TED2008
Benjamin Zander: The transformative power of classical music
Benjamin Zander sobre música e paixón
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Benjamin Zander ten dúas paixóns infecciosas: a música clásica, e axudarnos a descubrir o noso amor non explorado por ela -- e por exensión, o noso amor non explorado por todas as novas posibiliades, novas experiencias, novas conexións.
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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Seguramente moitos de vós coñecedes a historia dos dous vendedores
00:15
who went down to Africa in the 1900s.
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que baixaron a África nos primeiros anos do século XX.
00:18
They were sent down to find if there was any opportunity
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Enviáronos para ver se había algunha oportunidade
00:20
for selling shoes,
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para vender zapatos.
00:22
and they wrote telegrams back to Manchester.
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E dende aló enviaron uns telegramas a Manchester.
00:25
And one of them wrote, "Situation hopeless. Stop.
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E un deles escrebeu: "Situación desesperanzadora. Stop.
00:29
They don't wear shoes."
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Non levan zapatos postos".
00:30
And the other one wrote, "Glorious opportunity.
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E o outro escrebeu: "Magnífica oportunidade.
00:33
They don't have any shoes yet."
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Ainda non levan zapatos postos".
00:35
(Laughter)
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(Sorrisos)
00:36
Now, there's a similar situation in the classical music world,
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Ben, pois hai unha situación semellante no mundo da música clásica,
00:40
because there are some people who think
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porque hai algunha xente que pensa
00:41
that classical music is dying.
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que a música clásica está a morrer.
00:45
And there are some of us who think you ain't seen nothing yet.
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E hai algúns de nós que pensamos que está todo por ver.
00:48
And rather than go into statistics and trends,
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E mellor que ir ás estatísticas e as modas
00:52
and tell you about all the orchestras that are closing,
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e falarvos de todas as orquestas que están a pechar,
00:54
and the record companies that are folding,
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e as discográficas que están a virse abaixo,
00:57
I thought we should do an experiment tonight -- an experiment.
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Pensei que deberíamos facer un experimento esta noite -- un experimento.
01:01
Actually, it's not really an experiment, because I know the outcome.
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De feito, non é realmente un experimento porque eu sei o resultado.
01:06
But it's like an experiment. Now, before we --
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Mais é como un experimento. Agora ben, antes de --
01:08
(Laughter)
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(Sorrisos)
01:12
-- before we start, I need to do two things.
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-- antes de comezar, preciso dúas cousas.
01:14
One is I want to remind you of what a seven-year-old child
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A primeira, é que vos quero recordar como sona un neno de 7 anos
01:19
sounds like when he plays the piano.
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cando toca o piano.
01:20
Maybe you have this child at home.
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Se cadra tedes este neno na casa.
01:23
He sounds something like this.
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Sona máis ou menos así.
01:24
(Piano)
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(Piano)
01:44
I see some of you recognize this child.
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Vexo que algúns de vós recoñecedes a este neno.
01:46
Now, if he practices for a year and takes lessons, he's now eight
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Agora ben, se practica durante un ano e toma leccións, ten 8 anos
01:51
and he sounds like this.
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e sona así.
01:52
(Piano)
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(Piano)
01:59
Then he practices for another year and takes lessons -- now he's nine.
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Entón practica durante outro ano, e toma leccións; agora ten 9.
02:02
(Piano)
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(Piano)
02:08
Then he practices for another and takes lessons -- now he's 10.
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Entón practica durante outro ano e toma leccións: agora ten 10.
02:11
(Piano)
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(Piano)
02:18
At that point, they usually give up.
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Nese momento normalmente abandona.
02:19
(Laughter)
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(Sorrisos)
02:21
(Applause)
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(Aplausos)
02:23
Now, if you'd waited, if you'd waited for one more year,
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Agora ben, se esperases, se esperases un ano máis,
02:26
you would have heard this.
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terías escoitado isto:
02:27
(Piano)
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(Piano)
02:36
Now, what happened was not maybe what you thought,
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Agora ben, o que aconteceu non foi se cadra o que pensáchedes,
02:39
which is, he suddenly became passionate, engaged,
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que de súpeto se voltara apaixoado, comprometido,
02:42
involved, got a new teacher, he hit puberty, or whatever it is.
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involucrado, que tivo un novo profesor, chegou á pubertade, ou o que sexa.
02:45
What actually happened was the impulses were reduced.
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O que aconteceu foi que os impulsos se reduciron.
02:50
You see, the first time, he was playing
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Vedes, a primeira vez el tocaba
02:51
with an impulse on every note.
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cun impulso en cada nota.
