The transformative power of classical music | Benjamin Zander | TED

Translator: Monika Mändmaa Reviewer: Mailis Laos

Probably a lot of you know the story of the two salesmen

Ilmselt paljud teie seast teavad lugu kahest müügimehest,

who went down to Africa in the 1900s.

kes läksid 20. sajandi alguses Aafrikasse.

They were sent down to find if there was any opportunity

Nad saadeti uurima, kas seal oleks võimalik

for selling shoes,

müüa kingi.

and they wrote telegrams back to Manchester.

Ja nad saatsid telegramme tagasi Manchesteri.

And one of them wrote,

Üks neist kirjutas:

"Situation hopeless. Stop. They don't wear shoes."

"Olukord lootusetu. Punkt. Nad ei kanna kingi."

And the other one wrote,

Ja teine kirjutas:

"Glorious opportunity. They don't have any shoes yet."

"Suurepärane võimalus. Neil pole veel ühtki kinga."

(Laughter)

(Naer)

Now, there's a similar situation in the classical music world,

Sarnane olukord valitseb klassikalise muusika maailmas,

because there are some people who think that classical music is dying.

sest on inimesi, kes arvavad, et klassikaline muusika on hääbumas.

And there are some of us who think you ain't seen nothing yet.

Ja on teisi, kes arvavad, et see on alles algus.

And rather than go into statistics and trends,

Ja selmet pöörduda statistika ja trendide poole,

and tell you about all the orchestras that are closing,

ja rääkida teile orkestritest, mida suletakse,

and the record companies that are folding,

ja plaadifirmadest, mis pankrotistuvad,

I thought we should do an experiment tonight.

mõtlesin ma, et me võiks täna teha ühe eksperimendi.

Tegelikult see pole päris eksperiment, sest ma tean juba tulemust.

Actually, it's not really an experiment, because I know the outcome.

(Laughter)

(Naer)

But it's like an experiment.

Aga see on eksperimendi moodi.

Now, before we start --

Nüüd, enne kui ...

(Laughter)

(Naer)

Before we start, I need to do two things.

Enne kui alustame, pean ma tegema kaks asja.

One is I want to remind you of what a seven-year-old child

Esiteks, tahaksin teile meenutada, kuidas seitsme-aastane laps

sounds like when he plays the piano.

kõlab klaverit mängides.

Maybe you have this child at home.

Võib-olla teil on selline laps kodus.

He sounds something like this.

Ta kõlab umbes niimoodi.

(Music)

(Muusika)

(Music ends)

(Muusika lõpeb)

I see some of you recognize this child.

Ma näen, et mõned tundsid selle lapse ära.

Now, if he practices for a year and takes lessons, he's now eight

Kui ta nüüd harjutab aastakese ja käib tundides, ta on nüüd kaheksane

and he sounds like this.

ja ta kõlab niimoodi.

(Music)

(Muusika)

(Muusika lõpeb)

(Music ends)

He practices for another year and takes lessons -- he's nine.

Siis ta harjutab veel ühe aasta ja võtab tunde - ta on üheksane.

(Music)

(Muusika)

(Music ends)

(Muusika lõpeb)

Then he practices for another year and takes lessons -- now he's 10.

Siis ta harjutab veel ühe aasta käib tundides - nüüd on ta kümnene.

(Muusika)

(Music)

(Music ends)

(Muusika lõpeb)

Sellel hetkel ta tavaliselt loobub.

At that point, they usually give up.

(Laughter)

(Naer)

(Applause)

(Aplaus)

Now, if you'd waited for one more year, you would have heard this.

Kui te oleksite veel aasta oodanud, oleksite kuulnud seda.

(Music)

(Muusika)

(Music ends)

(Muusika lõpeb)

Now, what happened was not maybe what you thought,

Mis nüüd juhtus polnud see, nagu te võib-olla arvasite,

which is, he suddenly became passionate, engaged,

et ta äkitselt muutus kirglikuks, pühendunuks,

involved, got a new teacher, he hit puberty, or whatever it is.

haaratuks, sai uue õpetaja, jõudis puberteeti või midagi sellist.

What actually happened was the impulses were reduced.

