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.
我是一位指揮 我今天要在這裡 跟大家談談何為信任 我的工作全靠它 在我與我的樂團間 存在著不可動搖的信任 這信任源自於互相尊重 透過它我們可以詮釋出一段 彼此都信服的音樂
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.
以往無論是指揮、製作音樂 很少談到信任,說實話以高壓居多 直到大約二次世界大戰 指揮家都是獨裁者 這些霸王 不只要排練整個樂團,還要干預每一個成員的生活 到鉅細靡遺的地步 但是我很高興地說這世界在進步 音樂界也跟著進步 現在我們用更民主的觀點及方式來製作音樂─ 溝通是雙向的 我身為指揮,在排練時,必須對曲目的整體架構 抱著堅不可摧的信念 但在其中又要讓樂手能自由地發揮 讓他們在表演中綻放光芒
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.
當然,對我而言 我一定要完全相信我的肢體語言 那是我唯一的賣點 它是無聲的手勢 我總不能在演奏中對著我的團員吼叫指令
(Music)
(音樂)
Ladies and gentlemen, the Scottish Ensemble.
各位嘉賓,蘇格蘭合奏團
(Applause)
(掌聲)
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.
所以為了讓以上的表演成功 很明顯我一定要站在信賴的立場 我必須相信我的樂團 更關鍵的是,我必須相信我自己 想想看,如果你站在不信任的立場 你會怎麼做? 你矯枉過正 在我指揮這一邊,這表示你會做過多的手勢 結果你看起來像一座轉的很快的風車 你的手勢愈大 就愈不明確,愈模糊 說實話這對樂團毫無益處 你變成笑柄,就別談信賴了,只剩下滑稽
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.
我還記得在我剛出道時 一次又一次的,在那些慘不忍睹的樂團公演中 我站在指揮台上,完全像個瘋子 想來一段小小的漸強 卻只得到增大一點點的音量 氣死人,他們就是表現不出來 在那些青澀的年月裡 我經常在後台更衣室暗自飲泣 更別說我完全聽不懂 偉大的英國資深指揮家柯林‧戴維斯爵士的建言 他說,「指揮啊,查爾斯, 就像在你手中抓一隻小鳥, 你抓得太緊,就把牠壓碎了; 你抓得太鬆,牠就飛走了。」 我必須承認,那些日子,我甚至不知道那隻小鳥在哪
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.
現在就音樂經歷而言 我有一段既基本又真誠又重要的經驗 來自我在南非的冒險 我認為南非是世上最令人目眩神迷的音樂國家 但也就是這個國家,透過它的音樂文化 教了我一個根本的功課 就是透過音樂製作 能讓最基本 又激發生命力的信任關係進入更深的層次 回溯到西元2000年,一個機緣我到了南非 去組一個新的歌劇團 我到了那裏,並且舉辦甄選 主要是在一些農村小鎮,鄉下地方 我聽了大約二千位歌手唱歌 然後從中選了四十位 令人瞠目結舌的年輕表演者組了一個劇團 絕大部分的團員是黑人 但是也有少數是白人
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.
有個問題在第一次排練時浮上檯面 就是其中一位白人 他之前的身分 是南非警察的一分子 在種族隔離政策結束前幾年 他很可能是那個接受詳盡的指令 定期到鄉間攻擊黑人社群的一員 想像一下這樣的認知對排演場的影響 整體氣氛就怪怪的 讓我們面對現實吧 在南非,最不能彼此信賴的兩種人 就是白人警察 與黑人族群 所以我們要如何彌補傷痕,各位? 很簡單,就是唱歌 我們唱呀,唱呀 唱呀 不可思議地唱出了新的信賴 也唱出了友誼 這顯示了一件再基本不過的事實 就是透過製作音樂或是其他種類的創造力 常常可以做到 語言做不了的事
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.