02:54
(Piano)
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(Piano)
02:56
And the second, with an impulse every other note.
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E a segunda vez cun impulso cada dúas notas.
02:59
(Piano)
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(Piano)
03:01
You can see it by looking at my head.
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Podedes velo mirando a miña cabeza.
03:03
(Laughter)
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(Sorrisos)
03:04
The nine-year-old
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O de 9 anos, o de 9 anos
03:06
put an impulse on every four notes.
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puña un impulso cada catro notas.
03:07
(Piano)
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(Piano)
03:10
And the 10-year-old, on every eight notes.
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E o de 10 anos cada 8 notas.
03:11
(Piano)
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(Piano)
03:14
And the 11-year-old, one impulse on the whole phrase.
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E o de 11 anos, un impulso en toda a frase.
03:16
(Piano)
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(Piano)
03:20
I know -- I don't know how we got into this position.
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Seino -- non sei como cheguei a esta posición.
03:22
(Laughter)
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(Sorrisos)
03:25
I didn't say, "I'm going to move my shoulder over, move my body."
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Non dixen que fora a mover a miñas costas ou o meu corpo.
03:27
No, the music pushed me over,
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Non, a música levoume a facelo,
03:29
which is why I call it one-buttock playing.
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que é o motivo polo que o chamo tocar a unha nádega.
03:31
(Piano)
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(Piano)
03:33
It can be the other buttock.
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Pode ser a outra nádega.
03:34
(Piano)
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(Piano)
03:38
You know, a gentleman was once watching a presentation I was doing,
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Sabedes, un cabaleiro estaba unha vez vendo unha presentación miña
03:41
when I was working with a young pianist.
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cando estaba a traballar cun pianista novo.
03:43
He was the president of a corporation in Ohio.
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El era o presiente dunha corporación en Ohio.
03:45
And I was working with this young pianist
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E eu estaba a traballar con este pianista novo
03:48
and I said, "The trouble with you is you're a two-buttock player.
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e dixen, "o teu problema é que és un pianista de dúas nádegas.
03:50
You should be a one-buttock player."
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Deberías ser un pianista de unha nádega."
03:52
And I moved his body like that, while he was playing.
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E movín o seu corpo dese xeito cando estaba tocando.
03:54
And suddenly, the music took off. It took flight.
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E de súpeto a música despegou. Colleu voo.
03:57
There was a gasp in the audience when they heard the difference.
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Houbo un suspiro na audiencia cando escoitaron a diferencia.
03:59
And then I got a letter from this gentleman.
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Entón recibín unha carta deste cabaleiro.
04:01
He said, "I was so moved.
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El dixo, "estaba tan emocionado.
04:02
I went back and I transformed my entire company
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Voltei e transformei toda a miña empresa
04:05
into a one-buttock company."
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nunha empresa dunha nádega."
04:06
(Laughter)
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(Sorrisos)
04:10
Now, the other thing I wanted to do is to tell you about you.
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Ben, a outra cousa que quería facer é falarvos de vós.
04:12
There are 1,600 people, I believe.
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Hai 1.600 persoas, penso.
04:15
My estimation is that probably 45 of you
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A miña estimación é que probablemente 45 de vós
04:18
are absolutely passionate about classical music.
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sodes apaixoados absolutos da música clásica.
04:21
You adore classical music. Your FM is always on that classical dial.
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Adorades a música clásica. A vosa radio está sempre nese dial clásico.
04:26
And you have CDs in your car, and you go to the symphony.
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E tedes CDs no voso coche, e ides escoitar a sinfónica.
04:29
And your children are playing instruments.
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E os vosos nenos tocan instrumentos.
04:30
You can't imagine your life without classical music.
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Non podedes imaxinar a vosa vida sen música clásica.
04:33
That's the first group; it's quite a small group.
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Ese é o primeiro grupo; un grupo bastante pequeno.
04:35
Then there's another group, bigger group.
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Hai outro grupo máis grande.
04:37
These are the people who don't mind classical music.
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O composto pola xente á que non lle molesta a música clásica.
04:39
(Laughter)
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(Sorrisos)
04:40
You know, you've come home from a long day,
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Xa sabedes, chegaches a casa despois dun longo día
04:42
and you take a glass of wine, and you put your feet up.
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colles un vaso de viño e recóstaste.
04:45
A little Vivaldi in the background doesn't do any harm.
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Un pouco de Vivaldi de fondo non fai ningún dano.
04:47
(Laughter)
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(Sorrisos)
04:48
That's the second group.
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Ese é o segundo grupo.
04:49
Now comes the third group.
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Agora ven o terceiro grupo.
