TEDxBrussels
Charles Hazlewood + British Paraorchestra: The debut of the British Paraorchestra
Filmed:
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There are millions of prodigiously gifted musicians of disability around the world, and Charles Hazlewood is determined to give them a platform. Watch the debut performance of the British Paraorchestra.
(Filmed at TEDxBrussels.)
British Paraorchestra - Contemporary music ensemble
The British Paraorchestra is the first orchestra for world-class musicians of disability Full bioCharles Hazlewood - Conductor
Charles Hazlewood dusts off and invigorates classical music, adding a youthful energy and modern twists to centuries-old masterworks. At TEDGlobal, he conducts the Scottish Ensemble. Full bio
The British Paraorchestra is the first orchestra for world-class musicians of disability Full bioCharles Hazlewood - Conductor
Charles Hazlewood dusts off and invigorates classical music, adding a youthful energy and modern twists to centuries-old masterworks. At TEDGlobal, he conducts the Scottish Ensemble. Full bio
Double-click the English transcript below to play the video.
00:07
Music is the most universal
language that we have,
language that we have,
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音乐是我们拥有的最通用的语言，
00:11
way more so than any dialect or tongue.
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它比任何方言及语言都更重要。
你可以给中国的一个孩子
演奏一段旋律，
演奏一段旋律，
00:15
You can play a melody to a child in China
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00:18
and the same melody
to a child in South Africa.
to a child in South Africa.
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然后给南非的一个孩子
演奏同样的旋律。
演奏同样的旋律。
尽管两个孩子之间有巨大的差异，
00:22
And despite the huge differences
between those two children,
between those two children,
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00:25
they will still draw some of the same
truths from that melody.
truths from that melody.
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他们仍然可以从旋律中
得出一些相同的真理。
得出一些相同的真理。
00:30
Now, I think the reason why
music has this universality,
music has this universality,
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我认为音乐之所以有这种普遍性，
00:34
this way of speaking
to each and every one of us,
to each and every one of us,
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可以通过这种方式与我们每个人沟通，
00:37
is that somehow it's capable
of holding up a mirror to us
of holding up a mirror to us
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是因为它就像在我们面前
摆放的一面镜子，
摆放的一面镜子，
00:41
that reveals, in some small or large way,
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以某种大小不同的方式一点点地
00:44
a little bit of who or what we are.
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告诉我们是谁或者我们是什么。
推而广之，
00:49
By logical extension of this,
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如果音乐就是这种普遍力量，
00:51
if music is this universal force,
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00:54
then surely groups of musicians --
let's call them orchestras --
let's call them orchestras --
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那么有一群音乐家——
我们称他们为管弦乐队——
我们称他们为管弦乐队——
00:58
should reflect every aspect
of the community.
of the community.
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肯定可以反映出社区的方方面面。
01:02
Logical, but not necessarily true.
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这符合逻辑，但是不一定是事实。
01:06
At TEDxBrussels today, we've been looking
forward to the future --
forward to the future --
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今天在TEDx 布鲁塞尔，
我们一直在展望未来——
我们一直在展望未来——
01:09
50 years from now.
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50年后的今天。
01:10
Well, I'm going to ask you
to go in the other direction for a minute,
to go in the other direction for a minute,
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好，那现在让我们朝
另外一个方向看，
另外一个方向看，
和我一起回到50年前，
01:14
to come back with me
50 years into the past,
50 years into the past,
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确切来讲回到60年代初。
01:16
the early 1960s to be precise.
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01:18
And if you took a look
at all the great orchestras
at all the great orchestras
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如果你去看看当时所有
01:21
of the world at that time, a snapshot,
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举世闻名的管弦乐队的照片，
01:23
how many women do you think you would find
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你觉得你能找到多少女性
01:26
playing in those orchestras?
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在管弦乐队演奏？
01:28
The answer: virtually none.
