Charles Hazlewood: Trusting the ensemble

38,777 views ・ 2011-10-07

TED


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Prevoditelj: Mislav Ante Omazić - EFZG Recezent: Ivona Papa
00:15
I am a conductor,
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Ja sam dirigent
00:17
and I'm here today
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i danas sam ovdje
00:19
to talk to you about trust.
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kako bih govorio o povjerenju.
00:21
My job depends upon it.
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Moj posao ovisi o tome.
00:24
There has to be, between me and the orchestra,
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Mora postojati, između mene i orkestra,
00:26
an unshakable bond of trust,
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čvrst spoj povjerenja,
00:28
born out of mutual respect,
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rođen iz uzajamnog poštovanja,
00:31
through which we can spin a musical narrative
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preko kojeg možemo zavrtjeti glazbene priče
00:34
that we all believe in.
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u koje svi vjerujemo.
00:36
Now in the old days, conducting, music making,
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U stara vremena, dirigiranje, stvaranje glazbe,
00:39
was less about trust and more, frankly, about coercion.
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je iskreno, bilo manje povezano s povjerenjem, a više s prisilom.
00:42
Up to and around about the Second World War,
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Do i oko otprilike II. svjetskog rata,
00:44
conductors were invariably dictators --
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dirigenti su bili uvijek diktatori --
00:46
these tyrannical figures
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te tiranske figure
00:48
who would rehearse, not just the orchestra as a whole, but individuals within it,
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koje bi vježbale, ne samo orkestar u cjelini, već i pojedince unutar njega,
00:51
within an inch of their lives.
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imajući upliv u svaki detalj njihovih života.
00:54
But I'm happy to say now that the world has moved on,
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Ali drago mi je što sada mogu reći kako je svijet napredovao,
00:56
music has moved on with it.
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glazba je također s time napredovala.
00:58
We now have a more democratic view and way of making music --
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Danas imamo demokratičniji pogled i način na koji stvaramo glazbu --
01:01
a two-way street.
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dvosmjerna ulica.
01:03
I, as the conductor, have to come to the rehearsal with a cast-iron sense
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Ja, kao dirigent, moram doći na probu s čelično jasnim osjećajem
01:06
of the outer architecture of that music,
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vanjske arhitekture te glazbe,
01:09
within which there is then immense personal freedom
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unutar koje tek onda postoji ta ogromna osobna sloboda
01:12
for the members of the orchestra to shine.
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za članove orkestra da zablistaju.
01:14
For myself, of course,
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Za mene, naravno,
01:16
I have to completely trust my body language.
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ja moram potpuno vjerovati svom govoru tijela.
01:20
That's all I have at the point of sale.
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To je sve što imam u trenutku prodaje.
01:22
It's silent gesture.
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To je tiha gesta.
01:24
I can hardly bark out instructions while we're playing.
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Teško da se mogu derati dok sviramo.
01:29
(Music)
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(Glazba)
02:51
Ladies and gentlemen, the Scottish Ensemble.
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Dame i gospodo, škotski asambl.
02:53
(Applause)
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(Pljesak)
03:00
So in order for all this to work,
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Dakle kako bi sve ovo funkcioniralo,
03:02
obviously I have got to be in a position of trust.
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očito ja moram biti u poziciji povjerenja.
03:04
I have to trust the orchestra,
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Moram vjerovati orkestru,
03:06
and, even more crucially, I have to trust myself.
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i, čak još važnije, moram vjerovati sebi.
03:08
Think about it: when you're in a position of not trusting,
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Razmislite o tome: kada ste u poziciji nepovjerenja,
03:10
what do you do?
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što radite?
03:12
You overcompensate.
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Pretjerano nadoknađujete.
03:14
And in my game, that means you overgesticulate.
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A u mojoj igri, to znači da previše gestikulirate.
03:16
You end up like some kind of rabid windmill.
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Završite izgledajući poput neke bijesne vjetrenjače.
03:18
And the bigger your gesture gets,
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I što su veće vaše geste,
03:20
the more ill-defined, blurry
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lošije definirano, mutnije
03:22
and, frankly, useless it is to the orchestra.
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i, iskreno, nekorisnije je za orkestar.
