ABOUT THE SPEAKERS
British Paraorchestra - Contemporary music ensemble
The 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.

Read the full story >>

 

 

More profile about the speaker
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."

More profile about the speaker
Charles Hazlewood | Speaker | TED.com
TEDxBrussels

Charles Hazlewood + British Paraorchestra: The debut of the British Paraorchestra

Filmed:
105,271 views

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.)
- Contemporary music ensemble
The British Paraorchestra is the first orchestra for world-class musicians of disability Full bio - 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,
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A musica é nossa linguagem mais universal.
00:11
way more so than any dialect or tongue.
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Mais do que qualquer dialeto ou idioma.
00:15
You can play a melody to a child in China
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Toque uma canção para uma criança na China
00:18
and the same melody
to a child in South Africa.
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e a mesma canção para uma
criança na África do Sul.
00:22
And despite the huge differences
between those two children,
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Apesar da diferença entre essas crianças,
00:25
they will still draw some of the same
truths from that melody.
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elas irão extrair algumas
das mesmas verdades da canção.
00:30
Now, I think the reason why
music has this universality,
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Acredito que o motivo para a música
ter essa universalidade,
00:34
this way of speaking
to each and every one of us,
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essa capacidade de conversar
com cada um de nós,
00:37
is that somehow it's capable
of holding up a mirror to us
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reside no fato de ela nos colocar
na frente de um espelho
00:41
that reveals, in some small or large way,
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que revela, de maneira maior ou menor,
00:44
a little bit of who or what we are.
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algo sobre quem ou o quê somos.
Por extensão lógica,
00:49
By logical extension of this,
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00:51
if music is this universal force,
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se a música é essa força universal,
00:54
then surely groups of musicians --
let's call them orchestras --
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certamente grupos de músicos,
chamemos de orquestras,
00:58
should reflect every aspect
of the community.
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deveriam refletir
cada aspecto da comunidade.
01:02
Logical, but not necessarily true.
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Evidente, mas não necessariamente verdade.
01:06
At TEDxBrussels today, we've been looking
forward to the future --
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No TEDxBrussels hoje, olharemos
para o futuro, para daqui a 50 anos.
01:09
50 years from now.
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01:10
Well, I'm going to ask you
to go in the other direction for a minute,
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Peço que vocês mudem
de direção por um minuto,
voltem comigo 50 anos ao passado,
no início dos anos 60, mais exatamente.
01:14
to come back with me
50 years into the past,
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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
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Se olharem para as grandes orquestras
do mundo daquela época, um retrato,
01:21
of the world at that time, a snapshot,
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01:23
how many women do you think you would find
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quantas mulheres acham
que tocavam nessas orquestras?
01:26
playing in those orchestras?
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01:28
The answer: virtually none.
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Resposta: quase nenhuma.
01:32
Well, here we are 50 years on, in 2011,
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Aqui estamos, 50 anos depois, em 2011,
01:36
and pretty much
every orchestra on the planet
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e quase todas orquestras do planeta
têm um equilíbrio saudável
entre os gêneros.
01:38
has a fantastic and healthy balance
between the sexes.
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01:41
"Of course!" I hear you
say, "Totally logical."
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"Óbvio!", vocês me dirão, "É lógico".
01:46
But how about another aspect
of the community?
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Mas e sobre outro aspecto da comunidade?
01:49
The disabled community.
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Os portadores de deficiência.
01:51
Do we find them well-represented
in the great orchestras of our world?
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Eles estão bem representados
nas grandes orquestras do mundo?
01:56
Well, I can tell you as a conductor,
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Posso dizer a vocês que, como maestro,
01:58
I work with orchestras
around the world all the time,
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trabalho com orquestras
pelo mundo, o tempo todo,
02:01
and I can count on the fingers of one hand
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e posso contar nos dedos de uma mão,
02:05
the number of disabled
musicians I've encountered
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o número de músicos deficientes que vi
02:07
in any orchestra,
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em todas as orquestras,
02:09
anywhere.
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em qualquer lugar.
02:10
Why is this?
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Por que é assim?
02:12
You can't tell me that there
aren't millions upon millions
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Vocês podem me dizer
que não há milhões e milhões
02:16
of prodigiously gifted musicians
of disability around the world.
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de músicos talentosos portadores
de deficiência pelo mundo à fora.
02:23