Mis tegelikult juhtus, oli see, et rõhutamine harvenes.

You see, the first time, he was playing with an impulse on every note.

Esimest korda, mängis ta rõhutades igat nooti.

(Music)

(Muusika)

And the second, with an impulse every other note.

Teist korda, rõhuga igal teisel noodil.

(Music)

(Muusika)

You can see it by looking at my head.

Te märkate seda, kui vaatate mu pead.

(Laughter)

(Naer)

The nine-year-old put an impulse on every four notes.

Üheksa-aastane pani rõhu igale neljandale noodile.

(Music)

(Muusika)

The 10-year-old, on every eight notes.

Kümneaastane igale kaheksandale noodile

(Music)

(Muusika)

And the 11-year-old, one impulse on the whole phrase.

Ja üheteistaastane ühe rõhu tervele fraasile.

(Music)

(Muusika)

I don't know how we got into this position.

Ma ei tea, kuidas ma sattusin sellesse asendisse.

(Laughter)

(Naer)

I didn't say, "I'm going to move my shoulder over, move my body."

Ma ei mõelnud, et liigutan oma õla ette, liigutan oma keha.

No, the music pushed me over,

Ei, muusika lükkas mu viltu,

which is why I call it one-buttock playing.

mistõttu ma kutsun seda ühe-kannika mänguks.

(Music)

(Muusika)

It can be the other buttock.

See võib olla ka teine kannikas.

(Music)

(Muusika)

You know, a gentleman was once watching a presentation I was doing,

Kord vaatas üks härra ettekannet, mis ma tegin,

when I was working with a young pianist.

kus ma töötasin ühe noore pianistiga.

He was the president of a corporation in Ohio.

Ta oli ühe korporatsiooni president Ohios.

I was working with this young pianist, and said,

Ma töötasin selle noore pianistiga ja ütlesin:

"The trouble with you is you're a two-buttock player.

"Sinu viga on selles, et sa oled kahe-kannika mängija.

You should be a one-buttock player."

Sa peaksid olema ühe-kannika mängija."

I moved his body while he was playing.

Ma liigutasin ta keha, mängimise ajal.

And suddenly, the music took off. It took flight.

Ja äkitselt, muusika tõusis lendu. See võttis tuule alla.

The audience gasped when they heard the difference.

Publik ahhetas, kui kuulis muutust.

Then I got a letter from this gentleman.

Siis sain ma kirja sellelt härrasmehelt.

He said, "I was so moved.

Ta ütles: "Ma olin nii liigutatud.

I went back and I transformed my entire company

Ma läksin tagasi ja muutsin oma firma

into a one-buttock company."

ühe-kannika firmaks."

(Laughter)

(Naer)

Now, the other thing I wanted to do is to tell you about you.

Teine asi, mis ma tahtsin teha, oli rääkida teile teist.

There are 1,600 people, I believe.

Siin on 1600 inimenest, ma arvan.

My estimation is that probably 45 of you

Minu hinnangul on arvatavasti 45 inimest teie hulgast

are absolutely passionate about classical music.

üdini kirglikud klassikalise muusika suhtes.

You adore classical music. Your FM is always on that classical dial.

Te jumaldate klassikalist muusikat. Te raadio on alati klassika peal.

You have CDs in your car, and you go to the symphony,

Teil on CD-d autos ja te käite sümfooniaid kuulamas,

your children are playing instruments.

teie lapsed mängivad pilli.

Te ei kujuta oma elu ette ilma klassikalise muusikata.

You can't imagine your life without classical music.

That's the first group, quite small.

See esimene rühm on üsna väike.

Then there's another bigger group.

Siis on järgmine, suurem rühm.

The people who don't mind classical music.

Inimesed, kes ei pane klassikalist muusikat pahaks.

(Laughter)

You know, you've come home from a long day,

(Naer)

Teate, tulete koju peale pikka päeva

and you take a glass of wine, and you put your feet up.

ja võtate klaasi veini ja panete jalad toolile.

A little Vivaldi in the background doesn't do any harm.

Natuke Vivaldit taustal ei sega.

That's the second group.

See on teine rühm.

Now comes the third group:

Nüüd on kolmas rühm -

people who never listen to classical music.

inimesed, kes ei kuula kunagi klassikalist muusikat.