所以我們開始公演一些劇碼,也開始國際巡迴演出 其中一齣是卡門 我們後來覺得應該把這部卡門拍成電影 我們就在開普敦郊區 叫做卡雅利沙的地方錄音及開鏡 這部電影全以科薩語唱 科薩語非常具音樂性,如果你們不知道的話 這部電影名為「卡雅利莎的卡門」 意思就是「從卡雅利莎來的卡門」 現在讓我播一小段影片 不為別的,只為了證明 不能小看南非的音樂製作
(Music)
(音樂)
(Applause)
(掌聲)
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.
有一件關於南非的音樂製作的事 讓我非常著迷 就是,它非常自由 南非人作音樂就是很自由 而我認為,不是隨便想想而已 這是基於一個根本的事實 就是他們不被音樂標記法束縛 他們不看樂譜 他們相信自己的音感 你可以用五秒鐘教一群南非人唱一段曲調 然後,好像變魔術般 他們會很自然的即興唱出合聲 因為他們就是可以 而我們這些西方人,如果我可以用這個詞 對音樂有著非常迂腐的觀念,或者說定義 我們以爲,音樂就是技巧與系統 所以這是保留給 菁英份子,有天分的人的 但是各位,在地球上的每一個人 每天都或多或少會跟音樂扯上關係
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.
容我放寬角度多說一些 我可以打賭,就是在座的每一位 都可以興高采烈地高談闊論 電影,甚或是文學 但是有多少人可以很有信心的評論 一首古典音樂呢? 為什麼會這樣? 我想要說的是 我鼓勵你們克服 這種超級沒自信的感覺 就讓我們大膽嘗試一下,相信你可以信任你的音感 聽到音樂的成分,就像看到基本的肌肉組織 纖維,DNA 那些偉大的音樂之所以偉大的地方 我想跟你們做一段小小的實驗
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.
你們可知 TED 是一段旋律? 一段由T、E、D三個音組成,非常簡單的曲調 等一等 我知道你要說「沒有 T 這個音」 是的,各位來賓,有個歷史悠久的系統 作曲家已經用了好幾百年 可以證明「T」的確存在 如果你唱一段音階 A(La) B(Si) C(Do) D(Re) E(Mi) F(Fa) G(Sol) (唱名) 然後我把下一組的英文字母比照上述音階排列 H(La) I(Si) J(Do) K(Re) L(Mi) M(Fa) N(Sol) O(La) P(Si) Q(Do) R(Re) S(Mi) T(Fa)─你看 T 可以視為 F 所以 T 就是 F(Fa) 所以TED可以視為F(Fa)E(Mi)D(Re) 我們在開場的時候演奏的那段音樂 就是從這個主題 TED 變奏而來 仔細聽
(Music)
(音樂)
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.
聽到了嗎? 還是我聞到了一點懷疑的味道? 好吧,為了你們我們再演奏一次 這次我們要強調,我們會把 T(Fa) E(Mi) D(Re)明顯彈出來 容我們表演一下
(Music)
(音樂)
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?
喔我的天,真是響亮 我認為應該讓它更明顯一點 各位,差不多是午茶時間了 你是不是覺得該唱首歌助興,對吧? 我想我們是該唱首歌來配茶 我們來唱這三個音吧:T(Fa) E(Mi) D(Re) 開始
Audience: T, E, D.
觀眾:T(Fa) E(Mi) D(Re)
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:唉呀!聽起來比像牛在唱歌,不像人 再唱一次 如果你夠大膽你可以高八度唱 T(Fa) E(Mi) D(Re)
Audience: T, E, D.
觀眾:T(Fa) E(Mi) D(Re)
CH: Once more with vim. (Audience: T, E, D.)
查:再有精神一點。觀眾:T(Fa) E(Mi) D(Re)
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.
你看看,我又像那個可怕的風車了 現在我們把這三個音混在音樂裡 音樂先開始,等我的手勢,你們就開始唱 (音樂) 再來一次 有點感情吧,各位 這樣唱不出個所以然的 很好,各位先生女士 TED合唱團初次登場不算太糟 一點都不糟
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.
