Charles Hazlewood: Trusting the ensemble

38,795 views ・ 2011-10-07

TED


Please double-click on the English subtitles below to play the video.

00:15
I am a conductor,
0
15260
2000
00:17
and I'm here today
1
17260
2000
00:19
to talk to you about trust.
2
19260
2000
00:21
My job depends upon it.
3
21260
3000
00:24
There has to be, between me and the orchestra,
4
24260
2000
00:26
an unshakable bond of trust,
5
26260
2000
00:28
born out of mutual respect,
6
28260
3000
00:31
through which we can spin a musical narrative
7
31260
3000
00:34
that we all believe in.
8
34260
2000
00:36
Now in the old days, conducting, music making,
9
36260
3000
00:39
was less about trust and more, frankly, about coercion.
10
39260
3000
00:42
Up to and around about the Second World War,
11
42260
2000
00:44
conductors were invariably dictators --
12
44260
2000
00:46
these tyrannical figures
13
46260
2000
00:48
who would rehearse, not just the orchestra as a whole, but individuals within it,
14
48260
3000
00:51
within an inch of their lives.
15
51260
3000
00:54
But I'm happy to say now that the world has moved on,
16
54260
2000
00:56
music has moved on with it.
17
56260
2000
00:58
We now have a more democratic view and way of making music --
18
58260
3000
01:01
a two-way street.
19
61260
2000
01:03
I, as the conductor, have to come to the rehearsal with a cast-iron sense
20
63260
3000
01:06
of the outer architecture of that music,
21
66260
3000
01:09
within which there is then immense personal freedom
22
69260
3000
01:12
for the members of the orchestra to shine.
23
72260
2000
01:14
For myself, of course,
24
74260
2000
01:16
I have to completely trust my body language.
25
76260
4000
01:20
That's all I have at the point of sale.
26
80260
2000
01:22
It's silent gesture.
27
82260
2000
01:24
I can hardly bark out instructions while we're playing.
28
84260
3000
01:29
(Music)
29
89260
10000
02:51
Ladies and gentlemen, the Scottish Ensemble.
30
171260
2000
02:53
(Applause)
31
173260
7000
03:00
So in order for all this to work,
32
180260
2000
03:02
obviously I have got to be in a position of trust.
33
182260
2000
03:04
I have to trust the orchestra,
34
184260
2000
03:06
and, even more crucially, I have to trust myself.
35
186260
2000
03:08
Think about it: when you're in a position of not trusting,
36
188260
2000
03:10
what do you do?
37
190260
2000
03:12
You overcompensate.
38
192260
2000
03:14
And in my game, that means you overgesticulate.
39
194260
2000
03:16
You end up like some kind of rabid windmill.
40
196260
2000
03:18
And the bigger your gesture gets,
41
198260
2000
03:20
the more ill-defined, blurry
42
200260
2000
03:22
and, frankly, useless it is to the orchestra.
43
202260
2000
03:24
You become a figure of fun. There's no trust anymore, only ridicule.
44
204260
3000
03:27
And I remember at the beginning of my career,
45
207260
2000
03:29
again and again, on these dismal outings with orchestras,
46
209260
2000
03:31
I would be going completely insane on the podium,
47
211260
3000
03:34
trying to engender a small scale crescendo really,
48
214260
2000
03:36
just a little upsurge in volume.
49
216260
2000
03:38
Bugger me, they wouldn't give it to me.
50
218260
2000
03:40
I spent a lot of time in those early years
51
220260
2000
03:42
weeping silently in dressing rooms.
52
222260
2000
03:44
And how futile seemed the words of advice to me
53
224260
3000
03:47
from great British veteran conductor Sir Colin Davis
54
227260
2000
03:49
who said, "Conducting, Charles,
55
229260
2000
03:51
is like holding a small bird in your hand.
56
231260
2000
03:53
If you hold it too tightly, you crush it.
57
233260
3000
03:56
If you hold it too loosely, it flies away."
58
236260
3000
03:59
I have to say, in those days, I couldn't really even find the bird.