It's just simply not part of your life.

See pole osa teie elust.

You might hear it like second-hand smoke at the airport ...

Te võite seda kogeda passiivselt, nagu sigaretisuitsu, lennujaamas.

(Laughter)

(Naer)

-- and maybe a little bit of a march from "Aida"

Ja võib-olla üks väike marss "Aidast"

when you come into the hall.

kui te sisenete koridori.

But otherwise, you never hear it.

Kuid muidu, ei kuule te seda kunagi.

That's probably the largest group.

See on ilmselt kõige suurem rühm.

And then there's a very small group.

Ja siis on veel üks tilluke rühm.

These are the people who think they're tone-deaf.

Need on inimesed, kes arvavad, et neil pole muusikalist kuulmist.

Hämmastav hulk inimesi arvab, et neil pole "kõrva".

Amazing number of people think they're tone-deaf.

Actually, I hear a lot, "My husband is tone-deaf."

Tegelikult kuulen tihti: "Mu abikaasal pole kuulmist".

(Laughter)

Actually, you cannot be tone-deaf.

(Naer)

Tegelikult, pole see võimalik.

Nobody is tone-deaf.

Igaühel on "kõrva".

If you were tone-deaf, you couldn't change the gears

Kui teil poleks, te ei saaks käiku vahetada

on your car, in a stick shift car.

oma manuaal-käigukastiga autos.

You couldn't tell the difference between

Te ei suudaks eristada

somebody from Texas and somebody from Rome.

inimest Texasest ja inimest Roomast.

And the telephone. The telephone.

Ja telefon.

If your mother calls

Kui teie ema helistab

on the miserable telephone, she calls and says, "Hello,"

oma viletsa telefoniga, ta helistab ja ütleb "Halloo",

you not only know who it is, you know what mood she's in.

te mõistate mitte üksnes, kes see on, vaid ka, mis tuju tal on.

You have a fantastic ear. Everybody has a fantastic ear.

Teil on imeline kuulmine. Igaühel on imeline kuulmine.

So nobody is tone-deaf.

Seega kõigil on muusikaline kuulmine.

But I tell you what.

Aga ma ütlen teile.

It doesn't work for me to go on with this thing,

ma pole nõus niimoodi jätkama,

with such a wide gulf between those who understand,

sellise suure lõhega nende vahel, kes mõistavad,

love and are passionate about classical music,

armastavad ja on kirglikud klassikalise muusika vastu,

and those who have no relationship to it at all.

ja nende vahel, kellel pole sellega mingit suhet.

The tone-deaf people, they're no longer here.

Muusikalise kuulmiseta inimesi, neid enam pole.

But even between those three categories,

Aga isegi nende kolme rühma vahel,

it's too wide a gulf.

on liiga suur kuristik.

So I'm not going to go on until every single person in this room,

Seega ma ei jätka enne, kui iga viimane inimene selles ruumis,

downstairs and in Aspen, and everybody else looking,

all saalis ja kõrgmägedes, ja kõik, kes vaatavad,

will come to love and understand classical music.

hakkavad armastama ja mõistma klassikalist muusikat.

So that's what we're going to do.

Seda me nüüd teemegi.

Now, you notice that there is not the slightest doubt in my mind

Nagu näete, pole mul kübetki kõhklust

that this is going to work, if you look at my face, right?

et see tuleb välja, kui te mu nägu vaatate, eks?

It's one of the characteristics of a leader that he not doubt

See on üks juhi omadustest, et ta ei kahtle

for one moment the capacity of the people he's leading

hetkeksi nende inimeste võimetes, keda ta juhib.

to realize whatever he's dreaming.

tema visiooni täideviimisel.

Kujutlege, kui Martin Luther King oleks öelnud: "Mul on unistus.

Imagine if Martin Luther King had said, "I have a dream.

Of course, I'm not sure they'll be up to it."

Aga ma pole kindel, et nad on selleks valmis."

(Laughter)

(Naer)

All right. So I'm going to take a piece of Chopin.

Olgu. Ma võtan ühe Chopini pala.

This is a beautiful prelude by Chopin.

