The transformative power of classical music | Benjamin Zander | TED

Prevoditelj: Ivana Bosnić Recezent: Ivan Petrović

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

Vjerojatno većinom poznajete priču o dva trgovca

who went down to Africa in the 1900s.

koji su otputovali u Afriku 1900-ih.

They were sent down to find if there was any opportunity

Poslani su tamo kako bi pronašli postoji li mogućnost

prodaje cipela.

for selling shoes,

and they wrote telegrams back to Manchester.

I poslali su telegrame natrag u Manchester.

And one of them wrote,

I jedan je napisao: "Situacija beznadna. Stop.

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

Oni ne nose cipele."

And the other one wrote,

A drugi je napisao: "Veličanstvena mogućnost.

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

Oni još nemaju nikakvih cipela."

(Laughter)

(Smijeh)

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

Slična je situacija i u svijetu klasične glazbe,

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

jer neki ljudi misle

da klasična glazba umire.

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

A postoje i neki od nas koji misle kako još ništa niste vidjeli.

And rather than go into statistics and trends,

I umjesto upuštanja u statistike i trendove

and tell you about all the orchestras that are closing,

i govora o svim orkestrima koji se zatvaraju,

and the record companies that are folding,

i snimateljskim kućama koje prestaju s radom,

I thought we should do an experiment tonight.

pomislio sam kako bismo večeras mogli napraviti jedan pokus.

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

Zapravo, to nije baš pravi pokus jer ja znam rezultat.

(Laughter)

But it's like an experiment.

Ali jest poput pokusa. Pa, prije nego --

Now, before we start --

(Smijeh)

(Laughter)

Before we start, I need to do two things.

-- prije nego počnemo, trebam napraviti dvije stvari.

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

Prvo, želim vas podsjetiti kako sedmogodišnje dijete

sounds like when he plays the piano.

zvuči dok svira klavir.

Maybe you have this child at home.

Možda takvo dijete imate kod kuće.

He sounds something like this.

Zvuči poput ovoga.

(Music)

(Klavir)

(Music ends)

I see some of you recognize this child.

Vidim da neki od vas prepoznaju ovo dijete.

Sad, ako vježba i uči godinu dana, sada ima osam godina

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

and he sounds like this.

(Music)

i zvuči poput ovoga.

(Klavir)

(Music ends)

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

Onda vježba i uči još jednu godinu, sada je devetgodišnjak.

(Music)

(Klavir)

(Music ends)

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

Onda vježba i uči još godinu dana, sada mu je deset.

(Klavir)

(Music)

(Music ends)

At that point, they usually give up.

U tom trenu obično odustanu.

(Laughter)

(Smijeh)

(Applause)

(Pljesak)

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

No, da ste čekali, da ste čekali još godinu dana,

čuli biste ovo:

(Music)

(Klavir)

(Music ends)

Now, what happened was not maybe what you thought,

E sad, ono što se dogodilo možda nije ono što ste mislili,

which is, he suddenly became passionate, engaged,

a to je, da je on odjednom postao strastven, angažiran,

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

uključen, dobio novog nastavnika, ušao u pubertet, što već.

Ono što se zapravo dogodilo je da se količina naglašavanja smanjila.

What actually happened was the impulses were reduced.

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

Vidite, kada je prvi puta svirao

imao je naglasak na svakom tonu.

(Music)

(Klavir)

And the second, with an impulse every other note.

Drugi puta na svakom drugom tonu.

(Music)

(Klavir)

You can see it by looking at my head.

Možete to vidjeti prateći moju glavu.

(Laughter)

(Smijeh)

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

Devetogodišnjak, devetogodišnjak

stavljao je naglasak na svake četiri note.

stavljao je naglasak na svake četiri note.

(Music)

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

Desetogodišnjak na svakih osam nota.

Desetogodišnjak na svakih osam nota.

(Music)

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

A jedanaestgodišnjak, po jedan naglasak na cijelu frazu.

A jedanaestgodišnjak, po jedan naglasak na cijelu frazu.

(Music)

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

Ne znam kako smo došli do ovog položaja.

(Laughter)

Ne znam kako smo došli do ovog položaja.

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

Nisam rekao da ću pomaknuti svoje rame, svoje tijelo.

No, glazba me pogurala,

No, the music pushed me over,

which is why I call it one-buttock playing.

i zato ju zovem sviranje "na pola guze".

(Music)

(Klavir)

It can be the other buttock.