59
239260
3000
04:02
Now a fundamental
60
242260
2000
04:04
and really viscerally important experience for me, in terms of music,
61
244260
3000
04:07
has been my adventures in South Africa,
62
247260
2000
04:09
the most dizzyingly musical country on the planet in my view,
63
249260
3000
04:12
but a country which, through its musical culture,
64
252260
2000
04:14
has taught me one fundamental lesson:
65
254260
3000
04:17
that through music making
66
257260
2000
04:19
can come deep levels
67
259260
2000
04:21
of fundamental life-giving trust.
68
261260
3000
04:24
Back in 2000, I had the opportunity to go to South Africa
69
264260
3000
04:27
to form a new opera company.
70
267260
2000
04:29
So I went out there, and I auditioned,
71
269260
2000
04:31
mainly in rural township locations, right around the country.
72
271260
2000
04:33
I heard about 2,000 singers
73
273260
2000
04:35
and pulled together a company
74
275260
2000
04:37
of 40 of the most jaw-droppingly amazing young performers,
75
277260
3000
04:40
the majority of whom were black,
76
280260
2000
04:42
but there were a handful of white performers.
77
282260
2000
04:44
Now it emerged early on in the first rehearsal period
78
284260
2000
04:46
that one of those white performers
79
286260
2000
04:48
had, in his previous incarnation,
80
288260
2000
04:50
been a member of the South African police force.
81
290260
2000
04:52
And in the last years of the old regime,
82
292260
2000
04:54
he would routinely be detailed to go into the township
83
294260
3000
04:57
to aggress the community.
84
297260
2000
04:59
Now you can imagine what this knowledge did to the temperature in the room,
85
299260
3000
05:02
the general atmosphere.
86
302260
2000
05:04
Let's be under no illusions.
87
304260
2000
05:06
In South Africa, the relationship most devoid of trust
88
306260
3000
05:09
is that between a white policeman
89
309260
2000
05:11
and the black community.
90
311260
2000
05:13
So how do we recover from that, ladies and gentlemen?
91
313260
2000
05:15
Simply through singing.
92
315260
2000
05:17
We sang, we sang,
93
317260
3000
05:20
we sang,
94
320260
2000
05:22
and amazingly new trust grew,
95
322260
2000
05:24
and indeed friendship blossomed.
96
324260
2000
05:26
And that showed me such a fundamental truth,
97
326260
2000
05:28
that music making and other forms of creativity
98
328260
3000
05:31
can so often go to places
99
331260
2000
05:33
where mere words cannot.
100
333260
3000
05:36
So we got some shows off the ground. We started touring them internationally.
101
336260
2000
05:38
One of them was "Carmen."
102
338260
2000
05:40
We then thought we'd make a movie of "Carmen,"
103
340260
2000
05:42
which we recorded and shot outside on location
104
342260
2000
05:44
in the township outside Cape Town called Khayelitsha.
105
344260
2000
05:46
The piece was sung entirely in Xhosa,
106
346260
2000
05:48
which is a beautifully musical language, if you don't know it.
107
348260
3000
05:51
It's called "U-Carmen e-Khayelitsha" --
108
351260
2000
05:53
literally "Carmen of Khayelitsha."
109
353260
2000
05:55
I want to play you a tiny clip of it now
110
355260
2000
05:57
for no other reason than to give you proof positive
111
357260
2000
05:59
that there is nothing tiny about South African music making.
112
359260
3000
06:03
(Music)
113
363260
10000
07:15
(Applause)
114
435260
7000
07:22
Something which I find utterly enchanting
115
442260
3000
07:25
about South African music making
116
445260
2000
07:27
is that it's so free.
117
447260
2000
07:29
South Africans just make music really freely.
118
449260
2000
07:31
And I think, in no small way,
119
451260
2000
07:33
that's due to one fundamental fact:
120
453260
2000
07:35
they're not bound to a system of notation.
121
455260
2000
07:37
They don't read music.
122
457260
2000
07:39
They trust their ears.
123
459260
2000
07:41
You can teach a bunch of South Africans a tune in about five seconds flat.