See on kaunis prelüüd Chopinilt.

Some of you will know it.

Mõned teist teavad seda.

(Music)

(Muusika)

Do you know what I think probably happened here?

Teate, mis ma arvan, et siin juhtus?

When I started, you thought, "How beautiful that sounds."

Kui ma alustasin, te mõtlesite: "Kui kaunilt see kõlab!"

(Music)

(Muusika)

"I don't think we should go to the same place

"Ma arvan, et me ei peaks järgmisel aastal

for our summer holidays next year."

samasse kohta suvepuhkusele minema."

(Laughter)

(Naer)

It's funny, isn't it?

See on naljakas, eks?

It's funny how those thoughts kind of waft into your head.

See on naljakas, kuidas sellised mõtted hõljuvad teie peadesse.

And of course --

Ja muidugi ...

(Applause)

(Aplaus)

Of course, if the piece is long and you've had a long day,

Muidugi, kui lugu on pikk ja teil on pikk päev seljataga,

you might actually drift off.

te võite ära vajuda.

Then your companion will dig you in the ribs

Siis teie kaaslane äsab teile ribidesse

and say, "Wake up! It's culture!" And then you feel even worse.

ja ütleb: "Ärka üles! See on kultuur!" Ja te tunnete end veelgi halvemini.

(Laughter)

(Naer)

But has it ever occurred to you that the reason you feel sleepy

Kas teile on kunagi tulnud pähe, et põhjus, mis te olete unine

klassikalise muusika ajal, ei ole teie, vaid meie pärast?

in classical music is not because of you, but because of us?

Did anybody think while I was playing,

Kas keegi teist mõtles mu mängu ajal:

"Why is he using so many impulses?"

"Miks ta nii palju rõhke kasutab?"

If I'd done this with my head you certainly would have thought it.

Kui ma oleks seda koos peaga teinud, oleks te kindlasti seda mõelnud.

(Music)

(Muusika)

(Music ends)

(Muusika lõpeb)

And for the rest of your life, every time you hear classical music,

Ja kogu ülejäänud elu, alati kui kuulete klassikalist muusikat,

you'll always be able to know if you hear those impulses.

olete alati võimelised ära tundma, kas te kuulete neid rõhke.

So let's see what's really going on here.

Vaatame, mis siin tegelikult toimub.

We have a B. This is a B.

Meil on siin B. See on B.

The next note is a C.

Järgmine noot on C.

And the job of the C is to make the B sad.

Ja C töö on muuta B kurvaks.

And it does, doesn't it?

Ja ta teeb seda, kas pole?

(Laughter)

(Naer)

Composers know that.

Heliloojad teavad seda.

If they want sad music, they just play those two notes.

Kui nad tahavad kurba muusikat, mängitakse lihtsalt neid kahte nooti.

(Music)

(Muusika)

But basically, it's just a B, with four sads.

Aga põhimõtteliselt on see lihtsalt B, koos nelja kurvaga.

(Laughter)

(Naer)

Now, it goes down to A.

Nüüd läheb see A-sse.

Now to G.

Nüüd G.

And then to F.

Ja siis F.

So we have B, A, G, F.

Seega meil on B, A, G, F.

And if we have B, A, G, F,

Ja kui meil on B, A, G, F,

what do we expect next?

mida me ootame järgmisena?

(Music)

(Muusika)

That might have been a fluke.

See võis olla juhus.

Let's try it again.

Proovime uuesti.

(Music)

(Muusika)

Oh, the TED choir.

(Laughter)

TEDi koor!

(Naer)

And you notice nobody is tone-deaf, right?

Ja märkasite, et kõigil on muusikaline kuulmine, eks?

Nobody is.

Kõigil.

You know, every village in Bangladesh

Igas külas Bangladeshis

and every hamlet in China -- everybody knows:

ja igas Hiina asulas - kõik teavad:

da, da, da, da -- da.

taa, taa, taa, taa - taaaa.

Everybody knows, who's expecting that E.

Kõik teavad, ootavad seda E-d.

Chopin didn't want to reach the E there,

Chopin ei tahtnud E-ni jõuda selles kohas,

because what will have happened?

sest mis siis oleks juhtunud?

