TED2008
Benjamin Zander: The transformative power of classical music
Benjamin Zander o glazbi i strasti
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Benjamin Zander ima dvije zarazne strasti: klasičnu glazbu i pomaganje svima shvatiti našu neiskorištenu ljubav prema njoj - i dodatno, našu neiskorištenu ljubav prema svim novim mogućnostima, novim iskustvima, novim vezama.
Benjamin Zander - Conductor
A leading interpreter of Mahler and Beethoven, Benjamin Zander is known for his charisma and unyielding energy -- and for his brilliant pre-concert talks. Full bio
A leading interpreter of Mahler and Beethoven, Benjamin Zander is known for his charisma and unyielding energy -- and for his brilliant pre-concert talks. Full bio
Double-click the English transcript below to play the video.
00:12
Probably a lot of you know the story of the two salesmen
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Vjerojatno većinom poznajete priču o dva trgovca
00:15
who went down to Africa in the 1900s.
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koji su otputovali u Afriku 1900-ih.
00:18
They were sent down to find if there was any opportunity
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Poslani su tamo kako bi pronašli postoji li mogućnost
00:20
for selling shoes,
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prodaje cipela.
00:22
and they wrote telegrams back to Manchester.
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I poslali su telegrame natrag u Manchester.
00:25
And one of them wrote, "Situation hopeless. Stop.
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I jedan je napisao: "Situacija beznadna. Stop.
00:29
They don't wear shoes."
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Oni ne nose cipele."
00:30
And the other one wrote, "Glorious opportunity.
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A drugi je napisao: "Veličanstvena mogućnost.
00:33
They don't have any shoes yet."
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Oni još nemaju nikakvih cipela."
00:35
(Laughter)
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(Smijeh)
00:36
Now, there's a similar situation in the classical music world,
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Slična je situacija i u svijetu klasične glazbe,
00:40
because there are some people who think
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jer neki ljudi misle
00:41
that classical music is dying.
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da klasična glazba umire.
00:45
And there are some of us who think you ain't seen nothing yet.
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A postoje i neki od nas koji misle kako još ništa niste vidjeli.
00:48
And rather than go into statistics and trends,
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I umjesto upuštanja u statistike i trendove
00:52
and tell you about all the orchestras that are closing,
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i govora o svim orkestrima koji se zatvaraju,
00:54
and the record companies that are folding,
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i snimateljskim kućama koje prestaju s radom,
00:57
I thought we should do an experiment tonight -- an experiment.
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pomislio sam kako bismo večeras mogli napraviti jedan pokus.
01:01
Actually, it's not really an experiment, because I know the outcome.
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Zapravo, to nije baš pravi pokus jer ja znam rezultat.
01:06
But it's like an experiment. Now, before we --
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Ali jest poput pokusa. Pa, prije nego --
01:08
(Laughter)
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(Smijeh)
01:12
-- before we start, I need to do two things.
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-- prije nego počnemo, trebam napraviti dvije stvari.
01:14
One is I want to remind you of what a seven-year-old child
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Prvo, želim vas podsjetiti kako sedmogodišnje dijete
01:19
sounds like when he plays the piano.
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zvuči dok svira klavir.
01:20
Maybe you have this child at home.
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Možda takvo dijete imate kod kuće.
01:23
He sounds something like this.
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Zvuči poput ovoga.
01:24
(Piano)
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(Klavir)
01:44
I see some of you recognize this child.
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Vidim da neki od vas prepoznaju ovo dijete.
01:46
Now, if he practices for a year and takes lessons, he's now eight
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Sad, ako vježba i uči godinu dana, sada ima osam godina
01:51
and he sounds like this.
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i zvuči poput ovoga.
01:52
(Piano)
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(Klavir)
01:59
Then he practices for another year and takes lessons -- now he's nine.
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Onda vježba i uči još jednu godinu, sada je devetgodišnjak.
02:02
(Piano)
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(Klavir)
02:08
Then he practices for another and takes lessons -- now he's 10.
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Onda vježba i uči još godinu dana, sada mu je deset.
02:11
(Piano)
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(Klavir)
02:18
At that point, they usually give up.
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U tom trenu obično odustanu.
02:19
(Laughter)
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(Smijeh)
02:21
(Applause)
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(Pljesak)
02:23
Now, if you'd waited, if you'd waited for one more year,
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No, da ste čekali, da ste čekali još godinu dana,
02:26
you would have heard this.
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čuli biste ovo:
02:27
(Piano)
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(Klavir)
02:36
Now, what happened was not maybe what you thought,
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E sad, ono što se dogodilo možda nije ono što ste mislili,
02:39
which is, he suddenly became passionate, engaged,
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a to je, da je on odjednom postao strastven, angažiran,
02:42
involved, got a new teacher, he hit puberty, or whatever it is.