Može biti i na drugoj polovici.

(Klavir)

(Music)

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

Jedan gospodin je gledao moju prezentaciju

dok sam radio s mladim pijanistom.

when I was working with a young pianist.

Bio je predsjednik tvrtke u Ohiou.

He was the president of a corporation in Ohio.

I radio sam s tim mladim pijanistom

I was working with this young pianist, and said,

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

i rekao, "Tvoj problem je da sviraš s cijelom guzom.

Trebao bi svirati s jednom polovicom."

You should be a one-buttock player."

I moved his body while he was playing.

I dok je svirao, ovako sam mu pomaknuo tijelo.

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

I odjednom je glazba krenula. Poletjela.

The audience gasped when they heard the difference.

Publika je uzdahnula kada je čula razliku.

Then I got a letter from this gentleman.

I tada sam dobio pismo od tog gospodina.

He said, "I was so moved.

Rekao je, "Bio sam toliko dirnut.

Vratio sam se i preokrenuo cijelu svoju tvrtku

I went back and I transformed my entire company

into a one-buttock company."

u tvrtku na pola guze."

(Laughter)

(Smijeh)

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

Druga stvar koju sam htio napraviti je pričati vam o vama.

Vjerujem da je ovdje 1600 ljudi.

There are 1,600 people, I believe.

My estimation is that probably 45 of you

Moja procjena je da vjerojatno vas 45

are absolutely passionate about classical music.

strastveno voli klasičnu glazbu.

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

Obožavate klasičnu glazbu. Vaš je radio uvijek na stanici klasične glazbe.

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

Imate CD-e u svom autu, odlazite slušati simfonije.

your children are playing instruments.

Vaša djeca sviraju.

Ne možete zamisliti svoj život bez klasične glazbe.

You can't imagine your life without classical music.

That's the first group, quite small.

To je prva grupa, prilično je mala.

Then there's another bigger group.

Onda postoji druga, veća grupa.

The people who don't mind classical music.

To su osobe kojima ne smeta klasična glazba.

(Laughter)

(Smijeh)

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

Znate, dođete doma nakon dugog dana

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

uzmete čašu vina i stavite noge na stol.

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

Malo Vivaldija u pozadini ne škodi.

(Smijeh)

That's the second group.

To je druga grupa.

Now comes the third group:

Sada slijedi treća grupa.

people who never listen to classical music.

To su ljudi koji nikad ne slušaju klasičnu glazbu.

Jednostavno nije dio njihovog života.

It's just simply not part of your life.

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

Možda ju čujete kao što osjetite tuđi dim cigarete na aerodromu, ali --

(Smijeh)

(Laughter)

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

-- i možda malo marša iz Aide

kada uđete u dvoranu. No inače, nikad ju ne čujete.

when you come into the hall.

But otherwise, you never hear it.

That's probably the largest group.

To je vjerojatno najveća grupa.

I onda postoji jedna vrlo mala grupa.

And then there's a very small group.

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

To su ljudi koji misle da nemaju sluha.

Nevjerojatan broj osoba misli da nemaju sluha.

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

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

Zapravo, često čujem, "Moj muž nema sluha."

(Laughter)

(Smijeh)

Actually, you cannot be tone-deaf.

Zapravo, ne možete biti bez sluha. Nitko to nije.

Nobody is tone-deaf.

Kada ne biste imali sluha, ne biste mogli promijeniti brzine

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

on your car, in a stick shift car.

u autu s ručnim mjenjačem.

You couldn't tell the difference between

Ne biste razlikovali

somebody from Texas and somebody from Rome.

govor nekoga iz Teksasa i nekoga iz Rima.

I telefon. Telefon. Ako vaša majka nazove

And the telephone. The telephone.

If your mother calls

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

na taj jadni telefon, nazove i kaže "Halo",

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

ne samo da znate tko zove, već i kakvog je raspoloženja.

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

Imate fantastično uho. Svatko ima fantastično uho.

So nobody is tone-deaf.

I nitko nije bez sluha.

But I tell you what.

No reći ću vam. Nema svrhe ovako nastaviti

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

with such a wide gulf between those who understand,

s tako velikim ponorom između onih koji razumiju,

love and are passionate about classical music,

strastveno vole klasičnu glazbu,

nemaju nikakve veze.

and those who have no relationship to it at all.

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

Ljudi bez sluha, oni više nisu ovdje.

No čak i između ostalih triju kategorija, razlika je prevelika.