It will be over, like Hamlet. Do you remember?

See oleks läbi, nagu Hamlet. Mäletate Hamletit?

Act One, scene three,

Esimene vaatus, kolmas stseen,

he finds out his uncle killed his father.

ta saab teada, et tema onu tappis ta isa.

He keeps on going up to his uncle and almost killing him.

Ta käib üha oma onu juures ja peaaegu tapab ta.

Aga siis ta loobub, ta läheb jälle tema juurde, peaaegu tapab.

And then he backs away, he goes up to him again, almost kills him.

Ja kriitikud tagareas,

The critics sitting in the back row there,

neil peab olema mingi arvamus, nii nad ütlevad: "Hamlet on edasilükkaja".

they have to have an opinion, so they say, "Hamlet is a procrastinator."

Or they say, "Hamlet has an Oedipus complex."

Või nad ütlevad: "Hamletil on Oidipuse kompleks."

No, otherwise the play would be over, stupid.

Ei! Muidu saaks etendus ju läbi, tobud!

(Laughter)

(Naer)

Seepärast paneb Shakespeare kogu selle värgi Hamletisse -

That's why Shakespeare puts all that stuff in Hamlet --

Ophelia going mad, the play within the play,

Ophelia hullumise, etendus etenduses,

and Yorick's skull, and the gravediggers.

Yoricku pealuu ja hauakaevajad.

That's in order to delay --

See on selleks, et viivitada -

until Act Five, he can kill him.

viienda vaatuseni, kus ta tema tapab.

It's the same with the Chopin.

Sama lugu on Chopiniga.

He's just about to reach the E,

Ta hakkab just E-ni jõudma,

and he says, "Oops, better go back up and do it again."

ja ütleb: "Oih, ma parem lähen tagasi üles ja kordan seda."

So he does it again.

Nii ta kordab seda.

Now, he gets excited.

Nüüd ta erutub.

(Music)

(Muusika)

That's excitement, don't worry about it.

See on erutus, ärge muretsege.

Now, he gets to F-sharp, and finally he goes down to E,

Nüüd ta läheb F-dieesi, ja lõpuks jõuab ta alla E-sse,

but it's the wrong chord --

aga tal on vale akord -

because the chord he's looking for is this one,

sest akord, mida ta ootab; on see

and instead he does ...

ja selle asemel ta teeb ...

Now, we call that a deceptive cadence,

Me nimetame seda poolikuks kadentsiks,

because it deceives us.

sest ei paku lahendust.

I tell my students, "If you have a deceptive cadence,

Ma räägin oma õpilastele: "Kui tuleb poolik kadents,

tõstke oma kulme, siis kõik teavad."

raise your eyebrows, and everybody will know."

(Laughter)

(Naer)

(Applause)

(Aplaus)

Right.

He gets to E, but it's the wrong chord.

Ta jõuab E-sse, aga see on vale akord.

Now, he tries E again.

Ta proovib veel E-d.

That chord doesn't work.

See akord ei sobi.

Now, he tries the E again. That chord doesn't work.

Ta proovib E-d jälle. See akord ei sobi.

Now, he tries E again, and that doesn't work.

Ta proovib veel E-d, ja see ei sobi.

And then finally ...

Ja lõpuks...

There was a gentleman in the front row who went, "Mmm."

Esireas oli üks härra, kes tegi: "Mmm."

(Laughter)

(Naer)

It's the same gesture he makes when he comes home

See on sama liigutus, mis ta teeb, kui jõuab koju

peale pikka päeva, peatab auto mootori ja ütleb:

after a long day, turns off the key in his car and says,

"Aah, I'm home."

"Aah, ma olen kodus."

Because we all know where home is.

Sest me kõik teame, kus kodu on.

So this is a piece which goes from away to home.

Niisiis see on pala, mis käib ära ja tuleb koju.

I'm going to play it all the way through and you're going to follow.

Ma mängin selle otsast lõpuni ja teie jälgite.

B, C, B, C, B, C, B --

B,C,B,C,B,C,B -

down to A, down to G, down to F.

A-sse, G-sse, F-i.

Almost goes to E, but otherwise the play would be over.