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uključen, dobio novog nastavnika, ušao u pubertet, što već.
02:45
What actually happened was the impulses were reduced.
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Ono što se zapravo dogodilo je da se količina naglašavanja smanjila.
02:50
You see, the first time, he was playing
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Vidite, kada je prvi puta svirao
02:51
with an impulse on every note.
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imao je naglasak na svakom tonu.
02:54
(Piano)
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(Klavir)
02:56
And the second, with an impulse every other note.
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Drugi puta na svakom drugom tonu.
02:59
(Piano)
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(Klavir)
03:01
You can see it by looking at my head.
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Možete to vidjeti prateći moju glavu.
03:03
(Laughter)
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(Smijeh)
03:04
The nine-year-old
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Devetogodišnjak, devetogodišnjak
03:06
put an impulse on every four notes.
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stavljao je naglasak na svake četiri note.
03:07
(Piano)
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stavljao je naglasak na svake četiri note.
03:10
And the 10-year-old, on every eight notes.
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Desetogodišnjak na svakih osam nota.
03:11
(Piano)
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Desetogodišnjak na svakih osam nota.
03:14
And the 11-year-old, one impulse on the whole phrase.
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A jedanaestgodišnjak, po jedan naglasak na cijelu frazu.
03:16
(Piano)
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A jedanaestgodišnjak, po jedan naglasak na cijelu frazu.
03:20
I know -- I don't know how we got into this position.
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Ne znam kako smo došli do ovog položaja.
03:22
(Laughter)
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Ne znam kako smo došli do ovog položaja.
03:25
I didn't say, "I'm going to move my shoulder over, move my body."
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Nisam rekao da ću pomaknuti svoje rame, svoje tijelo.
03:27
No, the music pushed me over,
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No, glazba me pogurala,
03:29
which is why I call it one-buttock playing.
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i zato ju zovem sviranje "na pola guze".
03:31
(Piano)
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(Klavir)
03:33
It can be the other buttock.
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Može biti i na drugoj polovici.
03:34
(Piano)
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(Klavir)
03:38
You know, a gentleman was once watching a presentation I was doing,
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Jedan gospodin je gledao moju prezentaciju
03:41
when I was working with a young pianist.
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dok sam radio s mladim pijanistom.
03:43
He was the president of a corporation in Ohio.
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Bio je predsjednik tvrtke u Ohiou.
03:45
And I was working with this young pianist
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I radio sam s tim mladim pijanistom
03:48
and I said, "The trouble with you is you're a two-buttock player.
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i rekao, "Tvoj problem je da sviraš s cijelom guzom.
03:50
You should be a one-buttock player."
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Trebao bi svirati s jednom polovicom."
03:52
And I moved his body like that, while he was playing.
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I dok je svirao, ovako sam mu pomaknuo tijelo.
03:54
And suddenly, the music took off. It took flight.
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I odjednom je glazba krenula. Poletjela.
03:57
There was a gasp in the audience when they heard the difference.
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Publika je uzdahnula kada je čula razliku.
03:59
And then I got a letter from this gentleman.
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I tada sam dobio pismo od tog gospodina.
04:01
He said, "I was so moved.
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Rekao je, "Bio sam toliko dirnut.
04:02
I went back and I transformed my entire company
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Vratio sam se i preokrenuo cijelu svoju tvrtku
04:05
into a one-buttock company."
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u tvrtku na pola guze."
04:06
(Laughter)
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(Smijeh)
04:10
Now, the other thing I wanted to do is to tell you about you.
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Druga stvar koju sam htio napraviti je pričati vam o vama.
04:12
There are 1,600 people, I believe.
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Vjerujem da je ovdje 1600 ljudi.
04:15
My estimation is that probably 45 of you
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Moja procjena je da vjerojatno vas 45
04:18
are absolutely passionate about classical music.
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strastveno voli klasičnu glazbu.
04:21
You adore classical music. Your FM is always on that classical dial.
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Obožavate klasičnu glazbu. Vaš je radio uvijek na stanici klasične glazbe.
04:26
And you have CDs in your car, and you go to the symphony.
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Imate CD-e u svom autu, odlazite slušati simfonije.
04:29
And your children are playing instruments.
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Vaša djeca sviraju.
04:30
You can't imagine your life without classical music.
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Ne možete zamisliti svoj život bez klasične glazbe.
04:33
That's the first group; it's quite a small group.
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To je prva grupa, prilično je mala.
04:35
Then there's another group, bigger group.
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Onda postoji druga, veća grupa.
04:37
These are the people who don't mind classical music.
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To su osobe kojima ne smeta klasična glazba.