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答案是：一个都没有。
01:32
Well, here we are 50 years on, in 2011,
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那么现在50年过去了，
我们来到2011年，
我们来到2011年，
01:36
and pretty much
every orchestra on the planet
every orchestra on the planet
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几乎世界上每一个管弦乐队
在男女比例上都达到了极佳的均衡。
01:38
has a fantastic and healthy balance
between the sexes.
between the sexes.
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01:41
"Of course!" I hear you
say, "Totally logical."
say, "Totally logical."
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“当然了，” 你们一定会说，
“这完全符合逻辑。”
“这完全符合逻辑。”
01:46
But how about another aspect
of the community?
of the community?
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但是社区共同体的另外一个方面呢？
残疾人社区。
01:49
The disabled community.
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01:51
Do we find them well-represented
in the great orchestras of our world?
in the great orchestras of our world?
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我们能在世界闻名的管弦乐队中
找到他们的踪影吗？
找到他们的踪影吗？
01:56
Well, I can tell you as a conductor,
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那么，作为一个指挥家，
我可以告诉你，
我可以告诉你，
01:58
I work with orchestras
around the world all the time,
around the world all the time,
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我一直在和全世界的管弦乐队合作，
02:01
and I can count on the fingers of one hand
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我用一个手的手指就可以数得清
02:05
the number of disabled
musicians I've encountered
musicians I've encountered
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我所遇到的残疾音乐家有多少，
02:07
in any orchestra,
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在任何一个管弦乐队，
02:09
anywhere.
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任何地方。
02:10
Why is this?
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这是为什么？
02:12
You can't tell me that there
aren't millions upon millions
aren't millions upon millions
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你不能否认的是，世界上有成千上万
02:16
of prodigiously gifted musicians
of disability around the world.
of disability around the world.
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天赋异禀的音乐家是残疾人。
02:23
Where is their platform?
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他们的舞台在哪里？
02:24
Where is the infrastructure
that creates a space for them
that creates a space for them
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让他们有机会和其他伟大
的音乐家一起合作，
的音乐家一起合作，
为他们创造空间
的基础设施又在哪里？
的基础设施又在哪里？
02:28
so that they can collaborate
with other great musicians?
with other great musicians?
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02:33
So, ladies and gentlemen,
as you can probably tell,
as you can probably tell,
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那么，女士们先生们，
你们大概也明白了，
你们大概也明白了，
今天我是带着使命来的。
02:35
I'm on a bit of a mission.
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这个使命也有一定的个人根源。
02:36
And this mission has
a personal root to it.
a personal root to it.
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我有四个孩子，其中
最小的生来就患有脑瘫。
最小的生来就患有脑瘫。
02:38
I have four children, the youngest of whom
was born with cerebral palsy.
was born with cerebral palsy.
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02:42
She's now five, and through
her glorious existence,
her glorious existence,
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她现在已经5岁了，
在经历了她的光辉成长后，
在经历了她的光辉成长后，
02:45
I suppose I have now become
a fully paid-up member
a fully paid-up member
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可以说我已经成了这个光彩夺目的
02:49
of the amazing, dizzyingly wonderful
disabled community.
disabled community.
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残疾人社区的正式成员。
02:54
And I find myself looking
at the Paralympics
at the Paralympics
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我发现自己开始观看残奥会，
并开始感叹这是一个多么
让人难以置信的典范。
让人难以置信的典范。
02:56
and thinking what
an incredible model that is.
an incredible model that is.
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02:59
It's taken a good five decades, actually,
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实际上已经花了50年的时间了，
03:02
but I can say with hand on heart
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但是我可以摸着良心说，
03:04
that when the Paralympics
comes to London next year,
comes to London next year,
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明年伦敦举办残奥会的时候，
03:06
there will not be an intelligent
person anywhere on the planet
person anywhere on the planet
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这个世界上的任何
一个角落都将不会有人
一个角落都将不会有人
03:11
who does not absolutely believe
in the validity of disabled sportspeople.
in the validity of disabled sportspeople.