03:24
You become a figure of fun. There's no trust anymore, only ridicule.
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Postajete predmet podsmjeha. Nema više povjerenja, samo podsmjeh.
03:27
And I remember at the beginning of my career,
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I sjećam se na početku moje karijere,
03:29
again and again, on these dismal outings with orchestras,
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opet i nanovo, na tim tužnim izletima s orkestrom,
03:31
I would be going completely insane on the podium,
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potpuno bih poludio na podiju,
03:34
trying to engender a small scale crescendo really,
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pokušavajući izazvati mali crescendo,
03:36
just a little upsurge in volume.
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samo mali porast volumena.
03:38
Bugger me, they wouldn't give it to me.
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Hulje, nisu mi ga dale.
03:40
I spent a lot of time in those early years
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Puno sam vremena provodio u tim ranim godinama
03:42
weeping silently in dressing rooms.
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tiho jecajući u garderobi.
03:44
And how futile seemed the words of advice to me
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I koliko su se uzaludnima činili savjeti
03:47
from great British veteran conductor Sir Colin Davis
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velikog engleskog veterana, dirigenta Sir Colina Davisa,
03:49
who said, "Conducting, Charles,
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koji je rekao, "Dirigiranje, Charles,
03:51
is like holding a small bird in your hand.
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je poput držanja male ptičice u rukama.
03:53
If you hold it too tightly, you crush it.
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Ako je držiš prečvrsto, slomit ćeš je.
03:56
If you hold it too loosely, it flies away."
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Ako je držiš preslabo, odletjet će."
03:59
I have to say, in those days, I couldn't really even find the bird.
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Moram reći, tih dana, nisam ni mogao pronaći ptičicu.
04:02
Now a fundamental
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Ključno
04:04
and really viscerally important experience for me, in terms of music,
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i stvarno brutalno važno iskustvo za mene, u glazbenom smislu,
04:07
has been my adventures in South Africa,
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je bila avantura u Južnoj Africi,
04:09
the most dizzyingly musical country on the planet in my view,
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glazbeno gledajući najvrtoglavijoj zemlji na planetu po mom mišljenju,
04:12
but a country which, through its musical culture,
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ali zemlji koja me, kroz svoju glazbenu kulturu,
04:14
has taught me one fundamental lesson:
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naučila jednu ključnu lekciju:
04:17
that through music making
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da kroz stvaranje glazbe
04:19
can come deep levels
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mogu postići duboke razine
04:21
of fundamental life-giving trust.
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temeljnih povjerenja koja daju život.
04:24
Back in 2000, I had the opportunity to go to South Africa
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Tamo 2000. dobio sam priliku otići u Južnu Afriku
04:27
to form a new opera company.
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osnovati novu operu.
04:29
So I went out there, and I auditioned,
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Tako sam otišao tamo, i vršio selekciju,
04:31
mainly in rural township locations, right around the country.
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uglavnom na ruralnim lokacijima, po cijeloj zemlji.
04:33
I heard about 2,000 singers
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Čuo sam oko 2.000 pjevača
04:35
and pulled together a company
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i sastavio društvo
04:37
of 40 of the most jaw-droppingly amazing young performers,
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od 40 gotovo nevjerojatnih mladih izvođača,
04:40
the majority of whom were black,
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od kojih je većina bila crna,
04:42
but there were a handful of white performers.
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ali je bila i šačica bijelih izvođača.
04:44
Now it emerged early on in the first rehearsal period
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Na samom početku za vrijeme prvih proba ispalo je
04:46
that one of those white performers
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kako je jedan od bijelih izvođača
04:48
had, in his previous incarnation,
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bio, u svojoj prethodnoj inkarnaciji,
04:50
been a member of the South African police force.
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član policijskih snaga Južne Afrike.
04:52
And in the last years of the old regime,
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I u zadnjim godinama starog režima,
04:54
he would routinely be detailed to go into the township
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rutinski bi bio slan na mjesta
04:57
to aggress the community.
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na kojima bi napadao zajedincu.
04:59
Now you can imagine what this knowledge did to the temperature in the room,
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Možete si zamisliti što je ta spoznaja učinila za temperaturu u sobi,
05:02
the general atmosphere.
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općenitu atmosferu.
05:04
Let's be under no illusions.