04:39
(Laughter)
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(Smijeh)
04:40
You know, you've come home from a long day,
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Znate, dođete doma nakon dugog dana
04:42
and you take a glass of wine, and you put your feet up.
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uzmete čašu vina i stavite noge na stol.
04:45
A little Vivaldi in the background doesn't do any harm.
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Malo Vivaldija u pozadini ne škodi.
04:47
(Laughter)
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(Smijeh)
04:48
That's the second group.
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To je druga grupa.
04:49
Now comes the third group.
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Sada slijedi treća grupa.
04:50
These are the people who never listen to classical music.
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To su ljudi koji nikad ne slušaju klasičnu glazbu.
04:52
It's just simply not part of your life.
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Jednostavno nije dio njihovog života.
04:55
You might hear it like second-hand smoke at the airport, but --
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Možda ju čujete kao što osjetite tuđi dim cigarete na aerodromu, ali --
04:57
(Laughter)
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(Smijeh)
04:59
-- and maybe a little bit of a march from "Aida"
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-- i možda malo marša iz Aide
05:00
when you come into the hall. But otherwise, you never hear it.
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kada uđete u dvoranu. No inače, nikad ju ne čujete.
05:04
That's probably the largest group of all.
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To je vjerojatno najveća grupa.
05:05
And then there's a very small group.
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I onda postoji jedna vrlo mala grupa.
05:07
These are the people who think they're tone-deaf.
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To su ljudi koji misle da nemaju sluha.
05:10
Amazing number of people think they're tone-deaf.
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Nevjerojatan broj osoba misli da nemaju sluha.
05:13
Actually, I hear a lot, "My husband is tone-deaf."
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Zapravo, često čujem, "Moj muž nema sluha."
05:15
(Laughter)
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(Smijeh)
05:16
Actually, you cannot be tone-deaf. Nobody is tone-deaf.
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Zapravo, ne možete biti bez sluha. Nitko to nije.
05:19
If you were tone-deaf, you couldn't change the gears
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Kada ne biste imali sluha, ne biste mogli promijeniti brzine
05:22
on your car, in a stick shift car.
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u autu s ručnim mjenjačem.
05:24
You couldn't tell the difference between
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Ne biste razlikovali
05:26
somebody from Texas and somebody from Rome.
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govor nekoga iz Teksasa i nekoga iz Rima.
05:28
And the telephone. The telephone. If your mother calls
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I telefon. Telefon. Ako vaša majka nazove
05:33
on the miserable telephone, she calls and says, "Hello,"
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na taj jadni telefon, nazove i kaže "Halo",
05:35
you not only know who it is, you know what mood she's in.
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ne samo da znate tko zove, već i kakvog je raspoloženja.
05:39
You have a fantastic ear. Everybody has a fantastic ear.
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Imate fantastično uho. Svatko ima fantastično uho.
05:42
So nobody is tone-deaf.
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I nitko nije bez sluha.
05:44
But I tell you what. It doesn't work for me to go on with this thing,
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No reći ću vam. Nema svrhe ovako nastaviti
05:48
with such a wide gulf between those who understand,
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s tako velikim ponorom između onih koji razumiju,
05:52
love and [are] passionate about classical music,
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strastveno vole klasičnu glazbu,
05:54
and those who have no relationship to it at all.
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nemaju nikakve veze.
05:57
The tone-deaf people, they're no longer here.
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Ljudi bez sluha, oni više nisu ovdje.
05:59
But even between those three categories, it's too wide a gulf.
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No čak i između ostalih triju kategorija, razlika je prevelika.
06:03
So I'm not going to go on until every single person in this room,
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Zato neću nastaviti dok svaka pojedina osoba u ovoj dvorani,
06:07
downstairs and in Aspen, and everybody else looking,
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dolje i gore, i svatko tko ovo gleda,
06:13
will come to love and understand classical music.
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ne zavoli i ne počne razumijevati klasičnu glazbu.
06:16
So that's what we're going to do.
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To ćemo napraviti.
06:19
Now, you notice that there is not the slightest doubt in my mind
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Naravno, primjećujete da u mojim mislima ni na mome licu
06:24
that this is going to work if you look at my face, right?
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nema ni najmanje sumnje da će ovo upaliti, zar ne?
06:27
It's one of the characteristics of a leader that he not doubt
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To je jedno od svojstava vođe: da ne posumnja,
06:31
for one moment the capacity of the people he's leading
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ni jedan trenutak, u mogućnosti osoba koje vodi
06:35
to realize whatever he's dreaming.
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kako bi ostvario bilo što o čemu sanja.
06:37
Imagine if Martin Luther King had said, "I have a dream.
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Zamislite da je Martin Luther King rekao, "Ja sanjam.
06:40
Of course, I'm not sure they'll be up to it."
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Naravno, nisam siguran da će biti tome dorasli."