But even between those three categories,

it's too wide a gulf.

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

Zato neću nastaviti dok svaka pojedina osoba u ovoj dvorani,

dolje i gore, i svatko tko ovo gleda,

downstairs and in Aspen, and everybody else looking,

will come to love and understand classical music.

ne zavoli i ne počne razumijevati klasičnu glazbu.

To ćemo napraviti.

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

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

Naravno, primjećujete da u mojim mislima ni na mome licu

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

nema ni najmanje sumnje da će ovo upaliti, zar ne?

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

To je jedno od svojstava vođe: da ne posumnja,

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

ni jedan trenutak, u mogućnosti osoba koje vodi

to realize whatever he's dreaming.

kako bi ostvario bilo što o čemu sanja.

Zamislite da je Martin Luther King rekao, "Ja sanjam.

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

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

Naravno, nisam siguran da će biti tome dorasli."

(Smijeh)

(Laughter)

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

U redu. Uzet ću jedno Chopinovo djelo.

This is a beautiful prelude by Chopin.

Ovo je prekrasan Chopinov preludij. Neki od vas ga znaju.

Some of you will know it.

(Music)

(Glazba)

Znate li što mislim da se vjerojatno dogodilo u ovoj sobi?

Do you know what I think probably happened here?

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

Kada sam počeo, pomislili ste, "Kako divno ovo zvuči."

(Glazba)

(Music)

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

"Mislim da ne bismo trebali ići na isto mjesto

na ljetovanje iduće godine."

for our summer holidays next year."

(Smijeh)

(Laughter)

It's funny, isn't it?

Smiješno je, zar ne? Smiješno je kako te misli

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

nekako dolepršaju u naš um.

I naravno --

And of course --

(Pljesak)

(Applause)

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

-- i naravno, ako je djelo dugačko i imali ste težak dan,

you might actually drift off.

doista biste mogli odlutati.

Then your companion will dig you in the ribs

Tada će vas vaša pratnja gurnuti laktom u rebra

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

i reći, "Budi se! To je kultura!" I tada se osjećate još gore.

(Laughter)

No je li vam ikad palo na pamet da razlog što se osjećate pospano

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

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

uz klasičnu glazbu niste vi, već mi?

Did anybody think while I was playing,

Je li itko pomislio da dok sam svirao,

"Why is he using so many impulses?"

"Zašto toliko naglašava tonove?"

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

Da sam to radio pokretima glave sigurno biste to pomislili.

(Music)

(Glazba)

(Music ends)

I do kraja života, svaki puta kada čujete klasičnu glazbu

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

znat ćete čujete li ta naglašavanja.

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

Pa da vidimo što se zapravo ovdje događa.

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

Imamo ton H. Ovo je H. Sljedeća nota je C.

We have a B. This is a B.

The next note is a C.

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

Posao note C je učiniti notu H tužnom. To i čini, zar ne?

And it does, doesn't it?

(Smijeh)

(Laughter)

Composers know that.

Skladatelji to znaju. Ako žele tužnu glazbu

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

oni samo odsviraju ta dva tona.

(Glazba)

(Music)

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

No u osnovi, to je samo H s tužnim uvodom.

(Laughter)

(Smijeh)

Now, it goes down to A.

E, sad se spušta na A. Pa na G, pa na F.

Now to G.

And then to F.

So we have B, A, G, F.

Tako imamo H, A, G, F. I ako imamo H, A, G, F,

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

what do we expect next?

što sljedeće očekujemo? Oho, pa to bi mogla biti puka sreća.

(Music)

That might have been a fluke.

Let's try it again.

Probajmo opet. O, TED zbor.

(Music)

Oh, the TED choir.

(Laughter)

(Smijeh)

I primijetili ste da svi imate sluha, zar ne? Svi.

And you notice nobody is tone-deaf, right?

Nobody is.

Znate, svako selo u Bangladešu

You know, every village in Bangladesh

i svako seoce u Kini. Svi znaju:

and every hamlet in China -- everybody knows:

da, da, da, da -- da.

da, da, da, da -- da. Svi znaju tko očekuje taj E.

Everybody knows, who's expecting that E.

E sad, Chopin nije htio tu doći do tona E,

Chopin didn't want to reach the E there,

because what will have happened?

jer što bi se dogodilo? Bio bi kraj, kao u Hamletu.

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

Sjećate se Hamleta? 1. čin, 3. prizor:

Act One, scene three,

he finds out his uncle killed his father.

otkriva da je njegov ujak ubio svog oca.