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Nemojmo imati nikakve iluzije.
05:06
In South Africa, the relationship most devoid of trust
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U Južnoj Africi, odnos s najvećim nepovjerenjem
05:09
is that between a white policeman
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jest onaj između bijelog policajca
05:11
and the black community.
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i crne zajednice.
05:13
So how do we recover from that, ladies and gentlemen?
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Dakle, kako se oporaviti od toga, dame i gospodo?
05:15
Simply through singing.
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Jednostavno kroz pjevanje.
05:17
We sang, we sang,
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Pjevali smo, pjevali,
05:20
we sang,
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i pjevali,
05:22
and amazingly new trust grew,
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i začudo novo povjerenje je raslo,
05:24
and indeed friendship blossomed.
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i stvarno prijateljstvo je procvjetalo.
05:26
And that showed me such a fundamental truth,
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I to mi je pokazalo temeljnu istinu,
05:28
that music making and other forms of creativity
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kako stvaranje glazbe i drugi oblici kreativnosti
05:31
can so often go to places
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mogu često otići na mjesta
05:33
where mere words cannot.
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na koja riječi ne mogu.
05:36
So we got some shows off the ground. We started touring them internationally.
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Tako smo pokrenuli neke predstave. Započeli smo s međunarodnim turnejama.
05:38
One of them was "Carmen."
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Jedna od njih je bila "Karmen".
05:40
We then thought we'd make a movie of "Carmen,"
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Tada smo mislili napraviti film od "Karmen",
05:42
which we recorded and shot outside on location
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koji smo snimili i napravili na lokaciji
05:44
in the township outside Cape Town called Khayelitsha.
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jedne općine izvan Cape Town-a koja se naziva Khayelitsha.
05:46
The piece was sung entirely in Xhosa,
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Komad je u cijelosti pjevala Xhosa,
05:48
which is a beautifully musical language, if you don't know it.
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što je prekrasan glazbeni jezik, ako ga ne znate.
05:51
It's called "U-Carmen e-Khayelitsha" --
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Nazvana je "U-Karmen e-Khayelitsha" --
05:53
literally "Carmen of Khayelitsha."
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doslovno "Karmen iz Khayelitshe".
05:55
I want to play you a tiny clip of it now
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Želio bih vam odsvirati maleni dio toga sada
05:57
for no other reason than to give you proof positive
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iz niti jednog drugog razloga nego kako bih vam dao mali pozitivni dokaz
05:59
that there is nothing tiny about South African music making.
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kako nema ničega malenog u stvaranju glazbe u Južnoj Africi.
06:03
(Music)
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(Glazba)
07:15
(Applause)
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(Pljesak)
07:22
Something which I find utterly enchanting
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Nešto što sam pronašao posve očaravajućim
07:25
about South African music making
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u stvaranju glazbe u Južnoj Africi
07:27
is that it's so free.
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jest da je toliko slobodna.
07:29
South Africans just make music really freely.
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Južnoafrikanci moraju stvarati glazbu slobodni.
07:31
And I think, in no small way,
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I mislim, ne na malen način,
07:33
that's due to one fundamental fact:
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kako je to zbog temeljne činjenice:
07:35
they're not bound to a system of notation.
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oni nisu povezani sa sustavom bilježenja.
07:37
They don't read music.
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Oni ne čitaju glazbu.
07:39
They trust their ears.
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Oni vjeruju svojim ušima.
07:41
You can teach a bunch of South Africans a tune in about five seconds flat.
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možeš naučiti grupu Južnoafrikanaca napjev u samo pet sekundi.
07:44
And then, as if by magic,
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I onda, poput magije,
07:46
they will spontaneously improvise a load of harmony around that tune
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oni će improvizirati hrpu harmonije oko tog napjeva
07:49
because they can.
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jer mogu.
07:51
Now those of us that live in the West, if I can use that term,
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Za one od nas koji žive na Zapadu, ako mogu koristiti taj termin,
07:54
I think have a much more hidebound attitude or sense of music --
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mislim kako imamo bitno skučeniji stav ili osjećaj glazbe --
07:57
that somehow it's all about skill and systems.
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koji je nekako sav povezan s vještinom i sustavom.