124
461260
3000
07:44
And then, as if by magic,
125
464260
2000
07:46
they will spontaneously improvise a load of harmony around that tune
126
466260
3000
07:49
because they can.
127
469260
2000
07:51
Now those of us that live in the West, if I can use that term,
128
471260
3000
07:54
I think have a much more hidebound attitude or sense of music --
129
474260
3000
07:57
that somehow it's all about skill and systems.
130
477260
3000
08:00
Therefore it's the exclusive preserve
131
480260
3000
08:03
of an elite, talented body.
132
483260
2000
08:05
And yet, ladies and gentlemen, every single one of us on this planet
133
485260
3000
08:08
probably engages with music on a daily basis.
134
488260
3000
08:11
And if I can broaden this out for a second,
135
491260
2000
08:13
I'm willing to bet that every single one of you sitting in this room
136
493260
3000
08:16
would be happy to speak with acuity, with total confidence,
137
496260
2000
08:18
about movies, probably about literature.
138
498260
3000
08:21
But how many of you would be able to make a confident assertion
139
501260
3000
08:24
about a piece of classical music?
140
504260
3000
08:27
Why is this?
141
507260
2000
08:29
And what I'm going to say to you now
142
509260
2000
08:31
is I'm just urging you to get over
143
511260
2000
08:33
this supreme lack of self-confidence,
144
513260
2000
08:35
to take the plunge, to believe that you can trust your ears,
145
515260
3000
08:38
you can hear some of the fundamental muscle tissue,
146
518260
2000
08:40
fiber, DNA,
147
520260
2000
08:42
what makes a great piece of music great.
148
522260
3000
08:45
I've got a little experiment I want to try with you.
149
525260
2000
08:47
Did you know
150
527260
2000
08:49
that TED is a tune?
151
529260
2000
08:51
A very simple tune based on three notes -- T, E, D.
152
531260
3000
08:54
Now hang on a minute.
153
534260
2000
08:56
I know you're going to say to me, "T doesn't exist in music."
154
536260
3000
08:59
Well ladies and gentlemen, there's a time-honored system,
155
539260
2000
09:01
which composers have been using for hundreds of years,
156
541260
2000
09:03
which proves actually that it does.
157
543260
3000
09:06
If I sing you a musical scale: A, B, C, D, E, F, G --
158
546260
4000
09:10
and I just carry on with the next set of letters in the alphabet, same scale:
159
550260
3000
09:13
H, I, J, K, L, M, N,
160
553260
3000
09:16
O, P, Q, R, S, T -- there you go.
161
556260
2000
09:18
T, see it's the same as F in music.
162
558260
2000
09:20
So T is F.
163
560260
2000
09:22
So T, E, D is the same as F, E, D.
164
562260
2000
09:24
Now that piece of music that we played at the start of this session
165
564260
3000
09:27
had enshrined in its heart
166
567260
2000
09:29
the theme, which is TED.
167
569260
2000
09:31
Have a listen.
168
571260
2000
09:34
(Music)
169
574260
7000
09:41
Do you hear it?
170
581260
2000
09:43
Or do I smell some doubt in the room?
171
583260
2000
09:45
Okay, we'll play it for you again now,
172
585260
2000
09:47
and we're going to highlight, we're going to poke out the T, E, D.
173
587260
3000
09:50
If you'll pardon the expression.
174
590260
3000
09:53
(Music)
175
593260
7000
10:00
Oh my goodness me, there it was loud and clear, surely.
176
600260
3000
10:03
I think we should make this even more explicit.
177
603260
1000
10:04
Ladies and gentlemen, it's nearly time for tea.
178
604260
2000
10:06
Would you reckon you need to sing for your tea, I think?
179
606260
2000
10:08
I think we need to sing for our tea.
180
608260
2000
10:10
We're going to sing those three wonderful notes: T, E, D.
181
610260
3000
10:13
Will you have a go for me?
182
613260
2000
10:15
Audience: T, E, D.
183
615260
2000
10:17
Charles Hazlewood: Yeah, you sound a bit more like cows really than human beings.