Sjećate se kako nastavlja ići svom ujaku

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

i skoro ga ubija. I tada se povlači

i odlazi opet i ponovno ga zamalo ubija.

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

I kritičari, koji svi sjede tamo u zadnjem redu,

The critics sitting in the back row there,

oni moraju imati mišljenje, kažu, "Hamlet odugovlači."

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

(Smijeh)

Ili kažu, "Hamlet ima Edipov kompleks."

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

No, otherwise the play would be over, stupid.

Ne, jer inače bi predstava bila gotova, glupani!

(Laughter)

Zato Shakespeare stavlja sve te stvari u Hamleta.

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

Ophelia going mad, the play within the play,

Znate, Ofelija koja ludi i predstava unutar predstave,

and Yorick's skull, and the gravediggers.

i Yorikova lubanja, kopači grobova.

That's in order to delay --

To je radi zavlačenja -- do 5. čina kada ga može ubiti.

until Act Five, he can kill him.

Isto je i sa Chopinom. Taman se sprema doseći E,

It's the same with the Chopin.

He's just about to reach the E,

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

kada kaže, "Oops, bolje da se vratim gore i ponovno to napravim."

Pa to ponovi.

So he does it again.

Now, he gets excited.

(Music)

Sad se zanese -- to je uzbuđenje,

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

ne trebate se brinuti oko toga.

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

Sada konačno dođe do F# i krene na E,

no to je krivi akord. Jer akord kojeg traži

but it's the wrong chord --

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

je ovaj, i umjesto toga on napravi ...

and instead he does ...

sad, mi to nazivamo deceptivnom kadencom jer nas je prevarila.

Now, we call that a deceptive cadence,

because it deceives us.

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

Uvijek kažem svojim studentima, "Ako imate deceptivnu kadencu

obavezno podignite svoje obrve kako bi svi to znali."

raise your eyebrows, and everybody will know."

(Smijeh)

(Laughter)

(Applause)

(Pljesak)

Right.

U redu. Tako on dođe do E, no to je krivi akord.

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

Sada pokuša E ponovno. Taj akord nije dobar.

Now, he tries E again.

That chord doesn't work.

Sada pokuša ponovno s E. Taj akord ne valja

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

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

Sada pokuša E ponovno, to nije dobro.

And then finally ...

I tada konačno ...

U prvom je redu gospodin napravio, "Mmm".

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

(Laughter)

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

To je ista gesta koju napravi kada dođe kući

nakon dugog dana, izvadi ključ iz auta i kaže,

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

"Aah, I'm home."

"Aah, stigao sam doma." Jer svi znamo gdje nam je dom.

Because we all know where home is.

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

Tako je ovo djelo koje ide izdaleka do doma.

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

I odsvirat ću ga cijelog

a vi ćete slijediti. H, C, H, C, H, C, H --

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

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

dolje na A, dolje na G, dolje na F.

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

Skoro na E, no u tom slučaju svirka je završena.

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

Ide natrag na H, vrlo se uzbudi. Dolazi na F#. Dolazi na E.

Goes to F-sharp. Goes to E.

Krivi akord. Krivi akord. Krivi akord.

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

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

I konačno dođe do E, i doma je.

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

A vi ćete vidjeti - sviranje na pola guze.

(Smijeh)

(Laughter)

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

Jer za mene, kako bih združio ton H s E,

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

moram prestati razmišljati o svakoj noti na putu

i početi razmišljati o dugom nizu od H do E.

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

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

Znate, upravo smo bili u Južnoj Africi, i ne možete otići u Južnu Afriku

bez da mislite na Mandelu 27 godina u zatvoru.

without thinking of Mandela in jail for 27 years.

What was he thinking about? Lunch?

O čemu je razmišljao? O ručku?

No, he was thinking about the vision for South Africa

Ne, razmišljao je o viziji za južnu Afriku

and for human beings.

i za ljudska bića. To ga je držalo --

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

radi se o viziji, o dugom nizu.

Like the bird who flies over the field

Kao ptica koja leti preko polja

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

i ne zamara se ogradama ispod sebe, u redu?

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

I sad ćete slijediti niz cijelim putem od H do E.

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

Imam posljednju molbu prije nego odsviram ovo djelo od početka do kraja

Would you think of somebody who you adore,

Hoćete li zamisliti o nekoga koga volite, a tko više nije ovdje?

who's no longer there?