Peaaegu tuleb E-sse, aga muidu oleks etendus läbi.

He goes back up to B, he gets very excited.

Ta läheb tagasi B-sse, erutub väga.

Goes to F-sharp. Goes to E.

Läheb F-dieesi. Läheb E-sse.

It's the wrong chord. It's the wrong chord.

Vale akord. Vale akord.

And finally goes to E, and it's home.

Ja lõpuks ta läheb E-sse, ja seal on kodu.

And what you're going to see is one-buttock playing.

Ja te näete nüüd ühe-kannika mängu.

(Laughter)

(Naer)

Because for me, to join the B to the E,

Sest kui ma tahan ühendada B E-ga,

I have to stop thinking about every single note along the way,

ma ei saa mõelda igale noodile, mis tee peale jääb,

and start thinking about the long, long line from B to E.

ma pean mõtlema pikale teekonnale B-st E-sse.

You know, we were just in South Africa, and you can't go to South Africa

Me olime just Lõuna-Aafrikas, ja ei saa minna Lõuna-Aafrikasse

without thinking of Mandela in jail for 27 years.

mõtlemata Mandela 27-aastasele vangistusele.

What was he thinking about? Lunch?

Millele ta mõtles? Lõunasöögile?

No, he was thinking about the vision for South Africa

Ei, ta mõtles Lõuna-Aafrika tulevikule,

and for human beings.

inimeste tulevikule.

This is about vision. This is about the long line.

Asi on visioonis. Asi on pikemas perspektiivis.

Like the bird who flies over the field

Nagu lind, kes lendab üle põllu

and doesn't care about the fences underneath, all right?

ega hooli aedadest allpool, eksole?

So now, you're going to follow the line all the way from B to E.

Nüüd siis jälgite te teekonda B-st E-sse.

And I've one last request before I play this piece all the way through.

Ja mul on veel üks palve, enne kui ma mängin selle pala otsast lõpuni.

Would you think of somebody who you adore,

Kas võiksite mõelda kellelegi, keda jumaldate,

who's no longer there?

kuid keda enam pole?

A beloved grandmother, a lover --

Armastatud vanaema, kallim -

somebody in your life who you love with all your heart,

keegi teie elus, keda te armastasite südamepõhjast,

but that person is no longer with you.

kuid keda pole enam teiega.

Bring that person into your mind,

Manage see inimene silme ette

and at the same time,

ja samal ajal

follow the line all the way from B to E,

jälgige teekonda B-st E-sse

and you'll hear everything that Chopin had to say.

ja te kuulete kõike, mis Copinil oli öelda.

(Music)

(Muusika)

(Music ends)

(Muusika lõpeb)

(Applause)

(Aplaus)

Now, you may be wondering --

Te võite mõelda ...

(Applause)

(Aplaus)

(Applause ends)

(Aplaus lõpeb)

Te võite imestada, miks mina plaksutan.

You may be wondering why I'm clapping.

Well, I did this at a school in Boston

Ma tegin seda ühes koolis Bostonis

with about 70 seventh graders, 12-year-olds.

umbes 70 seitsmendikuga, 12-aastastega.

I did exactly what I did with you,

Ma tegin täpselt nii, nagu teiega tegin,

and I explained the whole thing.

ja ma seletasin kõike seda.

At the end, they went crazy, clapping.

Lõpus nad läksid pööraseks, plaksutasid.

I was clapping. They were clapping.

Mina plaksustasin. Nemad plaksutasid.

Finally, I said, "Why am I clapping?"

Lõpuks ma küsisin: "Miks mina plaksutan?"

And one of them said, "Because we were listening."

Ja üks lastest ütles: "Sest meie kuulasime."

(Laughter)

(Naer)

Think of it. 1,600 people, busy people,

Mõelge sellele. 1600 inimest, töist inimest,

involved in all sorts of different things,

igasugu erinevatest valdkondadest,

listening, understanding and being moved

kuulamas, mõistmas ja liigutatud

by a piece by Chopin.

Chopini palast.

Now, that is something.

See juba on midagi.

Am I sure that every single person followed that,

Kas ma olen kindel, et igaüks jälgis seda,

understood it, was moved by it?

mõistis seda, oli liigutatud?