08:00
Therefore it's the exclusive preserve
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Zato je ekskluzivno sačuvana
08:03
of an elite, talented body.
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od elitnog, talentiranog tijela.
08:05
And yet, ladies and gentlemen, every single one of us on this planet
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A opet, dame i gospodo, svatko od nas na ovom planetu
08:08
probably engages with music on a daily basis.
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vjerojatno se povezuje s glazbom svaki dan.
08:11
And if I can broaden this out for a second,
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I ako mogu to malo proširiti na sekundu,
08:13
I'm willing to bet that every single one of you sitting in this room
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spreman sam okladiti se kako bi svatko od nas koji sjedimo u ovoj sobi
08:16
would be happy to speak with acuity, with total confidence,
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bio sretan pričati s oštrinom, s potpunim povjerenjem,
08:18
about movies, probably about literature.
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o filmovima, vjerojatno i o književnosti.
08:21
But how many of you would be able to make a confident assertion
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Ali koliko bi vas bilo spremno sa sigurnošću tvrditi nešto
08:24
about a piece of classical music?
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o komadu klasične glazbe?
08:27
Why is this?
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Zašto je to tako?
08:29
And what I'm going to say to you now
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I ono što ću vam sada reći
08:31
is I'm just urging you to get over
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jest da vas pozivam da prebolite
08:33
this supreme lack of self-confidence,
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taj visoki nedostatak samopovjerenja,
08:35
to take the plunge, to believe that you can trust your ears,
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da riskirate, da vjerujete kako možete vjerovati svojim ušima,
08:38
you can hear some of the fundamental muscle tissue,
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možete čuti neke od bazičnih mišićnih tkiva,
08:40
fiber, DNA,
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vlakana, DNK,
08:42
what makes a great piece of music great.
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onoga što čini veliki komad glazbe, velikim.
08:45
I've got a little experiment I want to try with you.
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Imam mali eksperiment koji bih volio napraviti s vama.
08:47
Did you know
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Jeste li znali
08:49
that TED is a tune?
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kako je TED napjev?
08:51
A very simple tune based on three notes -- T, E, D.
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Vrlo jednostavan napjev od tri note, T, E, D.
08:54
Now hang on a minute.
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Ostanite sa mnom samo na sekundu.
08:56
I know you're going to say to me, "T doesn't exist in music."
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Znam kako ćete mi reći kako "T ne postoji u glazbi".
08:59
Well ladies and gentlemen, there's a time-honored system,
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Dobro dame i gospodo, postoji sustav koji vrednuje vrijeme,
09:01
which composers have been using for hundreds of years,
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koji skladatelji koriste stotinama godina,
09:03
which proves actually that it does.
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koji dokazuje zapravo da radi.
09:06
If I sing you a musical scale: A, B, C, D, E, F, G --
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Ako zapjevam glazbenu ljestvicu: A, B, C, D, E, F, G --
09:10
and I just carry on with the next set of letters in the alphabet, same scale:
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i jednostavno nastavim sa slijedećim nizom u abecedi, jednaka ljestvica:
09:13
H, I, J, K, L, M, N,
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H, I, J, K, L, M, N,
09:16
O, P, Q, R, S, T -- there you go.
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O, P, Q, R, S, T - evo ga.
09:18
T, see it's the same as F in music.
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T, vidite je jednako kao u F u glazbi.
09:20
So T is F.
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Dakle T je F.
09:22
So T, E, D is the same as F, E, D.
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Dakle T, E, D je jednako kao F, E, D.
09:24
Now that piece of music that we played at the start of this session
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Sada onaj komad glazbe koji smo zasvirali na početku ove sesije
09:27
had enshrined in its heart
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je imao sadržanu u njegovu srcu
09:29
the theme, which is TED.
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temu, koja je TED.
09:31
Have a listen.
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Poslušajte.
09:34
(Music)
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(Glazba)
09:41
Do you hear it?
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Čujete li?
09:43
Or do I smell some doubt in the room?
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Ili mirišem neku sumnju u sobi?
09:45
Okay, we'll play it for you again now,
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Dobro, odsvirati ćemo sada to opet za vas,
09:47
and we're going to highlight, we're going to poke out the T, E, D.
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i naglasiti ćemo, izgurati ćemo van T, E, D.