04:50
These are the people who never listen to classical music.
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O composto pola xente que nunca escoita música clásica.
04:52
It's just simply not part of your life.
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Simplemente non é parte da súa vida.
04:55
You might hear it like second-hand smoke at the airport, but --
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Podedes escoitala como fume de segunda man no aeroporto, pero --
04:57
(Laughter)
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(Sorrisos)
04:59
-- and maybe a little bit of a march from "Aida"
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-- e quizais un pouco dunha marcha de Aida
05:00
when you come into the hall. But otherwise, you never hear it.
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cando entrades na sala. Pero á marxe diso, nunca a escoitades.
05:04
That's probably the largest group of all.
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Este é probábelmente o grupo maior.
05:05
And then there's a very small group.
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E despois está un grupo moi pequeno.
05:07
These are the people who think they're tone-deaf.
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O composto por aqueles que pensan que non teñen ouvido musical.
05:10
Amazing number of people think they're tone-deaf.
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Un incríbel número de xente pensa que non ten ouvido musical.
05:13
Actually, I hear a lot, "My husband is tone-deaf."
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De feito, escoito frecuentemente, "o meu marido non ten ouvido musical."
05:15
(Laughter)
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(Sorrisos)
05:16
Actually, you cannot be tone-deaf. Nobody is tone-deaf.
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De feito, non podedes non ter ouvido musical. Ninguén carece de ouvido musical.
05:19
If you were tone-deaf, you couldn't change the gears
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Se non tivérades ouvido musical, non poderiades cambiar as marchas
05:22
on your car, in a stick shift car.
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no voso coche, nun coche con cambio manual.
05:24
You couldn't tell the difference between
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Non poderiades ver a diferencia entre
05:26
somebody from Texas and somebody from Rome.
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alguén de Texas e alguén de Roma.
05:28
And the telephone. The telephone. If your mother calls
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E o teléfono. O teléfono. Se a vosa nai chama
05:33
on the miserable telephone, she calls and says, "Hello,"
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polo miserábel teléfono, chama e di "Ola,"
05:35
you not only know who it is, you know what mood she's in.
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non só sabedes quen é, senón en que estado de ánimo se atopa.
05:39
You have a fantastic ear. Everybody has a fantastic ear.
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Tedes un ouvido fantástico. Todo o mundo ten un ouvido fantástico.
05:42
So nobody is tone-deaf.
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Así que ninguén carece de ouvido musical.
05:44
But I tell you what. It doesn't work for me to go on with this thing,
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Porén, ¿sabedes o q vos digo? Non me apetece a min continuar con esta cousa
05:48
with such a wide gulf between those who understand,
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con ese abismo tan grande entre os que entenden,
05:52
love and [are] passionate about classical music,
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aman e se apaixoan coa música clásica,
05:54
and those who have no relationship to it at all.
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e os que non teñen ningunha relación con ela.
05:57
The tone-deaf people, they're no longer here.
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A xente sen ouvio musical, eses xa non están aquí.
05:59
But even between those three categories, it's too wide a gulf.
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Mais incluso entre esas tres categorías, hai un abismo demasiado grande.
06:03
So I'm not going to go on until every single person in this room,
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Así que non vou continuar ata que todas e cada unha das persoas desta sala,
06:07
downstairs and in Aspen, and everybody else looking,
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os que están no piso de abaixo, e en Aspen, e todos os demáis que estexan vendo,
06:13
will come to love and understand classical music.
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cheguen a amar e comprender a música clásica.
06:16
So that's what we're going to do.
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Así que iso é o que imos facer.
06:19
Now, you notice that there is not the slightest doubt in my mind
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Por certo, notades que non hai a menor dúbida na miña mente
06:24
that this is going to work if you look at my face, right?
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se mirades a miña cara, sobre se vai funcionar ou non, verdade?
06:27
It's one of the characteristics of a leader that he not doubt
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É unha das características dun líder que non dubide
06:31
for one moment the capacity of the people he's leading
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por un intre da capacidade da xente que está a liderar
06:35
to realize whatever he's dreaming.
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para facer realidade o que sexa que está a soñar.
06:37
Imagine if Martin Luther King had said, "I have a dream.
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Imaxinade se Martin Luther King tivera dito, "Teño un soño.
06:40
Of course, I'm not sure they'll be up to it."
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E por suposto, non estou seguro de que eles estean á altura."
06:42
(Laughter)
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(Sorrisos)
06:46
All right. So I'm going to take a piece of Chopin.
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Ben. Vou escoller agora unha peza de Chopin.