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对残疾运动员们的价值有任何质疑。
这是一件多么了不起的事情！
03:17
What an amazing position to be in!
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03:19
So, ladies and gentlemen,
where the hell is music in all this?
where the hell is music in all this?
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所以，女士们先生们，
音乐的位置到底在哪里？
音乐的位置到底在哪里？
03:23
Apologies to any of you
who are sports fans,
who are sports fans,
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观众席里的体育迷们，不好意思，
03:25
but music is far more
universal than sport.
universal than sport.
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但音乐远比体育运动更普遍。
03:29
Where is the platform?
Where is their voice?
Where is their voice?
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他们的舞台在哪里？
他们的声音在哪里？
他们的声音在哪里？
03:32
So, we in the UK are at the very early
stages in forming what will be
stages in forming what will be
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在英国，我们正处于组建英国
03:37
Britain's first-ever
national disabled orchestra.
national disabled orchestra.
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首个国家残疾人管弦乐队的初期阶段。
03:41
We are going to call it
the British Paraorchestra,
the British Paraorchestra,
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我们将称它为 “英国残疾人管弦乐队”，
03:43
because with the world's eyes
on London next year
on London next year
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因为当明年，世界
将目光投向伦敦的时候，
将目光投向伦敦的时候，
03:46
and particularly on the Paralympics,
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尤其在残奥会时，
03:48
we want to throw down the gauntlet
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我们将向全世界发起挑战，
03:50
to every single other country
that is represented there,
that is represented there,
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对在场的每一个国家代表队说，
03:53
to say to them, "Here's our paraorchestra.
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“这是我们的残疾人管弦乐队，
03:56
Where's yours?"
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你们的在哪里？”
03:58
Every country should have
a multiplicity of paraorchestras
a multiplicity of paraorchestras
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每个国家都应该有各种各样
的残疾人管弦乐队，
的残疾人管弦乐队，
有不同的组成形式，或是不同的规模，
04:02
of all shapes and sizes,
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04:04
no question.
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这是毋庸置疑的。
04:05
Now, today is a very special day for me,
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今天对我来说是一个特殊的日子，
04:08
because it is the first time
that the first four members
that the first four members
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因为今天四位来自我的
04:11
of my little embryonic paraorchestra
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残疾人管弦乐队的第一批成员，
04:14
are going to play in public;
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将首次亮相为大家公开演奏。
04:16
four extraordinary musicians
of which the number will grow and grow.
of which the number will grow and grow.
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这四位都是非凡的音乐家，
乐队的成员还会不断增加。
乐队的成员还会不断增加。
04:21
I hope in the end the Paraorchestra
could even be as big as 50 musicians.
could even be as big as 50 musicians.
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我希望最终甚至可以
达到50个音乐家的规模。
达到50个音乐家的规模。
04:25
We present to you today
a little sonic adventure,
a little sonic adventure,
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今天我们为你们带来
一次声音的小冒险，
一次声音的小冒险，
04:28
a little piece of improvisational
whimsy, if you like,
whimsy, if you like,
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换句话说，一曲奇思妙想的即兴演奏，
04:32
a piece on which, of course,
the ink is still wet,
the ink is still wet,
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当然，这段旋律尚未成熟，
04:35
the clay is still wet.
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仍需润色。
毕竟即兴创作从来就不是固定的事。
04:36
After all, improvisation
is never a fixed thing.
is never a fixed thing.
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04:39
We decided what we wanted
to share with you,
to share with you,
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我们想要和你们分享的内容
04:41
at the heart of our improvisation,
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也就是我们即兴创作的核心，
04:43
was a tune which is beloved
of British people.
of British people.
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是备受英国人喜爱的一首曲子，
04:46
It's one of the only folk melodies
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我们唯一仍然具有文化认同感
04:47
that we still recognize in our culture.