09:50
If you'll pardon the expression.
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Ako ćete me ispričati zbog izražavanja.
09:53
(Music)
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(Glazba)
10:00
Oh my goodness me, there it was loud and clear, surely.
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O moj Bože, evo ga glasno i jasno, sigurno.
10:03
I think we should make this even more explicit.
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Mislim da bismo ovo trebali napraviti još eksplicitnije.
10:04
Ladies and gentlemen, it's nearly time for tea.
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Dame i gospodo, gotovo da je vrijeme za čaj.
10:06
Would you reckon you need to sing for your tea, I think?
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Što mislite, trebate li pjevati za svoj čaj?
10:08
I think we need to sing for our tea.
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Mislim da trebamo pjevati za čaj.
10:10
We're going to sing those three wonderful notes: T, E, D.
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Zapjevat ćemo te tri prekrasne note: T, E, D.
10:13
Will you have a go for me?
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Hoćete li pokušati zbog mene?
10:15
Audience: T, E, D.
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Publika: T, E, D.
10:17
Charles Hazlewood: Yeah, you sound a bit more like cows really than human beings.
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Charles Hazlewood: Hej, zvučite više kao krave nego kao ljudska bića.
10:20
Shall we try that one again?
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Hoćemo li pokušati ponovno?
10:22
And look, if you're adventurous, you go up the octave.
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I pogledajte, ako ste skloni avanturi, skočite za oktavu.
10:24
T, E, D.
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T, E, D.
10:26
Audience: T, E, D.
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Publika: T, E, D.
10:28
CH: Once more with vim. (Audience: T, E, D.)
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CH: Još jednom energičnije. (Publika: T, E, D.)
10:31
There I am like a bloody windmill again, you see.
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Evo me opet poput proklete vjetrenjače, vidite.
10:33
Now we're going to put that in the context of the music.
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Sada ćemo to staviti u kontekst glazbe.
10:36
The music will start, and then at a signal from me, you will sing that.
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Glazba će započeti, i onda na moj znak, vi ćete ovo zapjevati.
10:41
(Music)
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(Glazba)
10:53
One more time,
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Još jednom,
10:55
with feeling, ladies and gentlemen.
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s osjećajem, dame i gospodo.
10:57
You won't make the key otherwise.
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Drugačije nećete uspjeti.
11:00
Well done, ladies and gentlemen.
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Dobro napravljeno, dame i gospodo.
11:02
It wasn't a bad debut for the TED choir,
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Nije loše za debi TED zbora,
11:05
not a bad debut at all.
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nije uopće loše za debi.
11:08
Now there's a project that I'm initiating at the moment
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Postoji projekt s kojim započinjem upravo sada
11:10
that I'm very excited about and wanted to share with you,
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oko kojeg sam jako uzbuđen i koji želim podijeliti s vama,
11:12
because it is all about changing perceptions,
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jer se u potpunosti radi o promjeni perspektive,
11:14
and, indeed, building a new level of trust.
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i, stvarno, gradnji nove razine povjerenja.
11:17
The youngest of my children was born with cerebral palsy,
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Najmlađe od moje djece je rođeno s cerebralnom paralizom,
11:20
which as you can imagine,
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koja kao što možete zamisliti,
11:22
if you don't have an experience of it yourself,
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ako sami nemate to iskustvo,
11:24
is quite a big thing to take on board.
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jest prilično velika stvar.
11:26
But the gift that my gorgeous daughter has given me,
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Ali dar koji mi je dala moja prekrasna kćerka,
11:29
aside from her very existence,
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pokraj njenog samog postojanja,
11:31
is that it's opened my eyes to a whole stretch of the community
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jest da mi je otvorila oči za jednu cijelu zajednicu
11:34
that was hitherto hidden,
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koja je dosad bila skrivena,
11:36
the community of disabled people.
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zajednicu osoba s invaliditetom.
11:38
And I found myself looking at the Paralympics and thinking how incredible
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I našao sam se kako gledam Paraolimpijadu i razmišljam kako je nevjerojatno
11:41
how technology's been harnessed to prove beyond doubt
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kako je tehnologija iskorištena ne bi li nam dokazala izvan svake sumnje
11:44
that disability is no barrier
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kako invaliditet nije ograničenje
11:46
to the highest levels of sporting achievement.