06:48
This is a beautiful prelude by Chopin. Some of you will know it.
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É un preludio fermoso de Chopin. Algúns de vós coñecerédelo.
06:54
(Music)
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(Música)
07:22
Do you know what I think probably happened in this room?
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Sabedes o que creo que pasou nesta sala?
07:25
When I started, you thought, "How beautiful that sounds."
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Cando comecei, pensáchedes, "Que fermoso sona."
07:27
(Music)
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(Music)
07:41
"I don't think we should go to the same place
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"Penso que non deberíamos ir ao mesmo lugar
07:42
for our summer holidays next year."
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o próximo ano nas vacacións de verán."
07:44
(Laughter)
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(Sorrisos)
07:47
It's funny, isn't it? It's funny how those thoughts
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Divertido, verdade? Divertido como eses pensamentos
07:50
kind of waft into your head.
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esperan dalgún xeito na vosa cabeza.
07:53
And of course --
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E por suposto --
07:54
(Applause)
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(Aplauso)
07:57
-- and of course, if the piece is long and you've had a long day,
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-- e por suposto, se a peza é longa e tivéchedes un día longo,
08:00
you might actually drift off.
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podedes de feito quedarvos durmidos.
08:01
Then your companion will dig you in the ribs
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Entón o voso acompañante daravos un cobadazo nas costelas
08:03
and say, "Wake up! It's culture!" And then you feel even worse.
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e dirá, "Acorda! É cultura!" E entón ainda vos sentides peor.
08:07
But has it ever occurred to you that the reason you feel sleepy
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Mais pensáchedes algunha vez que a razón pola que vos sentides somnolentos
08:11
in classical music is not because of you, but because of us?
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na música clásica non é culpa vosa, senón culpa nosa?
08:13
Did anybody think while I was playing,
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Alguén pensou mentres eu tocaba,
08:15
"Why is he using so many impulses?"
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"Por que está usando tantos impulsos?"
08:17
If I'd done this with my head you certainly would have thought it.
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Se tivera feito isto coa miña cabeza seguramente teríadelo pensado.
08:21
(Music)
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(Música)
08:26
And for the rest of your life, every time you hear classical music,
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E durante o resto das vosas vidas, cada vez que escoitedes música clásica
08:30
you'll always be able to know if you hear those impulses.
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sempre seredes quen de saber se escoitades eses impulsos.
08:34
So let's see what's really going on here.
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Así que vexamos que está acontecendo realmente aquí.
08:36
We have a B. This is a B. The next note is a C.
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Temos un Si. Esta é un Si. A seguinte é Do.
08:41
And the job of the C is to make the B sad. And it does, doesn't it?
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O Do ten a función de facer triste ao Si. ¿Conségueo, verdade?
08:44
(Laughter)
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(Sorrisos)
08:47
Composers know that. If they want sad music,
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Os compositores sábeno. Se queren música triste
08:49
they just play those two notes.
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simplemente tocan esas dúas notas.
08:50
(Music)
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(Música)
08:55
But basically, it's just a B, with four sads.
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Mais básicamente é só Si, con catro tristes.
08:57
(Laughter)
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(Sorrisos)
09:00
Now, it goes down to A. Now to G. And then to F.
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Agora baixa a La. Agora a Sol, e logo a Fa.
09:05
So we have B, A, G, F. And if we have B, A, G, F,
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Entón temos Si, La, Sol, Fa. E se temos Si, La, Sol, Fa,
09:10
what do we expect next? Oh, that might have been a fluke.
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¿que agardamos despois? Ah, podía ter sido unha casualidade.
09:16
Let's try it again. Ooh, the TED choir.
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Probemos de novo. Ooh, o coro de TED.
09:22
(Laughter)
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(Sorrisos)
09:25
And you notice nobody is tone-deaf, right? Nobody is.
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¿E notades que non hai ninguén sen ouvido musical? Ninguén.
09:29
You know, every village in Bangladesh
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Sabedes, en cada aldea de Bangladesh
09:31
and every hamlet in China -- everybody knows:
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e cada aldea da China. Todos saben:
09:37
da, da, da, da -- da. Everybody knows, who's expecting that E.
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da, da, da, da -- da. Todos saben que esperan un Mi.
09:40
Now, Chopin didn't want to reach the E there,
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Agora ben, Chopin non quería chegar ao Mi aí,
09:44
because what will have happened? It will be over, like Hamlet.
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porque que tería acontecido? Tería rematado, como Hamlet.
09:46
Do you remember Hamlet? Act one, scene three,
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Lembrades Hamlet? Acto 1, Escea 3:
09:49
he finds out that his uncle killed his father.