Voljenu baku, ljubav,

A beloved grandmother, a lover --

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

nekoga u vašem životu koga volite svim srcem,

no ta osoba nije više s vama.

but that person is no longer with you.

Bring that person into your mind,

Donesite ju u misli, i u isto vrijeme

and at the same time,

slijedite niz cijelim putem od H do E,

follow the line all the way from B to E,

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

i čut ćete sve što je Chopin imao reći.

(Glazba)

(Music)

(Music ends)

(Applause)

(Pljesak)

Sad, možda se pitate,

Now, you may be wondering --

(Applause)

možda se pitate zašto ja plješćem.

(Applause ends)

You may be wondering why I'm clapping.

Well, I did this at a school in Boston

Pa, napravio sam to u školi u Bostonu

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

s oko 70 sedmaša -- 12-godišnjaka.

I did exactly what I did with you,

Napravio sam isto što i ovdje, i rekao sam im

and I explained the whole thing.

i objasnio sam im cijelu priču.

I na kraju su poludjeli, plješćući. Oni su pljeskali.

At the end, they went crazy, clapping.

I was clapping. They were clapping.

Ja sam pljeskao. Oni su pljeskali.

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

Konačno, rekao sam, "Zašto ja plješćem?"

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

A jedan od klinaca je rekao, "Zato jer smo mi slušali."

A jedan od klinaca je rekao, "Zato jer smo mi slušali."

(Laughter)

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

Razmislite. 1600 osoba, zaposlenih osoba,

bave se svim mogućim stvarima.

involved in all sorts of different things,

listening, understanding and being moved

Slušaju, shvaćaju i dirnuti su Chopinovim djelom.

by a piece by Chopin.

Now, that is something.

To je već nešto.

Am I sure that every single person followed that,

E sad, jesam li siguran da je svaka osoba to slijedila,

understood it, was moved by it?

shvatila i bila dirnuta. Naravno, ne mogu biti siguran.

Of course, I can't be sure.

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

No reći ću vam što mi se dogodilo.

Bio sam u Irskoj tijekom nereda prije deset godina,

during the Troubles, 10 years ago,

and I was working with some Catholic and Protestant kids

i radio sam s katoličkom i protestantskom djecom

on conflict resolution.

na rješavanju sukoba. I napravio sam ovo s njima.

And I did this with them --

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

Riskantan potez za napraviti jer su to bila djeca s ulice.

I jedan mi je od njih došao sljedeće jutro i rekao,

And one of them came to me the next morning

and he said,

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

"Znate, nikad u životu nisam slušao klasičnu glazbu,

but when you played that shopping piece ..."

ali kad ste odsvirali to djelo od shoopinga..."

(Smijeh)

(Laughter)

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

Rekao je, "Moj brat je ubijen prošle godine, a ja nisam plakao za njim.

But last night, when you played that piece,

Ali zadnje noći, kad ste to odsvirali,

he was the one I was thinking about.

on je bio onaj o kome sam razmišljao.

And I felt the tears streaming down my face.

I osjetio sam kako mi suze teku niz lice.

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

I znate, osjećao sam se doista dobro plaćući zbog brata."

So I made up my mind at that moment

U tom sam trenutku odlučio

da je klasična glazba za svakoga. Svakoga.

that classical music is for everybody.

Everybody.

Now, how would you walk --

E sad, kako biste vi hodali -- jer, znate,

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

moja profesija, glazbena profesija to ne gleda na taj način.

They say three percent of the population likes classical music.

Oni kažu da 3% populacije voli klasičnu glazbu.

Kada bismo to samo mogli povećati na 4%, naši bi problemi nestali.

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

(Laughter)

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

Ja kažem, "Kako biste vi hodali? Govorili? Živjeli

kada biste mislili da 3% populacije voli klasičnu glazbu?

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

if only we could move it to four percent."

Kada bismo to pomaknuli na 4%. Kako biste hodali?

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

Govorili? Kako živjeli

If you thought, "Everybody loves classical music --

kada biste pomislili da svi vole klasičnu glazbu --

samo što to još ne znaju."

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

(Smijeh)

See, these are totally different worlds.

Vidite, to su potpuno različiti svjetovi.

Now, I had an amazing experience.

Imao sam nevjerojatno iskustvo. Bilo mi je 45 godina,

I was 45 years old,

dirigirao sam 20 godina, i odjednom shvatio.