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za najveća sportska postignuća.
11:48
Of course there's a grimmer side to that truth,
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Naravno tu postoji i tamnija strana istine
11:50
which is that it's actually taken decades for the world at large
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a to je kako su bila potrebna desetljeća ne bi li svijet
11:53
to come to a position of trust,
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došao u poziciju povjerenja,
11:56
to really believe that disability and sports can go together
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kako bi stvarno povjerovao da sport i invaliditet mogu ići zajedno
11:59
in a convincing and interesting fashion.
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na uvjerljiv i zanimljiv način.
12:02
So I find myself asking:
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Tako sam se našao u poziciji zapitati se:
12:04
where is music in all of this?
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gdje je glazba u svemu tome?
12:06
You can't tell me that there aren't millions of disabled people,
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Ne možete mi reći kako ne postoje milijuni osoba s invaliditetom,
12:08
in the U.K. alone,
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samo u Velikoj Britaniji,
12:10
with massive musical potential.
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koji su ogromni glazbeni potencijal.
12:13
So I decided to create a platform for that potential.
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Tako sam odlučio stvoriti platformu za taj potencijal.
12:16
It's going to be Britain's first ever
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To će biti u povijesti prvi britanski
12:18
national disabled orchestra.
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orkestar osoba s invaliditetom.
12:20
It's called Paraorchestra.
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Zvati će se Paraorkestar.
12:22
I'm going to show you a clip now
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Pokazati ću vam sada isječak
12:24
of the very first improvisation session that we had.
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prve improvizirane sesije koju smo imali.
12:26
It was a really extraordinary moment.
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To je stvarno nevjerojatan trenutak.
12:28
Just me and four astonishingly gifted disabled musicians.
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Ja i četiri nevjerojatno talentirana glazbenika s invaliditetom.
12:31
Normally when you improvise --
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Normalno kada improviziraš --
12:34
and I do it all the time around the world --
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a ja to stalno radim po cijelom svijetu --
12:36
there's this initial period of horror,
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postoji početni period horora,
12:38
like everyone's too frightened to throw the hat into the ring,
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kada je svatko prestrašen da bude prvi i preuzme inicijativu,
12:40
an awful pregnant silence.
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grozna zagušljiva tišina.
12:42
Then suddenly, as if by magic, bang! We're all in there
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Onda odjednom, poput magije, bang! Svi smo tamo
12:44
and it's complete bedlam. You can't hear anything.
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i nastane luda kuća. Ništa ne možete čuti.
12:46
No one's listening. No one's trusting.
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Nitko ne sluša. Nitko ne vjeruje.
12:48
No one's responding to each other.
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Nitko ne odgovara nikome.
12:51
Now in this room with these four disabled musicians,
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U toj sobi s ta četiri glazbenika s invaliditetom,
12:53
within five minutes
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unutar pet minuta
12:55
a rapt listening, a rapt response
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ushićeno slušanje, ushićen odgovor
12:57
and some really insanely beautiful music.
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i neka ludo lijepa glazba.
13:02
(Video) (Music)
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(Video) (Glazba)
13:10
Nicholas:: My name's Nicholas McCarthy.
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Nicholas: Moje ime je Nicholas McCarthy.
13:12
I'm 22, and I'm a left-handed pianist.
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Imam 22 godine i ja sam ljevoruki pijanist.
13:14
And I was born without my left hand -- right hand.
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I rođen sam bez svoje lijeve ruke -- desne ruke.
13:17
Can I do that one again?
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Mogu li to ponoviti?
13:20
(Music)
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(Glazba)
13:27
Lyn: When I'm making music,
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Lyn: Kada stvaram glazbu,
13:29
I feel like a pilot in the cockpit flying an airplane.
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osjećam se kao pilot dok leti.
13:32
I become alive.
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Postajem živa.
13:34
(Music)
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(Glazba)
13:45
Clarence: I would rather be able to play an instrument again
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Clarence: Radije bih bio sposoban opet svirati neki instrument
13:48
than walk.
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nego hodati.
13:50
There's so much joy and things
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Toliko je tu zadovoljstva i stvari
13:52
I could get from playing an instrument and performing.