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averigua que o seu tio matou ao seu pai.
09:50
You remember, he keeps on going up to his uncle
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Lembrades que continua indo na busca do seu tio
09:52
and almost killing him. And then he backs away,
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e case o mata. E entón retrocede e fuxe
09:53
and he goes up to him again and almost kills him.
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e vai por el de novo e case o mata.
09:56
And the critics, all of whom are sitting in the back row there,
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E os críticos, que están todos sentados aí na fila de atrás
09:58
they have to have an opinion, so they say, "Hamlet is a procrastinator."
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teñen que tener unha opinión, así que din, "Hamlet é un procastinador."
10:01
(Laughter)
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(Sorrisos)
10:02
Or they say, "Hamlet has an Oedipus complex."
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Ou din, "Hamlet ten o complexo e Edipo."
10:05
No, otherwise the play would be over, stupid.
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Non, é que doutro xeito a obra remataría, estúpido.
10:08
That's why Shakespeare puts all that stuff in Hamlet --
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Esa é a razón pola que Shakespeare introduciu todo ese contido en Hamlet.
10:11
you know, Ophelia going mad and the play within the play,
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Xa sabedes, Ofelia voltándose tola e a obra dentro da obra,
10:13
and Yorick's skull, and the gravediggers.
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e a calavera de Yorick e os escavadores de tumbas.
10:15
That's in order to delay -- until act five, he can kill him.
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Iso ten o obxectivo de retrasar -- ata que no Acto 5 pode matalo.
10:18
It's the same with the Chopin. He's just about to reach the E,
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Ocorre o mesmo no caso de Chopin. Está a piques chegar a Mi,
10:23
and he says, "Oops, better go back up and do it again."
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e di, "Ups, mellor retroceder e comezar de novo."
10:25
So he does it again.
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E faino de novo.
10:29
Now, he gets excited. (Piano) That's excitement,
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E entón excítase -- iso é excitación,
10:32
you don't have to worry about it.
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non tedes que preocuparvos por iso.
10:34
Now, he gets to F-sharp, and finally he goes down to E,
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Chega a Fa sostido e finalmente baixa a Mi,
10:36
but it's the wrong chord -- because the chord he's looking for
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pero é o acorde equivocado. Porque o acorde que está a buscar
10:40
is this one, (Piano) and instead he does ...
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é este, e entón fai...
10:43
(Piano) Now, we call that a deceptive cadence, because it deceives us.
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ben, chamámolo unha cadencia enganosa, porque nos engana.
10:48
I always tell my students, "If you have a deceptive cadence,
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Sempre lles digo aos meus estudantes, "Se tedes unha cadencia enganosa
10:50
be sure to raise your eyebrows. Then everybody will know."
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asegurádevos de elevar as vosas cellas, de xeito que todo o mundo o saiba."
10:52
(Laughter)
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(Sorrisos)
10:55
(Applause)
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(Aplauso)
10:59
Right. So, he gets to E, but it's the wrong chord.
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Ben. Entón ven un Mi, pero é o acorde trabucado.
11:01
Now, he tries E again. That chord doesn't work.
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Agora, tenta un Mi de novo. Ese acorde non funciona.
11:04
Now, he tries the E again. That chord doesn't work.
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Agora, proba de novo Mi. Ese acorde non funciona.
11:07
Now, he tries E again, and that doesn't work.
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Agora, ténta Mi de novo, e non funciona.
11:10
And then finally ... (Piano)
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E entón finalmente...
11:13
There was a gentleman in the front row who went, "Mmm."
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Había un cabaleiro la fila de adiante, que dixo, "Mmm."
11:18
It's the same gesture he makes when he comes home
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É o mesmo xesto que fai cando chega a casa
11:20
after a long day, turns off the key in his car and says,
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despois dun longo día, desconecta a chave no coche e di,
11:24
"Aah, I'm home." Because we all know where home is.
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"Aah, estou na casa." Porque todos sabemos onde está a casa.
11:27
So this is a piece which goes from away to home.
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Así que esta é unha peza que ven dende lonxe ata a casa.
11:30
And I'm going to play it all the way through
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E vouna tocar completa
11:32
and you're going to follow. B, C, B, C, B, C, B --
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e vós ides seguila. Si, Do, Si, Do, Si, Do, Si --
11:35
down to A, down to G, down to F.
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e baixa a La, baixa a Sol, baixa a Fa.
11:37
Almost goes to E, but otherwise the play would be over.
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E case chega a Mi, pero nese caso a obra remataría.
11:40
He goes back up to B. He gets very excited. Goes to F-sharp. Goes to E.