現在我要介紹一個目前由我主導的計畫 我對之非常興奮,也很想跟你們分享 因為它跟改變看法有關 還能建立全新層次的信任 我最小的孩子一出生就是腦性麻痺 你可以想像一下 如果你對這種病一無所知 一開始這情況會有多棘手 但是我那美麗的女兒給我的禮物 除了她的存在以外 還讓我開了眼界,看到了一整個 原本是隱藏起來的 身心障礙這個族群 我發現,當我觀看傷殘奧運時,覺得這真是不可思議 科技已經被用到一種地步,可以來證明 無庸置疑地殘障這件事不能阻礙他們 達到運動成就的最高境界 當然這件事也有殘酷無情的一面 就是這個世界花了幾十年的時間 才學會站在信任的立場 去真正相信殘障與運動可以用一種 既具說服力又很有趣的方式連在一起
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.
所以我問我自己 在這些人中有沒有會音樂的? 你總不能說在成千上萬的殘障朋友裡 就說英國就好 找不到非常有音樂潛力的人 所以我決定給這樣的人創造一個平台 這將是英國有史以來第一個 國家級的身心障礙者交響樂團 我稱它為「超越交響樂團」
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.
我要播一段影片 是我們第一次的即興練習 那真是非常不平凡的一刻 只有我和四位有著驚人才能的殘障音樂家 正常情況下當你即興表演─ 我在世界巡演中經常這麼作─ 開始總有段時間會覺得很恐怖 就像玩套圈圈時因為太害怕所以不敢丟出那個圈 一種可怕又深長的安靜 然後突然間,像魔術一樣,變!我們都出手了 簡直就是個瘋人院,你甚麼都聽不出來 沒有聆聽,沒有信任 彼此之間一點互動都沒有 但現在在排練室裡,我與這四位殘障音樂家 在五分鐘內 我們全神貫注地聆聽,全神貫注地互動 演奏出瘋狂美麗的音樂
(Video) (Music)
(影片)(音樂)
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?
尼可拉斯:我叫尼可拉斯‧麥卡錫 我22歲,是個左手鋼琴家 我一出生就沒有左手─右手 我可以再錄一次嗎?
(Music)
(音樂)
Lyn: When I'm making music, I feel like a pilot in the cockpit flying an airplane. I become alive.
玲:當我製作音樂時 我覺得自己像個在開飛機的機長 我活過來了
(Music)
(音樂)
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.
克來倫斯:我寧願選擇能夠再彈樂器 也不要能再走路 我在彈奏樂器及表演時 非常喜悅又收穫很多 好像我的癱瘓症狀減輕了
(Music)
(音樂)
(Applause)
(掌聲)
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:我真希望那些音樂家現在就在這裡 你就能親眼看到他們多麼絕頂出色 「超越交響樂團」是這個計畫的名字 如果你有感動想幫助我 來完成至今仍不可能不可行的夢想 請讓我知道 現在我的臨別之作 要拜偉大的海頓之賜 他是18世紀後半優秀的奧地利作曲家 他的大半生 都在尼古勞斯親王之下擔任樂團樂長 這位親王喜愛海頓的音樂 但他也愛他的鄉間城堡,大部分時間他都駐留在那裡 這個城堡位於奧匈邊境 叫艾斯特哈基的地方─ 離大都市維也納有一段很遠的距離
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.
西元1772年某一天 這位親王下旨要樂手的家人 他旗下樂團的樂手家人 離開他的城堡 他們不能再住在那裡;他們必須回到維也納 我剛剛說過,在那個年代這種距離超乎想像的遠 可想而知這些樂手有多憂鬱 海頓向親王抗議無效 所以既然親王喜愛他的音樂 海頓就想,那就譜一首交響曲來表達不滿吧
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.
我們將演奏這首交響曲的最末結尾部分 你會看到這個樂團表現一種慍怒的反抗 我很高興地說,這位親王的確 從樂團的表演中收到了暗示 而樂手也得以與家人團聚 但我認為這也為我的演講下了美好的總結 就是信任在哪 音樂就在哪─推而廣之生命也在哪 如果沒有信任 音樂也隨之消亡
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(音樂)
(Applause)
(掌聲)