06:42
(Laughter)
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(Smijeh)
06:46
All right. So I'm going to take a piece of Chopin.
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U redu. Uzet ću jedno Chopinovo djelo.
06:48
This is a beautiful prelude by Chopin. Some of you will know it.
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Ovo je prekrasan Chopinov preludij. Neki od vas ga znaju.
06:54
(Music)
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(Glazba)
07:22
Do you know what I think probably happened in this room?
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Znate li što mislim da se vjerojatno dogodilo u ovoj sobi?
07:25
When I started, you thought, "How beautiful that sounds."
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Kada sam počeo, pomislili ste, "Kako divno ovo zvuči."
07:27
(Music)
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(Glazba)
07:41
"I don't think we should go to the same place
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"Mislim da ne bismo trebali ići na isto mjesto
07:42
for our summer holidays next year."
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na ljetovanje iduće godine."
07:44
(Laughter)
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(Smijeh)
07:47
It's funny, isn't it? It's funny how those thoughts
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Smiješno je, zar ne? Smiješno je kako te misli
07:50
kind of waft into your head.
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nekako dolepršaju u naš um.
07:53
And of course --
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I naravno --
07:54
(Applause)
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(Pljesak)
07:57
-- and of course, if the piece is long and you've had a long day,
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-- i naravno, ako je djelo dugačko i imali ste težak dan,
08:00
you might actually drift off.
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doista biste mogli odlutati.
08:01
Then your companion will dig you in the ribs
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Tada će vas vaša pratnja gurnuti laktom u rebra
08:03
and say, "Wake up! It's culture!" And then you feel even worse.
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i reći, "Budi se! To je kultura!" I tada se osjećate još gore.
08:07
But has it ever occurred to you that the reason you feel sleepy
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No je li vam ikad palo na pamet da razlog što se osjećate pospano
08:11
in classical music is not because of you, but because of us?
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uz klasičnu glazbu niste vi, već mi?
08:13
Did anybody think while I was playing,
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Je li itko pomislio da dok sam svirao,
08:15
"Why is he using so many impulses?"
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"Zašto toliko naglašava tonove?"
08:17
If I'd done this with my head you certainly would have thought it.
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Da sam to radio pokretima glave sigurno biste to pomislili.
08:21
(Music)
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(Glazba)
08:26
And for the rest of your life, every time you hear classical music,
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I do kraja života, svaki puta kada čujete klasičnu glazbu
08:30
you'll always be able to know if you hear those impulses.
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znat ćete čujete li ta naglašavanja.
08:34
So let's see what's really going on here.
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Pa da vidimo što se zapravo ovdje događa.
08:36
We have a B. This is a B. The next note is a C.
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Imamo ton H. Ovo je H. Sljedeća nota je C.
08:41
And the job of the C is to make the B sad. And it does, doesn't it?
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Posao note C je učiniti notu H tužnom. To i čini, zar ne?
08:44
(Laughter)
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(Smijeh)
08:47
Composers know that. If they want sad music,
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Skladatelji to znaju. Ako žele tužnu glazbu
08:49
they just play those two notes.
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oni samo odsviraju ta dva tona.
08:50
(Music)
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(Glazba)
08:55
But basically, it's just a B, with four sads.
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No u osnovi, to je samo H s tužnim uvodom.
08:57
(Laughter)
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(Smijeh)
09:00
Now, it goes down to A. Now to G. And then to F.
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E, sad se spušta na A. Pa na G, pa na F.
09:05
So we have B, A, G, F. And if we have B, A, G, F,
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Tako imamo H, A, G, F. I ako imamo H, A, G, F,
09:10
what do we expect next? Oh, that might have been a fluke.
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što sljedeće očekujemo? Oho, pa to bi mogla biti puka sreća.
09:16
Let's try it again. Ooh, the TED choir.
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Probajmo opet. O, TED zbor.
09:22
(Laughter)
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(Smijeh)
09:25
And you notice nobody is tone-deaf, right? Nobody is.
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I primijetili ste da svi imate sluha, zar ne? Svi.
09:29
You know, every village in Bangladesh
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Znate, svako selo u Bangladešu
09:31
and every hamlet in China -- everybody knows:
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i svako seoce u Kini. Svi znaju:
09:37
da, da, da, da -- da. Everybody knows, who's expecting that E.
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da, da, da, da -- da. Svi znaju tko očekuje taj E.
09:40
Now, Chopin didn't want to reach the E there,
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E sad, Chopin nije htio tu doći do tona E,
09:44
because what will have happened? It will be over, like Hamlet.
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jer što bi se dogodilo? Bio bi kraj, kao u Hamletu.
09:46
Do you remember Hamlet? Act one, scene three,
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Sjećate se Hamleta? 1. čin, 3. prizor:
09:49
he finds out that his uncle killed his father.