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koje mogu dobiti iz sviranja instrumenta i izvođenja.
13:56
It's removed some of my paralysis.
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To je uklonilo neke od mojih paraliza.
14:00
(Music)
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(Glazba)
14:15
(Applause)
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(Pljesak)
14:22
CH: I only wish that some of those musicians were here with us today,
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CH: Volio bih da su neki od tih glazbenika s nama danas,
14:25
so you could see at firsthand how utterly extraordinary they are.
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kako biste mogli iz prve ruke posvjedočiti koliko su izvanredni.
14:28
Paraorchestra is the name of that project.
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Paraorkestar je ime projekta.
14:30
If any of you thinks you want to help me in any way
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Ako bilo tko od vas misli kako mi može pomoći na bilo koji način
14:32
to achieve what is a fairly impossible and implausible dream still at this point,
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ostvariti ono što je sada prilično nemoguć i nevjerojatan san,
14:35
please let me know.
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molim vas recite mi.
14:37
Now my parting shot
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Sada, moj rastanak
14:39
comes courtesy of the great Joseph Haydn,
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dolazi zahvaljujući velikom Josephu Haydnu,
14:41
wonderful Austrian composer in the second half of the 18th century --
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prekrasnom austrijskom kompozitoru iz druge polovice 18. stoljeća --
14:44
spent the bulk of his life
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koji je proveo veliki dio svog života
14:46
in the employ of Prince Nikolaus Esterhazy, along with his orchestra.
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kao zaposlenik princa Nikole Esterhazya, sa svojim orkestrom.
14:49
Now this prince loved his music,
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Taj je princ volio glazbu,
14:52
but he also loved the country castle that he tended to reside in most of the time,
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ali je također volio dvorac u kojem je provodio većinu vremena,
14:55
which is just on the Austro-Hungarian border,
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koji se nalazi baš na granici Austrije i Mađarske,
14:57
a place called Esterhazy --
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u mjestu Esterhazy --
14:59
a long way from the big city of Vienna.
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daleko od velikog grada Beča.
15:01
Now one day in 1772,
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Jednog dana 1772.
15:03
the prince decreed that the musicians' families,
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princ je donio odluku da obitelji glazbenika,
15:05
the orchestral musicians' families,
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obitelji glazbenika iz orkestra,
15:07
were no longer welcome in the castle.
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nisu više dobrodošle u dvorac.
15:09
They weren't allowed to stay there anymore; they had to be returned to Vienna --
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Nije im bilo više dozvoljeno da tamo ostanu; morali su se vratiti u Beč --
15:12
as I say, an unfeasibly long way away in those days.
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kao što sam rekao, prilična udaljenost tih dana.
15:15
You can imagine, the musicians were disconsolate.
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Možete zamisliti, glazbenici su bili neutješni.
15:19
Haydn remonstrated with the prince, but to no avail.
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Haydn je pokušao uvjeriti princa, ali bez uspjeha.
15:22
So given the prince loved his music,
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Dajući princu glazbu koju voli,
15:24
Haydn thought he'd write a symphony to make the point.
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Haydn je mislio skladati simfoniju kojom će iskazati svoj stav.
15:27
And we're going to play just the very tail end of this symphony now.
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I sada ćemo odsvirati sam kraj te simfonije.
15:30
And you'll see the orchestra in a kind of sullen revolt.
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I vidjet ćete orkestar u nekoj vrsti potištene pobune.
15:33
I'm pleased to say, the prince did take the tip
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Sretan sam što mogu reći, princ je prepoznao signal
15:35
from the orchestral performance,
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iz izvedbe orkestra,
15:37
and the musicians were reunited with their families.
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i glazbenici su se ponovno ujedinili sa svojim obiteljima.
15:39
But I think it sums up my talk rather well, this,
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Ali mislim kako jako dobro sažima moj govor, to,
15:42
that where there is trust,
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da tamo gdje ima povjerenja,
15:44
there is music -- by extension life.
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ima glazbe -- time i života.
15:47
Where there is no trust,
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Gdje nema povjerenja,
15:49
the music quite simply withers away.
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glazba jednostavno iščezne.
15:56
(Music)
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(Glazba)
19:06
(Applause)
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(Pljesak)
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