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Entón sube de novo a Si. Excítase. Vai a Fa sostido. Vai a Mi.
11:42
It's the wrong chord. It's the wrong chord. It's the wrong chord.
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É o acorde incorrecto. É o acorde incorrecto. É o acorde incorrecto.
11:45
And finally goes to E, and it's home.
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E finalmente vai a Mi, e é casa.
11:47
And what you're going to see is one-buttock playing.
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E o que ides ver é tocar a unha nádega.
11:50
(Laughter)
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(Sorrisos)
11:53
Because for me, to join the B to the E,
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Porque para min, para xuntar o Si ao Mi,
11:56
I have to stop thinking about every single note along the way,
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teño que parar de pensar en cada unha das notas do camiño
12:01
and start thinking about the long, long line from B to E.
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e comezar a pensar na longa longa liña dende Si ata Mi.
12:07
You know, we were just in South Africa, and you can't go to South Africa
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Xa entendedes, estamos en Suráfrica, e non se pode ir a Suráfrica
12:11
without thinking of Mandela in jail for 27 years.
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sen pensar en Mandela na cadea durante 27 anos.
12:15
What was he thinking about? Lunch?
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En que estaba el a pensar? Na comida?
12:17
No, he was thinking about the vision for South Africa
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Non, estaba a pensar na visión para Suráfrica
12:21
and for human beings. That's what kept --
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e para os seres humanos. Iso é o que permaneceu --
12:22
this is about vision. This is about the long line.
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isto é sobre a visión; é sobre a liña longa.
12:25
Like the bird who flies over the field
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Como o paxaro que voa sobre un campo
12:27
and doesn't care about the fences underneath, all right?
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e non se preocupa dos valados que sobrevoa, verdade?
12:31
So now, you're going to follow the line all the way from B to E.
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Así que agora imos seguir toda a liña dende Si ata Mi.
12:34
And I've one last request before I play this piece all the way through.
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E teño unha última solicitude, antes de tocar a peza completa.
12:38
Would you think of somebody who you adore, who's no longer there?
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Poderiades pensar nalguén ao que adoredes, que xa non estea?
12:43
A beloved grandmother, a lover --
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Unha avoa querida, un amor,
12:47
somebody in your life who you love with all your heart,
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alguén na vosa vida ao que queredes con todo o voso corazón,
12:50
but that person is no longer with you.
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pero que esa persoa xa non está con vós.
12:54
Bring that person into your mind, and at the same time
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Traede esa persoa á vosa mente, e ao mesmo tempo
12:57
follow the line all the way from B to E,
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seguide toda a liña que vai de Si a Mi,
13:01
and you'll hear everything that Chopin had to say.
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e escoitaredes o que Chopen tiña que dicir.
13:09
(Music)
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(Música)
15:00
(Applause)
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(Aplauso)
15:07
Now, you may be wondering,
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Agora ben, podedes estarvos a preguntar,
15:12
you may be wondering why I'm clapping.
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podedes estarvos a preguntar por que estou a aplaudir.
15:18
Well, I did this at a school in Boston
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Ben, fixen isto nunha escola en Boston
15:20
with about 70 seventh graders, 12-year-olds.
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cuns 70 alumnos de séptimo curso -- de 12 anos.
15:24
And I did exactly what I did with you, and I told them
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E fixen exactamente o que fixen agora con vós, e díxenlles
15:26
and explained them and the whole thing.
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e expliqueilles e todo o tema.
15:27
And at the end, they went crazy, clapping. They were clapping.
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E ao final voltáronse tolos, a aplaudir. Estaban a aplaudir.
15:30
I was clapping. They were clapping.
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Eu estaba a aplaudir. Eles estaban a aplaudir.
15:31
Finally, I said, "Why am I clapping?"
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Finalmente, dixen, "Por que estou a aplaudir?"
15:33
And one of the little kids said, "Because we were listening."
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E un dos nenos pequenos dixo, "Porque estábamos a escoitar."
15:34
(Laughter)
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(Sorrisos)
15:40
Think of it. 1,600 people, busy people,
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Pensádeo. 1600 persoas, xente ocupada,
15:42
involved in all sorts of different things,
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involucrados en todo tipo de cousas diferentes.
15:45
listening, understanding and being moved by a piece by Chopin.
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Escoitando, comprendendo e sendo emocionados por unha peza de Chopin.
15:51
Now that is something.
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Iso é algo importante.
15:52
Now, am I sure that every single person followed that,
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Agora ben, estou seguro de que todos e cada un seguíchedes isto,
15:55
understood it, was moved by it? Of course, I can't be sure.