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otkriva da je njegov ujak ubio svog oca.
09:50
You remember, he keeps on going up to his uncle
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Sjećate se kako nastavlja ići svom ujaku
09:52
and almost killing him. And then he backs away,
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i skoro ga ubija. I tada se povlači
09:53
and he goes up to him again and almost kills him.
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i odlazi opet i ponovno ga zamalo ubija.
09:56
And the critics, all of whom are sitting in the back row there,
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I kritičari, koji svi sjede tamo u zadnjem redu,
09:58
they have to have an opinion, so they say, "Hamlet is a procrastinator."
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oni moraju imati mišljenje, kažu, "Hamlet odugovlači."
10:01
(Laughter)
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(Smijeh)
10:02
Or they say, "Hamlet has an Oedipus complex."
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Ili kažu, "Hamlet ima Edipov kompleks."
10:05
No, otherwise the play would be over, stupid.
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Ne, jer inače bi predstava bila gotova, glupani!
10:08
That's why Shakespeare puts all that stuff in Hamlet --
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Zato Shakespeare stavlja sve te stvari u Hamleta.
10:11
you know, Ophelia going mad and the play within the play,
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Znate, Ofelija koja ludi i predstava unutar predstave,
10:13
and Yorick's skull, and the gravediggers.
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i Yorikova lubanja, kopači grobova.
10:15
That's in order to delay -- until act five, he can kill him.
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To je radi zavlačenja -- do 5. čina kada ga može ubiti.
10:18
It's the same with the Chopin. He's just about to reach the E,
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Isto je i sa Chopinom. Taman se sprema doseći E,
10:23
and he says, "Oops, better go back up and do it again."
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kada kaže, "Oops, bolje da se vratim gore i ponovno to napravim."
10:25
So he does it again.
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Pa to ponovi.
10:29
Now, he gets excited. (Piano) That's excitement,
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Sad se zanese -- to je uzbuđenje,
10:32
you don't have to worry about it.
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ne trebate se brinuti oko toga.
10:34
Now, he gets to F-sharp, and finally he goes down to E,
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Sada konačno dođe do F# i krene na E,
10:36
but it's the wrong chord -- because the chord he's looking for
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no to je krivi akord. Jer akord kojeg traži
10:40
is this one, (Piano) and instead he does ...
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je ovaj, i umjesto toga on napravi ...
10:43
(Piano) Now, we call that a deceptive cadence, because it deceives us.
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sad, mi to nazivamo deceptivnom kadencom jer nas je prevarila.
10:48
I always tell my students, "If you have a deceptive cadence,
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Uvijek kažem svojim studentima, "Ako imate deceptivnu kadencu
10:50
be sure to raise your eyebrows. Then everybody will know."
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obavezno podignite svoje obrve kako bi svi to znali."
10:52
(Laughter)
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(Smijeh)
10:55
(Applause)
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(Pljesak)
10:59
Right. So, he gets to E, but it's the wrong chord.
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U redu. Tako on dođe do E, no to je krivi akord.
11:01
Now, he tries E again. That chord doesn't work.
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Sada pokuša E ponovno. Taj akord nije dobar.
11:04
Now, he tries the E again. That chord doesn't work.
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Sada pokuša ponovno s E. Taj akord ne valja
11:07
Now, he tries E again, and that doesn't work.
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Sada pokuša E ponovno, to nije dobro.
11:10
And then finally ... (Piano)
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I tada konačno ...
11:13
There was a gentleman in the front row who went, "Mmm."
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U prvom je redu gospodin napravio, "Mmm".
11:18
It's the same gesture he makes when he comes home
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To je ista gesta koju napravi kada dođe kući
11:20
after a long day, turns off the key in his car and says,
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nakon dugog dana, izvadi ključ iz auta i kaže,
11:24
"Aah, I'm home." Because we all know where home is.
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"Aah, stigao sam doma." Jer svi znamo gdje nam je dom.
11:27
So this is a piece which goes from away to home.
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Tako je ovo djelo koje ide izdaleka do doma.
11:30
And I'm going to play it all the way through
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I odsvirat ću ga cijelog
11:32
and you're going to follow. B, C, B, C, B, C, B --
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a vi ćete slijediti. H, C, H, C, H, C, H --
11:35
down to A, down to G, down to F.
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dolje na A, dolje na G, dolje na F.
11:37
Almost goes to E, but otherwise the play would be over.
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Skoro na E, no u tom slučaju svirka je završena.
11:40
He goes back up to B. He gets very excited. Goes to F-sharp. Goes to E.
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Ide natrag na H, vrlo se uzbudi. Dolazi na F#. Dolazi na E.
11:42
It's the wrong chord. It's the wrong chord. It's the wrong chord.