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的民间小调之一。
04:50
And here's an interesting thing:
folk music can tell you an awful lot
folk music can tell you an awful lot
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有趣的是，你可以
从民谣音乐中了解很多
从民谣音乐中了解很多
04:54
about the cultural DNA of the country
from which it originates.
from which it originates.
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关于这个国家文化
的DNA以及它的起源。
的DNA以及它的起源。
04:58
You see, we in Britain
are quietly melancholic.
are quietly melancholic.
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很明显，我们英国人
总是带着一种静默的忧郁。
总是带着一种静默的忧郁。
05:02
You know, the rain ... it does rain.
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你也知道，这里确实经常下雨。
05:04
The food's not so good.
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吃的也不怎么样。
05:05
(Laughter)
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（笑声）
05:06
Quietly melancholic.
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静默的忧郁。
05:08
Not blackly so, just quietly so.
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不是那种抑郁，只是安静的。
05:11
And as Shakespeare put it so
brilliantly in "Twelfth Night,"
brilliantly in "Twelfth Night,"
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就像莎士比亚在“第十二夜”
里生动的描写一样，
里生动的描写一样，
05:15
he loves music that has "a dying fall."
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他喜欢有“垂死的秋天”的音乐。
05:19
So this melody, "Greensleeves,"
is chock-full of "dying fall."
is chock-full of "dying fall."
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所以“绿袖子”这首旋律里
充满了“垂死的秋天”的感觉。
充满了“垂死的秋天”的感觉。
05:23
You may know this tune.
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你可能知道这首曲子。
（歌声）Da, da, da da da da, 垂死的秋天。
05:25
(Singing) Da, da, da da da da, dying fall.
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05:27
(Laughter)
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(笑声）
Da da da, da da da da, 垂死的秋天。
05:28
Da da da, da da da da, dying fall.
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05:31
Da dee, da da na na ... dying fall ...
na na nee, na ah ah ah ah.
na na nee, na ah ah ah ah.
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Da dee, da da na na, 垂死的秋天，
na na nee na ah ah ah ah。
na na nee na ah ah ah ah。
05:34
Brief burst of sunshine, ladies
and gentlemen, the chorus --
and gentlemen, the chorus --
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破云而出的阳光，稍纵即逝。
女士们先生们，合唱——
女士们先生们，合唱——
（歌声）Ya da da da, 垂死的秋天。
05:37
(Singing) Ya da da da, dying fall ...
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05:40
(Laughter)
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（笑声）
05:41
(Singing) Da da dee,
da da da da, dying fall ...
da da da da, dying fall ...
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（歌声）
Da da dee, da da da da, 垂死的秋天。
Da da dee, da da da da, 垂死的秋天。
Ya da da da, 垂死的秋天。
05:43
Ya da da da, dying fall ...
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05:47
OK?
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知道了吧？
感觉我们的文化里需要一些
有旋律感的伟哥，女士们，先生们。
有旋律感的伟哥，女士们，先生们。
05:48
It's like we need some melodic Viagra
in our culture, ladies and gentlemen.
in our culture, ladies and gentlemen.
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05:52
(Laughter)
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（笑声）
05:54
(Applause)
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（掌声）
06:00
It goes without saying
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不言而喻的是，
06:01
that we are very much
at the starting gates with this project.
at the starting gates with this project.
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我们还处于这个项目的起点。
06:04
We need your help, we need
the global community
the global community
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我们需要你们的帮助，
我们需要全球的社区
我们需要全球的社区
06:07
to help us deliver this dream,
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来帮助我们把这个梦想传递下去，
06:09
so that this orchestra
can be full steam ahead
can be full steam ahead
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这样这个管弦乐队
就可以在2012年夏季前
就可以在2012年夏季前
06:12
by summer 2012.