Where is their platform?
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Onde estão seus palcos?
02:24
Where is the infrastructure
that creates a space for them
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Onde está a infraestrutura
que proporciona um espaço a eles,
02:28
so that they can collaborate
with other great musicians?
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para que possam colaborar
com outros grandes músicos?
02:33
So, ladies and gentlemen,
as you can probably tell,
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Senhoras e senhores, como podem ver,
estou numa pequena missão.
02:35
I'm on a bit of a mission.
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Esta missão tem uma motivação pessoal.
02:36
And this mission has
a personal root to it.
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Eu tenho quatro filhos, a mais nova
nasceu com paralisia cerebral.
02:38
I have four children, the youngest of whom
was born with cerebral palsy.
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02:42
She's now five, and through
her glorious existence,
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Ela está com nove anos
e, mediante sua existência gloriosa,
02:45
I suppose I have now become
a fully paid-up member
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acredito que agora me tornei
um membro inteiramente remunerado
02:49
of the amazing, dizzyingly wonderful
disabled community.
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da maravilhosa e magnífica comunidade
dos portadores de deficiências.
02:54
And I find myself looking
at the Paralympics
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E quando olho as Paraolimpíadas,
penso como esse modelo é magnífico.
02:56
and thinking what
an incredible model that is.
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02:59
It's taken a good five decades, actually,
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Já faz cinco décadas, na verdade,
03:02
but I can say with hand on heart
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mas digo, com toda certeza,
03:04
that when the Paralympics
comes to London next year,
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que nas Paraolimpíadas
do ano que vem, em Londres,
03:06
there will not be an intelligent
person anywhere on the planet
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não haverá uma só
pessoa inteligente neste planeta,
03:11
who does not absolutely believe
in the validity of disabled sportspeople.
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que não acredite no valor
dos atletas deficientes.
03:17
What an amazing position to be in!
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Que lugar maravilhoso para estar!
03:19
So, ladies and gentlemen,
where the hell is music in all this?
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Então, senhoras e senhores
onde entra a música nisso tudo?
03:23
Apologies to any of you
who are sports fans,
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Desculpem-me os fãs dos esportes,
03:25
but music is far more
universal than sport.
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mas a música é muito mais
universal do que o esporte.
03:29
Where is the platform?
Where is their voice?
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Onde estão seus palcos? Onde está sua voz?
03:32
So, we in the UK are at the very early
stages in forming what will be
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Então, cá estamos, no Reino Unido
no início do que será,
03:37
Britain's first-ever
national disabled orchestra.
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a primeira orquestra nacional
de portadores de deficiência.
03:41
We are going to call it
the British Paraorchestra,
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Nós a chamaremos de British Paraorchestra,
03:43
because with the world's eyes
on London next year
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pois, com os olhos do mundo
em Londres no próximo ano,
03:46
and particularly on the Paralympics,
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sobretudo nas Paraolimpíadas,
03:48
we want to throw down the gauntlet
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queremos lançar o desafio,
03:50
to every single other country
that is represented there,
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a cada país que estará representado aqui,
03:53
to say to them, "Here's our paraorchestra.
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dizendo a eles: "Aqui está
nossa paraorquestra.
03:56
Where's yours?"
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Onde está a de vocês?"
03:58
Every country should have
a multiplicity of paraorchestras
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Todo país deveria ter
várias paraorquestras,
04:02
of all shapes and sizes,
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de todo tipo e tamanho,
04:04
no question.
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sem dúvida.
04:05
Now, today is a very special day for me,
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Hoje é um dia muito especial para mim,
04:08
because it is the first time
that the first four members
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pois é a primeira vez
que os quatro primeiros membros
04:11
of my little embryonic paraorchestra
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da minha pequena paraorquestra inicial,
04:14
are going to play in public;
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irão tocar em público;
04:16
four extraordinary musicians
of which the number will grow and grow.
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quatro músicos brilhantes
que vão se multiplicar mais e mais.
04:21
I hope in the end the Paraorchestra
could even be as big as 50 musicians.
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Espero que no final esta Paraorquestra
poderá ter até 50 músicos.
04:25
We present to you today
a little sonic adventure,
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Vamos apresentar hoje
uma pequena aventura sonora,
04:28
a little piece of improvisational
whimsy, if you like,
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uma pedacinho de um devaneio
improvisado, se quiserem,
04:32
a piece on which, of course,
the ink is still wet,
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um trecho, é claro, ainda em fase inicial,
ainda em formação.
04:35
the clay is still wet.