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Krivi akord. Krivi akord. Krivi akord.
11:45
And finally goes to E, and it's home.
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I konačno dođe do E, i doma je.
11:47
And what you're going to see is one-buttock playing.
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A vi ćete vidjeti - sviranje na pola guze.
11:50
(Laughter)
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(Smijeh)
11:53
Because for me, to join the B to the E,
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Jer za mene, kako bih združio ton H s E,
11:56
I have to stop thinking about every single note along the way,
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moram prestati razmišljati o svakoj noti na putu
12:01
and start thinking about the long, long line from B to E.
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i početi razmišljati o dugom nizu od H do E.
12:07
You know, we were just in South Africa, and you can't go to South Africa
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Znate, upravo smo bili u Južnoj Africi, i ne možete otići u Južnu Afriku
12:11
without thinking of Mandela in jail for 27 years.
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bez da mislite na Mandelu 27 godina u zatvoru.
12:15
What was he thinking about? Lunch?
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O čemu je razmišljao? O ručku?
12:17
No, he was thinking about the vision for South Africa
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Ne, razmišljao je o viziji za južnu Afriku
12:21
and for human beings. That's what kept --
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i za ljudska bića. To ga je držalo --
12:22
this is about vision. This is about the long line.
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radi se o viziji, o dugom nizu.
12:25
Like the bird who flies over the field
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Kao ptica koja leti preko polja
12:27
and doesn't care about the fences underneath, all right?
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i ne zamara se ogradama ispod sebe, u redu?
12:31
So now, you're going to follow the line all the way from B to E.
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I sad ćete slijediti niz cijelim putem od H do E.
12:34
And I've one last request before I play this piece all the way through.
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Imam posljednju molbu prije nego odsviram ovo djelo od početka do kraja
12:38
Would you think of somebody who you adore, who's no longer there?
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Hoćete li zamisliti o nekoga koga volite, a tko više nije ovdje?
12:43
A beloved grandmother, a lover --
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Voljenu baku, ljubav,
12:47
somebody in your life who you love with all your heart,
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nekoga u vašem životu koga volite svim srcem,
12:50
but that person is no longer with you.
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no ta osoba nije više s vama.
12:54
Bring that person into your mind, and at the same time
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Donesite ju u misli, i u isto vrijeme
12:57
follow the line all the way from B to E,
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slijedite niz cijelim putem od H do E,
13:01
and you'll hear everything that Chopin had to say.
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i čut ćete sve što je Chopin imao reći.
13:09
(Music)
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(Glazba)
15:00
(Applause)
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(Pljesak)
15:07
Now, you may be wondering,
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Sad, možda se pitate,
15:12
you may be wondering why I'm clapping.
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možda se pitate zašto ja plješćem.
15:18
Well, I did this at a school in Boston
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Pa, napravio sam to u školi u Bostonu
15:20
with about 70 seventh graders, 12-year-olds.
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s oko 70 sedmaša -- 12-godišnjaka.
15:24
And I did exactly what I did with you, and I told them
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Napravio sam isto što i ovdje, i rekao sam im
15:26
and explained them and the whole thing.
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i objasnio sam im cijelu priču.
15:27
And at the end, they went crazy, clapping. They were clapping.
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I na kraju su poludjeli, plješćući. Oni su pljeskali.
15:30
I was clapping. They were clapping.
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Ja sam pljeskao. Oni su pljeskali.
15:31
Finally, I said, "Why am I clapping?"
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Konačno, rekao sam, "Zašto ja plješćem?"
15:33
And one of the little kids said, "Because we were listening."
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A jedan od klinaca je rekao, "Zato jer smo mi slušali."
15:34
(Laughter)
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A jedan od klinaca je rekao, "Zato jer smo mi slušali."
15:40
Think of it. 1,600 people, busy people,
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Razmislite. 1600 osoba, zaposlenih osoba,
15:42
involved in all sorts of different things,
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bave se svim mogućim stvarima.
15:45
listening, understanding and being moved by a piece by Chopin.
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Slušaju, shvaćaju i dirnuti su Chopinovim djelom.
15:51
Now that is something.
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To je već nešto.
15:52
Now, am I sure that every single person followed that,
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E sad, jesam li siguran da je svaka osoba to slijedila,
15:55
understood it, was moved by it? Of course, I can't be sure.
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shvatila i bila dirnuta. Naravno, ne mogu biti siguran.
15:58
But I tell you what happened to me.
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No reći ću vam što mi se dogodilo.
15:59
I was in Ireland during the Troubles, 10 years ago,
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Bio sam u Irskoj tijekom nereda prije deset godina,
16:02
and I was working with some Catholic and Protestant kids
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i radio sam s katoličkom i protestantskom djecom
16:05
on conflict resolution. And I did this with them --
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na rješavanju sukoba. I napravio sam ovo s njima.
