如何? 如果是热爱冒险,那就提高八度 TED
Audience: T, E, D.
观众:TED
CH: Once more with vim. (Audience: T, E, D.)
查尔斯・海泽伍德:再来一遍,有力点 (观众:TED)
There I am like a bloody windmill again, you see. Now we're going to put that in the context of the music. The music will start, and then at a signal from me, you will sing that. (Music) One more time, with feeling, ladies and gentlemen. You won't make the key otherwise. Well done, ladies and gentlemen. It wasn't a bad debut for the TED choir, not a bad debut at all.
看见了没我又像个疯狂的风车了 现在我们讲把它放入音乐中 音乐开始,我给一个手势,你们就可以唱了 (音乐) 再来一次 充满感情得 不然就不成调了 很好,各位 TED合唱团的初次登台很不错 非常好
Now there's a project that I'm initiating at the moment that I'm very excited about and wanted to share with you, because it is all about changing perceptions, and, indeed, building a new level of trust. The youngest of my children was born with cerebral palsy, which as you can imagine, if you don't have an experience of it yourself, is quite a big thing to take on board. But the gift that my gorgeous daughter has given me, aside from her very existence, is that it's opened my eyes to a whole stretch of the community that was hitherto hidden, the community of disabled people. And I found myself looking at the Paralympics and thinking how incredible how technology's been harnessed to prove beyond doubt that disability is no barrier to the highest levels of sporting achievement. Of course there's a grimmer side to that truth, which is that it's actually taken decades for the world at large to come to a position of trust, to really believe that disability and sports can go together in a convincing and interesting fashion.
有个我发起的项目 我很想跟诸位分享 因为它能让我们抛弃成见 建立新层次的信任 我最小的孩子生下来是脑瘫 你可以想像 如果自己没有亲身经历过 很难接受这样的事实 但是我美好的小女儿带给我的礼物 不仅是她的存在 更是重要的是我由此开始接触一个 迄今为止都不了解的群体 残疾人群体 当我观看残奥会 想着科技已经证明 残疾不再是 高水平体育成就的障碍 当然这个事实有着惨淡的另一面 就是世界用了数十年才认识到 这个事实的积极一面 相信残疾和体育可以 以强大说服力和有趣的方式并存
So I find myself asking: where is music in all of this? You can't tell me that there aren't millions of disabled people, in the U.K. alone, with massive musical potential. So I decided to create a platform for that potential. It's going to be Britain's first ever national disabled orchestra. It's called Paraorchestra.
我问道: 音乐在这其中是什么位置? 你不能否认,仅仅在英国 就有上百万的残疾人 他们具备巨大的音乐潜能 所以我决定为这潜质提供一个平台 这将是英国第一个 残疾人乐团 叫做帕拉乐团
I'm going to show you a clip now of the very first improvisation session that we had. It was a really extraordinary moment. Just me and four astonishingly gifted disabled musicians. Normally when you improvise -- and I do it all the time around the world -- there's this initial period of horror, like everyone's too frightened to throw the hat into the ring, an awful pregnant silence. Then suddenly, as if by magic, bang! We're all in there and it's complete bedlam. You can't hear anything. No one's listening. No one's trusting. No one's responding to each other. Now in this room with these four disabled musicians, within five minutes a rapt listening, a rapt response and some really insanely beautiful music.
我将给你们看一段 我们的第一个即兴作品的视频 那是个非同寻常的时刻 我和四个极具天赋的残疾人音乐家 通常即兴创作的时候- 我在世界各地这么做- 开始的时候有点恐惧 就像决定参加比赛前谁都会被吓坏 那种吓人的寂静 接着突然地,像奇迹一般 我们都像着魔了一样,你什么都听不到 没有人在听 没有人信任其他人 没人应和其他人 这个屋子里的四位残疾音乐家 将在五分钟内 以全神贯注的倾听和回应 创造令人疯狂的每秒音乐
(Video) (Music)
(视频)(音乐)
Nicholas:: My name's Nicholas McCarthy. I'm 22, and I'm a left-handed pianist. And I was born without my left hand -- right hand. Can I do that one again?
尼古拉斯:我叫尼古拉斯・麦卡锡 我22岁,是个左手钢琴家 我生下来就没有左手-右手 我能不能重来啊?
(Music)
(音乐)
Lyn: When I'm making music, I feel like a pilot in the cockpit flying an airplane. I become alive.
林:当我创作音乐的时候 我感觉想飞机座舱里的飞行师 重生了一般
(Music)
(音乐)
Clarence: I would rather be able to play an instrument again than walk. There's so much joy and things I could get from playing an instrument and performing. It's removed some of my paralysis.
克拉伦斯:在能够演奏和能够走路之间 我宁愿选择能演奏乐器 弹奏和表演对我来说 无比有趣 像治愈了我的残疾
(Music)
(音乐)
(Applause)
(掌声)
CH: I only wish that some of those musicians were here with us today, so you could see at firsthand how utterly extraordinary they are. Paraorchestra is the name of that project. If any of you thinks you want to help me in any way to achieve what is a fairly impossible and implausible dream still at this point, please let me know. Now my parting shot comes courtesy of the great Joseph Haydn, wonderful Austrian composer in the second half of the 18th century -- spent the bulk of his life in the employ of Prince Nikolaus Esterhazy, along with his orchestra. Now this prince loved his music, but he also loved the country castle that he tended to reside in most of the time, which is just on the Austro-Hungarian border, a place called Esterhazy -- a long way from the big city of Vienna.
查尔斯・海泽伍德:我多希望他们今天也能在这儿 你们就能亲眼看到他们是多么非同寻常 帕拉乐队就是这个项目的名字 如果你们中的任何人想以任何方式帮助我们 来实现这个目前还是个不大可能难以置信的梦 请告诉我 我的告别表演 是关于约瑟夫・海登 他是18世纪下半叶一个伟大的奥地利作曲家 他和他的乐队 受雇于尼古拉斯・埃司塔哈吉王子 这个王子很喜欢他的音乐 他也喜欢他一直居住的那个城堡 它座落在奥地利匈牙利边境 一个叫埃司塔哈吉的地方- 离维也纳很远的地方
Now one day in 1772, the prince decreed that the musicians' families, the orchestral musicians' families, were no longer welcome in the castle. They weren't allowed to stay there anymore; they had to be returned to Vienna -- as I say, an unfeasibly long way away in those days. You can imagine, the musicians were disconsolate. Haydn remonstrated with the prince, but to no avail. So given the prince loved his music, Haydn thought he'd write a symphony to make the point.
1772年的一天 王子谕知音乐家的家人 乐队成员的家人 不再受他欢迎 他们不能再住在城堡里,他们必须返回维也纳- 那可是段遥远的路途 可以想像,音乐家们很伤心 海登向王子抗议,但是没用 鉴于王子热爱音乐 海登写了一首交响曲来表达他的意愿
And we're going to play just the very tail end of this symphony now. And you'll see the orchestra in a kind of sullen revolt. I'm pleased to say, the prince did take the tip from the orchestral performance, and the musicians were reunited with their families. But I think it sums up my talk rather well, this, that where there is trust, there is music -- by extension life. Where there is no trust, the music quite simply withers away.
下面我们将演奏这首交响曲的结尾 你能感受到一种阴郁的反抗 我很高兴地说,王子 从乐队的表演中感受到了 乐队成员们能和家人一起了 我想这能说明一切了 有信任 就有音乐-生命的延续 没有信任 音乐就会枯萎
(Music)
(音乐)
(Applause)
(掌声)