Of course, I can't be sure.

Muidugi, ei saa ma kindel olla.

But I'll tell you what happened to me in Ireland

Aga ma räägin, mis juhtus minuga Iirimaal

during the Troubles, 10 years ago,

10 aastat tagasi,

and I was working with some Catholic and Protestant kids

ma töötasin katoliikliklastest ja luterlastest lastega

on conflict resolution.

konflikti lahendamise teemal.

And I did this with them --

Ja ma tegin neile seda -

a risky thing to do, because they were street kids.

riskantne ettevõtmine, sest need olid tänavalapsed.

And one of them came to me the next morning

Ja üks neist tuli minu juurde järgmisel hommikul

and he said,

"You know, I've never listened to classical music in my life,

ja ütles:

"Tead, ma pole kunagi kuulanud klassikalist muusikat,

but when you played that shopping piece ..."

aga kui sa mängisid seda šoppamislugu ..."

(Laughter)

(Naer)

He said, "My brother was shot last year and I didn't cry for him.

Ta ütles: "Mu vend lasti maha eelmisel aastal ja ma ei nutnud tema pärast.

But last night, when you played that piece,

Aga eile, kui sa mängisid seda pala,

he was the one I was thinking about.

mõtlesin ma tema peale.

And I felt the tears streaming down my face.

Ja ma tundsin pisaraid mööda nägu voolamas.

And it felt really good to cry for my brother."

Ja oli väga hea tunne nutta oma venna pärast."

So I made up my mind at that moment

Seega ma otsustasin sellel hetkel,

that classical music is for everybody.

et klassikaline muusika on kõigi jaoks.

Everybody.

Igaühele.

Now, how would you walk --

Kuidas sa käid -

my profession, the music profession doesn't see it that way.

minu erialal, muusikud ei näe seda niimoodi.

They say three percent of the population likes classical music.

Nad ütlevad, et 3% inimestele meeldib klassikaline muusika.

If only we could move it to four percent, our problems would be over.

Kui me suudaks kuidagi liikuda neljale protsendile, oleks mured murtud.

(Laughter)

(Naer)

How would you walk? How would you talk? How would you be?

Kuidas sa käid? Kuidas sa räägid? Kuidas sa oled,

If you thought, "Three percent of the population likes classical music,

kui sa usud: "3%-le inimestest meeldib klassikaline muusika,

if only we could move it to four percent."

kui me saaks liikuda neljale."

How would you walk or talk? How would you be?

Kuidas sa käiks või räägiks? Kuidas sa oleks,

If you thought, "Everybody loves classical music --

kui sa usuks, et igaüks armastab klassikalist muusikat -

they just haven't found out about it yet."

nad lihtsalt ei tea seda veel.

See, these are totally different worlds.

Need on täiesti erinevad maailmad.

Now, I had an amazing experience.

Mul oli imeline kogemuse.

I was 45 years old,

Ma olin 45-aastane,

I'd been conducting for 20 years,

olin dirigeerinud 20 aastat,

and I suddenly had a realization.

ja äkki ma taipasin.

The conductor of an orchestra doesn't make a sound.

Orkestri dirigent ei tee ühtki häält.

My picture appears on the front of the CD --

Minu pilt on plaadiümbrisel ...

(Laughter)

(Naer)

But the conductor doesn't make a sound.

Aga dirigent ei tee häält.

He depends, for his power,

Tema võim sõltub

on his ability to make other people powerful.

oskusest muuta teisi inimesi võimsaks.

And that changed everything for me.

Ja see muutis minu jaoks kõik.

It was totally life-changing.

See muutis täielikult mu elu.

People in my orchestra said,

Inimesed mu orkestris ütlesid:

"Ben, what happened?" That's what happened.

"Ben, mis juhtus?" See juhtuski.

I realized my job was to awaken possibility in other people.

Ma mõistsin, et minu töö on äratada potentsiaal teistes inimestes.

And of course, I wanted to know whether I was doing that.

Ja loomulikult tahtsin teada, kas ma teen seda.

How do you find out?

Teate, kuidas teada saada?

You look at their eyes.

Tuleb vaadata nende silmadesse.