16:10
a risky thing to do, because they were street kids.
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Riskantan potez za napraviti jer su to bila djeca s ulice.
16:12
And one of them came to me the next morning and he said,
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I jedan mi je od njih došao sljedeće jutro i rekao,
16:16
"You know, I've never listened to classical music in my life,
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"Znate, nikad u životu nisam slušao klasičnu glazbu,
16:19
but when you played that shopping piece ... "
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ali kad ste odsvirali to djelo od shoopinga..."
16:20
(Laughter)
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(Smijeh)
16:23
He said, "My brother was shot last year and I didn't cry for him.
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Rekao je, "Moj brat je ubijen prošle godine, a ja nisam plakao za njim.
16:28
But last night, when you played that piece,
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Ali zadnje noći, kad ste to odsvirali,
16:29
he was the one I was thinking about.
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on je bio onaj o kome sam razmišljao.
16:32
And I felt the tears streaming down my face.
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I osjetio sam kako mi suze teku niz lice.
16:34
And you know, it felt really good to cry for my brother."
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I znate, osjećao sam se doista dobro plaćući zbog brata."
16:37
So I made up my mind at that moment
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U tom sam trenutku odlučio
16:39
that classical music is for everybody. Everybody.
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da je klasična glazba za svakoga. Svakoga.
16:47
Now, how would you walk -- because you know,
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E sad, kako biste vi hodali -- jer, znate,
16:49
my profession, the music profession doesn't see it that way.
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moja profesija, glazbena profesija to ne gleda na taj način.
16:53
They say three percent of the population likes classical music.
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Oni kažu da 3% populacije voli klasičnu glazbu.
16:56
If only we could move it to four percent, our problems would be over.
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Kada bismo to samo mogli povećati na 4%, naši bi problemi nestali.
17:01
I say, "How would you walk? How would you talk? How would you be?
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Ja kažem, "Kako biste vi hodali? Govorili? Živjeli
17:04
If you thought, three percent of the population likes classical music,
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kada biste mislili da 3% populacije voli klasičnu glazbu?
17:08
if only we could move it to four percent. How would you walk?
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Kada bismo to pomaknuli na 4%. Kako biste hodali?
17:10
How would you talk? How would you be?
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Govorili? Kako živjeli
17:12
If you thought, everybody loves classical music --
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kada biste pomislili da svi vole klasičnu glazbu --
17:14
they just haven't found out about it yet."
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samo što to još ne znaju."
17:16
(Laughter)
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(Smijeh)
17:17
See, these are totally different worlds.
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Vidite, to su potpuno različiti svjetovi.
17:20
Now, I had an amazing experience. I was 45 years old,
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Imao sam nevjerojatno iskustvo. Bilo mi je 45 godina,
17:23
I'd been conducting for 20 years, and I suddenly had a realization.
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dirigirao sam 20 godina, i odjednom shvatio.
17:29
The conductor of an orchestra doesn't make a sound.
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Dirigent orkestra ne proizvodi zvuk.
17:32
My picture appears on the front of the CD --
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Moja se slika pojavi na naslovnici svakog CD-a --
17:34
(Laughter)
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(Smijeh)
17:37
-- but the conductor doesn't make a sound.
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-- ali dirigent ne proizvodi zvuk.
17:40
He depends, for his power, on his ability to make other people powerful.
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Njegova snaga ovisi o njegovoj mogućnosti da druge osobe učini snažnima.
17:44
And that changed everything for me. It was totally life changing.
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I za mene se sve promijenilo. Bila je to potpuna promjena života.
17:49
People in my orchestra came up to me and said,
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Osobe u mom orkestru su mi došle i rekle,
17:50
"Ben, what happened?" That's what happened.
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"Bene, što se dogodilo?" Eto, to se dogodilo.
17:52
I realized my job was to awaken possibility in other people.
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Shvatio sam da je moj posao probuditi mogućnost u drugim ljudima.
17:57
And of course, I wanted to know whether I was doing that.
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I naravno, htio sam znati činim li to.
18:00
And you know how you find out? You look at their eyes.
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I znate kako to saznate? Pogledate u njihove oči.
18:03
If their eyes are shining, you know you're doing it.
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Ako se njihove oči sjaje, znate da vam to uspjeva.
18:08
You could light up a village with this guy's eyes.
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Mogli biste osvijetliti selo s očima ovog čovjeka.
18:09
(Laughter)
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Mogli biste osvijetliti selo s očima ovog čovjeka.
18:11
Right. So if the eyes are shining, you know you're doing it.
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Točno. Dakle, ako oči sjaje, znate da vam to polazi za rukom.