I'd been conducting for 20 years,

and I suddenly had a realization.

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

Dirigent orkestra ne proizvodi zvuk.

My picture appears on the front of the CD --

Moja se slika pojavi na naslovnici svakog CD-a --

(Smijeh)

(Laughter)

But the conductor doesn't make a sound.

-- ali dirigent ne proizvodi zvuk.

He depends, for his power,

Njegova snaga ovisi o njegovoj mogućnosti da druge osobe učini snažnima.

on his ability to make other people powerful.

I za mene se sve promijenilo. Bila je to potpuna promjena života.

And that changed everything for me.

It was totally life-changing.

People in my orchestra said,

Osobe u mom orkestru su mi došle i rekle,

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

"Bene, što se dogodilo?" Eto, to se dogodilo.

Shvatio sam da je moj posao probuditi mogućnost u drugim ljudima.

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

I naravno, htio sam znati činim li to.

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

I znate kako to saznate? Pogledate u njihove oči.

How do you find out?

You look at their eyes.

Ako se njihove oči sjaje, znate da vam to uspjeva.

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

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

Mogli biste osvijetliti selo s očima ovog čovjeka.

Mogli biste osvijetliti selo s očima ovog čovjeka.

(Laughter)

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

Točno. Dakle, ako oči sjaje, znate da vam to polazi za rukom.

Ako oči ne sjaje, trebate si postaviti pitanje.

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

A pitanje je:

And this is the question:

Tko sam ja sada da oči mojih svirača ne sjaje?

who am I being

that my players' eyes are not shining?

We can do that with our children, too.

Možemo to primijeniti i na našu djecu.

Who am I being,

Tko sam ja sada da oči moje djece ne sjaje?

that my children's eyes are not shining?

That's a totally different world.

To je potpuno drugačiji svijet.

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

Pri kraju smo ovog čarobnog tjedna na planini,

we're going back into the world.

i vraćamo se natrag u svijet.

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

I kažem, prikladno je da se zapitamo ovo pitanje:

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

Tko smo mi dok se vraćamo u svijet?

And you know, I have a definition of success.

Znate, imam definiciju uspjeha.

For me, it's very simple.

Za mene je to vrlo jednostavno. Ne radi se o bogatsvu, slavi i moći.

It's not about wealth and fame and power.

Već o tome koliko sjajnih očiju imam oko sebe.

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

So now, I have one last thought,

Imam zadnju misao, koja glasi

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

ono što govorimo doista čini razliku.

Riječi koje izlaze iz naših usta.

the words that come out of our mouth.

Naučio sam to od žene koja je preživjela Auschwitz,

I learned this from a woman who survived Auschwitz,

one of the rare survivors.

jedna od rijetkih preživjelih.

She went to Auschwitz when she was 15 years old.

Odvedena je u Auschwitz kada joj je bilo 15 godina,

And ...

njenom bratu 8, a roditelji su nestali.

And her brother was eight,

and the parents were lost.

And she told me this, she said,

I rekla mi je ovo,

"We were in the train going to Auschwitz,

"Bili smo u vlaku koji je vozio u Auschwitz, pogledala sam

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

i vidjela da moj brat nema cipele.

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

I rekla sam mu, "Kako si tako glup, zar se ne možeš brinuti za svoje stvari,

for goodness' sake?'"

za Boga miloga?" -- na način kako starija sestra

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

razgovara s mlađim bratom.

Nažalost, bile su to zadnje riječi koje mu je ikad rekla

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

jer ga nikada više nije vidjela. Nije preživio.

because she never saw him again.

He did not survive.

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

Kad je izašla iz Auschwitza, zavjetovala se.

She told me this.

Povjerila mi je to. Rekla je, "Izašla sam iz Auschwitza u život

She said, "I walked out of Auschwitz into life

i zavjetovala se. Zavjet je bio, nikad neću reći ništa

and I made a vow.

And the vow was,

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

što ne bi mogle biti posljednje riječi koje ću ikad reći."

E sad, možemo li to? Ne. I činit ćemo zlo sebi

Now, can we do that? No.

And we'll make ourselves wrong and others wrong.

i zlo drugima. No to je mogućnost koju možemo živjeti. Hvala vam.

But it is a possibility to live into.

Thank you.

(Applause)

(Pljesak)

Shining eyes.

Sjajne oči, sjajne oči.

(Applause)

Shining eyes.

(Applause)

Thank you, thank you.

Hvala vam, hvala.

(Glazba)