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entendíchedelo, e emocionáchedesvos. Por suposto, non podo estar seguro.
15:58
But I tell you what happened to me.
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Pero direivos o que me aconteceu.
15:59
I was in Ireland during the Troubles, 10 years ago,
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Estaba en Irlanda durante os conflictos, fai 10 anos,
16:02
and I was working with some Catholic and Protestant kids
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e estaba a traballar con algúns rapaces Católicos e Protestantes
16:05
on conflict resolution. And I did this with them --
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en resolución de conflictos. E fixen isto con eles.
16:10
a risky thing to do, because they were street kids.
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Algo arriscado, xa que eran nenos da rúa.
16:12
And one of them came to me the next morning and he said,
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E un deles veu falar conmigo á mañá seguinte e dixo,
16:16
"You know, I've never listened to classical music in my life,
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"Sabes, eu nunca na vida escoitara música clásica
16:19
but when you played that shopping piece ... "
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mas cando tocaches esa peza de 'shopping' (NT: xogo de palabras entre 'mercar' e Chopin)
16:20
(Laughter)
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(Sorrisos)
16:23
He said, "My brother was shot last year and I didn't cry for him.
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Dixo, "o meu irmán matárono dun tiro o ano pasado e non chorei por el.
16:28
But last night, when you played that piece,
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Pero a pasada noite cando tocaches a peza,
16:29
he was the one I was thinking about.
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el era en quen estaba a pensar.
16:32
And I felt the tears streaming down my face.
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E notei as bágoas baixando pola miña cara.
16:34
And you know, it felt really good to cry for my brother."
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E sabes, realmente sentinme ben a chorar polo meu irmán"
16:37
So I made up my mind at that moment
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Así que me decatei nese momento
16:39
that classical music is for everybody. Everybody.
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de que a música clásica é para todo o mundo. Todo o mundo.
16:47
Now, how would you walk -- because you know,
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Agora ben, como camiñaríades -- porque sabedes,
16:49
my profession, the music profession doesn't see it that way.
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a miña profesión, a profesión da música, non o ve dese xeito.
16:53
They say three percent of the population likes classical music.
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Eles afirman que ao 3 por cento da poboación lle gusta a música clásica.
16:56
If only we could move it to four percent, our problems would be over.
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Se fósemos quen de movelo ao 4 por cento os nosos problemas estarían solucionados.
17:01
I say, "How would you walk? How would you talk? How would you be?
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E eu digo, "Como poderiades camiñar? Como poderiades falar? Como estariades
17:04
If you thought, three percent of the population likes classical music,
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se pensarades que ao 3 por cento da poboación lle gusta a música clásica?
17:08
if only we could move it to four percent. How would you walk?
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Se puidésemos subilo ao 4 por cento. Como poderiades camiñar?
17:10
How would you talk? How would you be?
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Como poderiades falar? Como estariades
17:12
If you thought, everybody loves classical music --
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se pensarades que todo o mundo ama a música clásica --
17:14
they just haven't found out about it yet."
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e simplemente ainda non o descubriron."
17:16
(Laughter)
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(Sorrisos)
17:17
See, these are totally different worlds.
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Como vedes, son mundos totalmente distintos.
17:20
Now, I had an amazing experience. I was 45 years old,
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Eu tiven unha experiencia maravillosa. Tiña 45 anos,
17:23
I'd been conducting for 20 years, and I suddenly had a realization.
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levo dirixindo 20 anos, e de súpeto tiven unha iluminación.
17:29
The conductor of an orchestra doesn't make a sound.
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O director dunha orquesta non fai sons.
17:32
My picture appears on the front of the CD --
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A miña foto aparece na portada do CD --
17:34
(Laughter)
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(Sorrisos)
17:37
-- but the conductor doesn't make a sound.
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-- pero o director non fai ningún son.
17:40
He depends, for his power, on his ability to make other people powerful.
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O seu poder depende da súa habilidade para facer a outra xente poderosa.
17:44
And that changed everything for me. It was totally life changing.
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E iso mudou todo para min. Foi algo que me mudou a vida.
17:49
People in my orchestra came up to me and said,
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A xente da miña orquesta viña a falar comigo e dicíame,
17:50
"Ben, what happened?" That's what happened.
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"Ben, que aconteceu?" Iso é o que aconteceu.
17:52
I realized my job was to awaken possibility in other people.
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Decateime de que o meu traballo era facer aparecer a posibilidade noutra xente.
17:57
And of course, I wanted to know whether I was doing that.
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E por suposto, quería saber se o estaba a facer.