18:13
If the eyes are not shining, you get to ask a question.
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Ako oči ne sjaje, trebate si postaviti pitanje.
18:16
And this is the question:
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A pitanje je:
18:17
who am I being, that my players' eyes are not shining?
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Tko sam ja sada da oči mojih svirača ne sjaje?
18:24
We can do that with our children, too.
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Možemo to primijeniti i na našu djecu.
18:25
Who am I being, that my children's eyes are not shining?
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Tko sam ja sada da oči moje djece ne sjaje?
18:31
That's a totally different world.
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To je potpuno drugačiji svijet.
18:33
Now, we're all about to end this magical, on-the-mountain week,
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Pri kraju smo ovog čarobnog tjedna na planini,
18:39
and we're going back into the world.
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i vraćamo se natrag u svijet.
18:40
And I say, it's appropriate for us to ask the question,
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I kažem, prikladno je da se zapitamo ovo pitanje:
18:44
who are we being as we go back out into the world?
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Tko smo mi dok se vraćamo u svijet?
18:49
And you know, I have a definition of success.
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Znate, imam definiciju uspjeha.
18:52
For me, it's very simple. It's not about wealth and fame and power.
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Za mene je to vrlo jednostavno. Ne radi se o bogatsvu, slavi i moći.
18:54
It's about how many shining eyes I have around me.
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Već o tome koliko sjajnih očiju imam oko sebe.
18:58
So now, I have one last thought, which is
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Imam zadnju misao, koja glasi
19:01
that it really makes a difference what we say --
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ono što govorimo doista čini razliku.
19:04
the words that come out of our mouth.
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Riječi koje izlaze iz naših usta.
19:06
I learned this from a woman who survived Auschwitz,
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Naučio sam to od žene koja je preživjela Auschwitz,
19:10
one of the rare survivors.
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jedna od rijetkih preživjelih.
19:11
She went to Auschwitz when she was 15 years old,
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Odvedena je u Auschwitz kada joj je bilo 15 godina,
19:16
and her brother was eight, and the parents were lost.
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njenom bratu 8, a roditelji su nestali.
19:23
And she told me this, she said,
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I rekla mi je ovo,
19:28
"We were in the train going to Auschwitz, and I looked down
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"Bili smo u vlaku koji je vozio u Auschwitz, pogledala sam
19:31
and saw my brother's shoes were missing.
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i vidjela da moj brat nema cipele.
19:34
And I said, 'Why are you so stupid, can't you keep your things together
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I rekla sam mu, "Kako si tako glup, zar se ne možeš brinuti za svoje stvari,
19:37
for goodness' sake?' " The way an elder sister
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za Boga miloga?" -- na način kako starija sestra
19:38
might speak to a younger brother.
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razgovara s mlađim bratom.
19:42
Unfortunately, it was the last thing she ever said to him,
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Nažalost, bile su to zadnje riječi koje mu je ikad rekla
19:45
because she never saw him again. He did not survive.
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jer ga nikada više nije vidjela. Nije preživio.
19:49
And so when she came out of Auschwitz, she made a vow.
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Kad je izašla iz Auschwitza, zavjetovala se.
19:52
She told me this. She said, "I walked out of Auschwitz into life
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Povjerila mi je to. Rekla je, "Izašla sam iz Auschwitza u život
19:56
and I made a vow. And the vow was, I will never say anything
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i zavjetovala se. Zavjet je bio, nikad neću reći ništa
20:02
that couldn't stand as the last thing I ever say."
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što ne bi mogle biti posljednje riječi koje ću ikad reći."
20:05
Now, can we do that? No. And we'll make ourselves wrong
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E sad, možemo li to? Ne. I činit ćemo zlo sebi
20:10
and others wrong. But it is a possibility to live into. Thank you.
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i zlo drugima. No to je mogućnost koju možemo živjeti. Hvala vam.
20:17
(Applause)
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(Pljesak)
20:23
Shining eyes, shining eyes.
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Sjajne oči, sjajne oči.
20:34
Thank you, thank you.
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Hvala vam, hvala.
20:38
(Music)
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(Glazba)
ABOUT THE SPEAKER
Benjamin Zander - ConductorA leading interpreter of Mahler and Beethoven, Benjamin Zander is known for his charisma and unyielding energy -- and for his brilliant pre-concert talks.
Why you should listen
Since 1979, Benjamin Zander has been the conductor of the Boston Philharmonic. He is known around the world as both a guest conductor and a speaker on leadership -- and he's been known to do both in a single performance. He uses music to help people open their minds and create joyful harmonies that bring out the best in themselves and their colleagues.
His provocative ideas about leadership are rooted in a partnership with Rosamund Stone Zander, with whom he co-wrote The Art of Possibility.
Benjamin Zander | Speaker | TED.com