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全速前进了。
如果你们觉得可以
通过任何方式帮助我们，
通过任何方式帮助我们，
06:14
If you think there's any way
that you can help us,
that you can help us,
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拜托，请一定要联系我们。
06:17
please, please, get in touch.
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06:19
And so, ladies and gentlemen, it gives
me enormous pride, pleasure and joy
me enormous pride, pleasure and joy
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那么，女士们先生们，
我带着无比的骄傲、荣幸及喜悦之情，
我带着无比的骄傲、荣幸及喜悦之情，
06:24
to introduce to you,
with a short improvisation
with a short improvisation
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在这里向你们介绍“绿袖子”，
06:26
upon that most melancholic
tune, "Greensleeves,"
tune, "Greensleeves,"
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一个简短的最具忧郁感的即兴曲调，
06:29
the first four members
of the British Paraorchestra.
of the British Paraorchestra.
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英国残疾人管弦乐队
的第一批四位成员！
的第一批四位成员！
（掌声）（欢呼声）
06:33
(Applause) (Cheers)
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06:44
(Music)
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（音乐）
（掌声）
12:58
(Applause)
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13:07
(Cheers) (Applause)
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（欢呼声）（掌声）
ABOUT THE SPEAKERS
British Paraorchestra - Contemporary music ensembleThe British Paraorchestra is the first orchestra for world-class musicians of disability
Why you should listen
Charles Hazlewood is a conductor founded the British Parorchestra to give musicians of disability a platform to collaborate and perform.
Credits for the debut British Paraorchestra performance: Dhanoday Srivastava (Baluji), James Risdon, Clarence Adoo, Lyn Levett. Alison Roberts tell a few of their stories in her Evening Standard piece on the Paraorchestra:
Clarence Adoo, for example, who used to play trumpet with Courtney Pine, suffered a devastating car accident in 1995 and is now paralysed from the shoulders down. He plays music on a laptop, using a specially designed blow tube as a computer mouse. Adoo says he'd rather be able to play an instrument again than walk.
Lyn Levett has severe cerebral palsy and can only communicate by pressing an iPad with her nose, yet makes the "most dizzyingly brilliant electronic music", says Hazlewood. Levett herself, through her iPad, tells us that when she's creating music, it feels as though she's in a cockpit, flying a plane. Sitar player and composer Baluji Shrivastav has been blind since the age of eight months, and Lloyd Coleman is both deaf and sight-impaired. All four make their living solely from music.
British Paraorchestra | Speaker | TED.com
Charles Hazlewood - Conductor
Charles Hazlewood dusts off and invigorates classical music, adding a youthful energy and modern twists to centuries-old masterworks. At TEDGlobal, he conducts the Scottish Ensemble.
Why you should listen
Charles Hazlewood's fresh presentations of classical music shake up the traditional settings of the form -- in one performance he’ll engage in a conversation with the audience, while in another he’ll blend film or sculpture into a piece -- but his goal is always the same: exposing the deep, always-modern joy of the classics. He's a familiar face on British TV, notably in the 2009 series The Birth of British Music on BBC2. He conducts the BBC Orchestras and guest-conducts orchestras around the world.
Together with Mark Dornford-May, he founded a lyric-theatre company in South Africa called Dimpho Di Kopane (which means "combined talents") after auditioning in the townships and villages of South Africa. Of the 40 members, only three had professional training. They debuted with Bizet's Carmen, which was later transposed into a movie version called U-Carmen eKhayelitsha, spoken and sung in Xhosa, that was honored at the Berlin Flim Festival. He regularly involves children in his projects and curates his own music festival, Play the Field, on his farm in Somerset. His latest project: the ParaOrchestra.
He says: "I have loads of issues with the way classical music is presented. It has been too reverential, too 'high art' -- if you're not in the club, they're not going to let you join. It's like The Turin Shroud: don't touch it because it might fall apart."
Charles Hazlewood | Speaker | TED.com