184
617260
3000
10:20
Shall we try that one again?
185
620260
2000
10:22
And look, if you're adventurous, you go up the octave.
186
622260
2000
10:24
T, E, D.
187
624260
2000
10:26
Audience: T, E, D.
188
626260
2000
10:28
CH: Once more with vim. (Audience: T, E, D.)
189
628260
3000
10:31
There I am like a bloody windmill again, you see.
190
631260
2000
10:33
Now we're going to put that in the context of the music.
191
633260
3000
10:36
The music will start, and then at a signal from me, you will sing that.
192
636260
3000
10:41
(Music)
193
641260
4000
10:53
One more time,
194
653260
2000
10:55
with feeling, ladies and gentlemen.
195
655260
2000
10:57
You won't make the key otherwise.
196
657260
3000
11:00
Well done, ladies and gentlemen.
197
660260
2000
11:02
It wasn't a bad debut for the TED choir,
198
662260
3000
11:05
not a bad debut at all.
199
665260
3000
11:08
Now there's a project that I'm initiating at the moment
200
668260
2000
11:10
that I'm very excited about and wanted to share with you,
201
670260
2000
11:12
because it is all about changing perceptions,
202
672260
2000
11:14
and, indeed, building a new level of trust.
203
674260
3000
11:17
The youngest of my children was born with cerebral palsy,
204
677260
3000
11:20
which as you can imagine,
205
680260
2000
11:22
if you don't have an experience of it yourself,
206
682260
2000
11:24
is quite a big thing to take on board.
207
684260
2000
11:26
But the gift that my gorgeous daughter has given me,
208
686260
3000
11:29
aside from her very existence,
209
689260
2000
11:31
is that it's opened my eyes to a whole stretch of the community
210
691260
3000
11:34
that was hitherto hidden,
211
694260
2000
11:36
the community of disabled people.
212
696260
2000
11:38
And I found myself looking at the Paralympics and thinking how incredible
213
698260
3000
11:41
how technology's been harnessed to prove beyond doubt
214
701260
3000
11:44
that disability is no barrier
215
704260
2000
11:46
to the highest levels of sporting achievement.
216
706260
2000
11:48
Of course there's a grimmer side to that truth,
217
708260
2000
11:50
which is that it's actually taken decades for the world at large
218
710260
3000
11:53
to come to a position of trust,
219
713260
3000
11:56
to really believe that disability and sports can go together
220
716260
3000
11:59
in a convincing and interesting fashion.
221
719260
3000
12:02
So I find myself asking:
222
722260
2000
12:04
where is music in all of this?
223
724260
2000
12:06
You can't tell me that there aren't millions of disabled people,
224
726260
2000
12:08
in the U.K. alone,
225
728260
2000
12:10
with massive musical potential.
226
730260
3000
12:13
So I decided to create a platform for that potential.
227
733260
3000
12:16
It's going to be Britain's first ever
228
736260
2000
12:18
national disabled orchestra.
229
738260
2000
12:20
It's called Paraorchestra.
230
740260
2000
12:22
I'm going to show you a clip now
231
742260
2000
12:24
of the very first improvisation session that we had.
232
744260
2000
12:26
It was a really extraordinary moment.
233
746260
2000
12:28
Just me and four astonishingly gifted disabled musicians.
234
748260
3000
12:31
Normally when you improvise --
235
751260
3000
12:34
and I do it all the time around the world --
236
754260
2000
12:36
there's this initial period of horror,
237
756260
2000
12:38
like everyone's too frightened to throw the hat into the ring,
238
758260
2000
12:40
an awful pregnant silence.
239
760260
2000
12:42
Then suddenly, as if by magic, bang! We're all in there
240
762260
2000
12:44
and it's complete bedlam. You can't hear anything.
241
764260
2000
12:46
No one's listening. No one's trusting.
242
766260
2000
12:48
No one's responding to each other.
243
768260
3000
12:51
Now in this room with these four disabled musicians,
244
771260
2000
12:53
within five minutes
245
773260
2000
12:55
a rapt listening, a rapt response
246
775260
2000
12:57
and some really insanely beautiful music.