If their eyes are shining, you know you're doing it.

Kui nende silmad säravad, siis sa tead, et sa teed seda.

You could light up a village with this guy's eyes.

Terve küla võiks ära valgustada selle selli silmadega.

(Laughter)

(Naer)

Right. So if the eyes are shining, you know you're doing it.

Ehk, kui silmad säravad, siis tead, et teed seda.

If the eyes are not shining, you get to ask a question.

Kui silmad ei sära, siis saad küsida.

And this is the question:

Ja küsimus on selline:

who am I being

kes ma olen,

that my players' eyes are not shining?

et mu mängijate silmad ei sära?

We can do that with our children, too.

Me saame seda oma lastega ka teha.

Who am I being,

Kes ma olen,

that my children's eyes are not shining?

et minu laste silmad ei sära?

That's a totally different world.

See on täiesti teine maailm.

Now, we're all about to end this magical, on-the-mountain week,

Nüüd kui meie imeline teekond hakkab lõpule jõudma,

we're going back into the world.

laskume jälle alla maa peale.

And I say, it's appropriate for us to ask the question,

Ja meil tuleks esitada endale küsimus:

who are we being as we go back out into the world?

millised me oleme, kui oleme taas maa peal?

And you know, I have a definition of success.

Ja teate, mul on edu valem.

For me, it's very simple.

Mulle on see väga lihtne.

It's not about wealth and fame and power.

See ei seostu rikkuse, kuulsuse ja võimuga.

It's about how many shining eyes I have around me.

See seostub paljude säravate silmadega minu ümber.

So now, I have one last thought,

Mul on üks viimane mõte,

which is that it really makes a difference what we say --

sellest, et on väga oluline, mida me ütleme -

the words that come out of our mouth.

sõnad, mis tulevad üle meie huulte.

I learned this from a woman who survived Auschwitz,

Ma kuulsin seda ühelt naiselt, kes pääses Auschwitzist,

one of the rare survivors.

ühelt vähestest pääsejatest.

She went to Auschwitz when she was 15 years old.

Ta läkes Auschwitzi kui ta oli 15-aastane.

And ...

Ja ...

And her brother was eight,

ta vend oli kaheksane

and the parents were lost.

ja nende vanemad olid kadunud.

And she told me this, she said,

Ja ta rääkis mulle, ta ütles:

"We were in the train going to Auschwitz,

"Me olime rongis teel Auschwitzi,

and I looked down and saw my brother's shoes were missing.

ja ma vaatasin alla ja nägin, et venna kingad olid kadunud.

I said, 'Why are you so stupid, can't you keep your things together

Ja ma ütlesin: "Kuidas sa oled nii loll; et sa ei suuda oma asju koos hoida,

for goodness' sake?'"

jumalapärast!""

The way an elder sister might speak to a younger brother.

Nagu vanem õde võib nooremale vennale öelda.

Unfortunately, it was the last thing she ever said to him,

Kahjuks, see oli viimane asi, mis ta talle ütles,

because she never saw him again.

sest rohkem ta teda enam ei näinud.

He did not survive.

Ta ei jäänud ellu.

And so when she came out of Auschwitz, she made a vow.

Niisiis, kui ta tuli Auschwitzist tagasi, andis ta lubaduse.

She told me this.

Ta rääkis mulle.

She said, "I walked out of Auschwitz into life

Ta ütles: "Ma sammusin Auschwitzist välja ellu

and I made a vow.

ja ma andsin tõotuse.

And the vow was,

Ja see tõotus oli: "Ma ei ütle kunagi midagi,

"I will never say anything that couldn't stand as the last thing I ever say."

mis ei võiks jääda mu viimasteks sõnadeks.""

Now, can we do that? No.

Kas me suudame seda? Ei.

And we'll make ourselves wrong and others wrong.

Ja me teeme endale liiga ja teistele liiga.

But it is a possibility to live into.

Aga selle nimel on võimalik elada.

Thank you.

Tänan.

(Applause)

(Aplaus)

Shining eyes.

Säravad silmad.

(Apalus)

(Applause)

Shining eyes.

Säravad silmad.

(Applause)

(Aplaus)

Thank you, thank you.

Tänan, tänan.