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Afinal, improvisação
nunca é uma coisa fixa.
04:36
After all, improvisation
is never a fixed thing.
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04:39
We decided what we wanted
to share with you,
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Nós decidimos compartilhar com vocês,
04:41
at the heart of our improvisation,
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na essência da nossa improvisação,
04:43
was a tune which is beloved
of British people.
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uma melodia adorada pelo povo britânico.
04:46
It's one of the only folk melodies
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É uma das poucas músicas folclóricas
04:47
that we still recognize in our culture.
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que ainda reconhecemos em nossa cultura.
04:50
And here's an interesting thing:
folk music can tell you an awful lot
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Uma coisa interessante:
música folclórica pode dizer muita coisa,
04:54
about the cultural DNA of the country
from which it originates.
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sobre o DNA cultural
de seu país de origem.
04:58
You see, we in Britain
are quietly melancholic.
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Nós, britânicos, somos melancólicos.
05:02
You know, the rain ... it does rain.
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Sabe, a chuva... chove muito...
05:04
The food's not so good.
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a comida não é boa.
05:05
(Laughter)
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(Risos)
05:06
Quietly melancholic.
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Somos melancólicos.
05:08
Not blackly so, just quietly so.
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Não demais, mas, melancólicos.
05:11
And as Shakespeare put it so
brilliantly in "Twelfth Night,"
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Como Shakespeare colocou
brilhantemente em "Noite de Reis",
05:15
he loves music that has "a dying fall."
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ele adora músicas que tenham "quedas".
05:19
So this melody, "Greensleeves,"
is chock-full of "dying fall."
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Então esta melodia, "Greensleeves,"
é repleta de "quedas".
05:23
You may know this tune.
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Talvez saibam esta.
05:25
(Singing) Da, da, da da da da, dying fall.
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♪ Da, da, da, da, da, da queda. ♪
05:27
(Laughter)
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(Risos)
05:28
Da da da, da da da da, dying fall.
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♪ Da, da, da, da, da, da, da queda.
05:31
Da dee, da da na na ... dying fall ...
na na nee, na ah ah ah ah.
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Da di, da da na na... queda...
na na ni, na ah ah ah ah ♪
05:34
Brief burst of sunshine, ladies
and gentlemen, the chorus --
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O sol aparece no céu,
senhoras e senhores, e o coro:
♪ Ya da da da, queda... ♪
05:37
(Singing) Ya da da da, dying fall ...
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05:40
(Laughter)
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(Risos)
05:41
(Singing) Da da dee,
da da da da, dying fall ...
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♪ Da da di, da da da da, queda...
Iá da da da, queda... ♪
05:43
Ya da da da, dying fall ...
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05:47
OK?
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Certo?
Precisamos de um Viagra musical
em nossa cultura, senhoras e senhores.
05:48
It's like we need some melodic Viagra
in our culture, ladies and gentlemen.
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05:52
(Laughter)
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(Risos)
05:54
(Applause)
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(Aplausos)
06:00
It goes without saying
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Sem dizer que estamos
no início deste projeto.
06:01
that we are very much
at the starting gates with this project.
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Precisamos da ajuda de vocês
e da comunidade global,
06:04
We need your help, we need
the global community
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06:07
to help us deliver this dream,
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para nos ajudar a realizar esse sonho,
06:09
so that this orchestra
can be full steam ahead
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para que esta orquestra
esteja à todo vapor
06:12
by summer 2012.
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em meados de 2012.
06:14
If you think there's any way
that you can help us,
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Se acham que, de alguma forma,
podem nos ajudar,
06:17
please, please, get in touch.
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por favor, entrem em contato.
06:19
And so, ladies and gentlemen, it gives
me enormous pride, pleasure and joy
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Senhoras e senhores, tenho enorme
orgulho, prazer e alegria de apresentar
06:24
to introduce to you,
with a short improvisation
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com pequena improvisação sobre a música
mais melancólica, "Greensleeves,"
06:26
upon that most melancholic
tune, "Greensleeves,"
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06:29
the first four members
of the British Paraorchestra.
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os quatro primeiros membros
da British Paraorchuestra.
(Aplausos) (Vivas)
06:33
(Applause) (Cheers)
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(Música)
06:44
(Music)
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(Fim da música)
(Aplausos)
12:58
(Applause)
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13:07
(Cheers) (Applause)
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(Vivas) (Aplausos)
Translated by Edilson Monteiro
Reviewed by Cláudia Sander

▲Back to top

ABOUT THE SPEAKERS
British Paraorchestra - Contemporary music ensemble
The 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.

Read the full story >>

 

 

More profile about the speaker
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."

More profile about the speaker
Charles Hazlewood | Speaker | TED.com