18:00
And you know how you find out? You look at their eyes.
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E sabedes como se pode averiguar? Mirándolles aos ollos.
18:03
If their eyes are shining, you know you're doing it.
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Se os seus ollos están a brillar, estás a facelo.
18:08
You could light up a village with this guy's eyes.
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Poderiades iluminar unha vila cos ollos deste home.
18:09
(Laughter)
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(Sorrisos)
18:11
Right. So if the eyes are shining, you know you're doing it.
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Dacordo. Se os ollos están a brillar, sabes que o estás a facer.
18:13
If the eyes are not shining, you get to ask a question.
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Se os ollos non están a brillar, teste que preguntar algo.
18:16
And this is the question:
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E esta é a pregunta:
18:17
who am I being, that my players' eyes are not shining?
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Quen estou eu a ser para que os ollos dos meus músicos non estean a brillar?
18:24
We can do that with our children, too.
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Podemos facer iso cos nosos fillos tamén.
18:25
Who am I being, that my children's eyes are not shining?
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Quen estou eu a ser para que os ollos dos meus fillos non estean a brillar?
18:31
That's a totally different world.
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É un mundo totalmente diferente.
18:33
Now, we're all about to end this magical, on-the-mountain week,
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Ben, estamos a piques de rematar esta semana máxica na montaña
18:39
and we're going back into the world.
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e imos regresar ao mundo.
18:40
And I say, it's appropriate for us to ask the question,
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E digo, é axeitado que nos fagamos a pregunta:
18:44
who are we being as we go back out into the world?
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Quenes estamos a ser en canto imos de volta ao mundo?
18:49
And you know, I have a definition of success.
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E sabedes, teño unha definición de éxito.
18:52
For me, it's very simple. It's not about wealth and fame and power.
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Para min é moi sinxelo. Non ten relación coa riqueza e a sona e o poder.
18:54
It's about how many shining eyes I have around me.
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Ten relación con cantos ollos brillantes teño arredor de min.
18:58
So now, I have one last thought, which is
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Así que agora teño un último pensamento, que é
19:01
that it really makes a difference what we say --
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que realmente o que dicimos marca a diferencia.
19:04
the words that come out of our mouth.
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As palabras que saen pola nosa boca.
19:06
I learned this from a woman who survived Auschwitz,
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Aprendín isto dunha muller que sobreviviu a Auschwitz,
19:10
one of the rare survivors.
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unha das poucas supervivintes.
19:11
She went to Auschwitz when she was 15 years old,
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Foi a Auschwitz cando tiña 15 anos,
19:16
and her brother was eight, and the parents were lost.
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e o seu irmán tiña 8, e perderan aos pais.
19:23
And she told me this, she said,
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E contoume o seguinte, dixo,
19:28
"We were in the train going to Auschwitz, and I looked down
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"Estabamos no tren indo cara a Auschwitz e mirei cara a abaixo
19:31
and saw my brother's shoes were missing.
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e vin que os zapatos do meu irmán non estaban.
19:34
And I said, 'Why are you so stupid, can't you keep your things together
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E dixen, "Como podes ser tan parvo, que non podes manterte perto das túas cousas
19:37
for goodness' sake?' " The way an elder sister
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polo amor de Deus?" - na forma na que unha irmá maior
19:38
might speak to a younger brother.
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pode falar a un irmán pequeno.
19:42
Unfortunately, it was the last thing she ever said to him,
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Desafortunadamente, foi a última cousa que lle dixo
19:45
because she never saw him again. He did not survive.
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porque nunca voltou a velo. El non sobreviviu.
19:49
And so when she came out of Auschwitz, she made a vow.
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Así que cando saiu de Auschwitz, fixo unha promesa.
19:52
She told me this. She said, "I walked out of Auschwitz into life
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Ela díxome. Dixo, "Saín camiñando de Auschwitz á vida
19:56
and I made a vow. And the vow was, I will never say anything
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e fixen unha promesa. E a promesa foi que nunca diría nada de novo
20:02
that couldn't stand as the last thing I ever say."
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que non puidera ficar como a última cousa que eu diga."
20:05
Now, can we do that? No. And we'll make ourselves wrong
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Podemos facelo? Non. E enganámonos a nós mesmos
20:10
and others wrong. But it is a possibility to live into. Thank you.
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e aos outros. Mais esa é unha posibilidade na que podemos vivir. Grazas
20:17
(Applause)
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(Aplausos)
20:23
Shining eyes, shining eyes.
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Ollos brillantes, ollos brillantes.
20:34
Thank you, thank you.
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Grazas, grazas.
20:38
(Music)
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(Música)
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