247
777260
3000
13:02
(Video) (Music)
248
782260
8000
13:10
Nicholas:: My name's Nicholas McCarthy.
249
790260
2000
13:12
I'm 22, and I'm a left-handed pianist.
250
792260
2000
13:14
And I was born without my left hand -- right hand.
251
794260
3000
13:17
Can I do that one again?
252
797260
3000
13:20
(Music)
253
800260
7000
13:27
Lyn: When I'm making music,
254
807260
2000
13:29
I feel like a pilot in the cockpit flying an airplane.
255
809260
3000
13:32
I become alive.
256
812260
2000
13:34
(Music)
257
814260
11000
13:45
Clarence: I would rather be able to play an instrument again
258
825260
3000
13:48
than walk.
259
828260
2000
13:50
There's so much joy and things
260
830260
2000
13:52
I could get from playing an instrument and performing.
261
832260
4000
13:56
It's removed some of my paralysis.
262
836260
4000
14:00
(Music)
263
840260
15000
14:15
(Applause)
264
855260
7000
14:22
CH: I only wish that some of those musicians were here with us today,
265
862260
3000
14:25
so you could see at firsthand how utterly extraordinary they are.
266
865260
3000
14:28
Paraorchestra is the name of that project.
267
868260
2000
14:30
If any of you thinks you want to help me in any way
268
870260
2000
14:32
to achieve what is a fairly impossible and implausible dream still at this point,
269
872260
3000
14:35
please let me know.
270
875260
2000
14:37
Now my parting shot
271
877260
2000
14:39
comes courtesy of the great Joseph Haydn,
272
879260
2000
14:41
wonderful Austrian composer in the second half of the 18th century --
273
881260
3000
14:44
spent the bulk of his life
274
884260
2000
14:46
in the employ of Prince Nikolaus Esterhazy, along with his orchestra.
275
886260
3000
14:49
Now this prince loved his music,
276
889260
3000
14:52
but he also loved the country castle that he tended to reside in most of the time,
277
892260
3000
14:55
which is just on the Austro-Hungarian border,
278
895260
2000
14:57
a place called Esterhazy --
279
897260
2000
14:59
a long way from the big city of Vienna.
280
899260
2000
15:01
Now one day in 1772,
281
901260
2000
15:03
the prince decreed that the musicians' families,
282
903260
2000
15:05
the orchestral musicians' families,
283
905260
2000
15:07
were no longer welcome in the castle.
284
907260
2000
15:09
They weren't allowed to stay there anymore; they had to be returned to Vienna --
285
909260
3000
15:12
as I say, an unfeasibly long way away in those days.
286
912260
3000
15:15
You can imagine, the musicians were disconsolate.
287
915260
4000
15:19
Haydn remonstrated with the prince, but to no avail.
288
919260
3000
15:22
So given the prince loved his music,
289
922260
2000
15:24
Haydn thought he'd write a symphony to make the point.
290
924260
3000
15:27
And we're going to play just the very tail end of this symphony now.
291
927260
3000
15:30
And you'll see the orchestra in a kind of sullen revolt.
292
930260
3000
15:33
I'm pleased to say, the prince did take the tip
293
933260
2000
15:35
from the orchestral performance,
294
935260
2000
15:37
and the musicians were reunited with their families.
295
937260
2000
15:39
But I think it sums up my talk rather well, this,
296
939260
3000
15:42
that where there is trust,
297
942260
2000
15:44
there is music -- by extension life.
298
944260
3000
15:47
Where there is no trust,
299
947260
2000
15:49
the music quite simply withers away.
300
949260
3000
15:56
(Music)
301
956260
10000
19:06
(Applause)
302
1146260
23000
About this website

This site will introduce you to YouTube videos that are useful for learning English. You will see English lessons taught by top-notch teachers from around the world. Double-click on the English subtitles displayed on each video page to play the video from there. The subtitles scroll in sync with the video playback. If you have any comments or requests, please contact us using this contact form.

https://forms.gle/WvT1wiN1qDtmnspy7