How to truly listen | Evelyn Glennie

Traducător: Matei Alecu Corector: Bianca Bardas

Nu sunt sigura ca imi doresc sa vad

I'm not quite sure whether I really want to see a snare drum

at nine o'clock or so in the morning.

un premier la ora noua dimineata

(Laughter)

But anyway, it's just great to see such a full theater,

In orice caz este minunat sa vad o sala atat de plina

and really, I must thank Herbie Hancock and his colleagues

si chiar trebuie sa ii multumesc lui Herbie Hancock

si colegilor sai pentru o prezentare minunata.

for such a great presentation.

(Applause)

Unul din lucrurile interesante,

One of the interesting things, of course,

bineinteles, este combinatia intre instrumentul folosit cu mana goala

is the combination of that raw hand on the instrument and technology,

si tehnologie, si bineinteles ceea ce spunea despre a ne asculta semenii tineri.

and what he said about listening to our young people.

Of course, my job is all about listening.

Evident, slujba mea este strans legata de ascultare

And my aim, really, is to teach the world to listen.

si telul meu, realmente, este sa invat lumea sa asculte.

That's my only real aim in life.

Acestea este singurul meu scop adevarat in viata.

And it sounds quite simple, but actually, it's quite a big, big job.

Si pare simplu dar este, de fapt, o sarcina foarte, foarte mare.

Because you know, when you look at a piece of music, for example,

Pentru ca privind o bucata muzicala -- de exemplu,

if I just open my little motorbike bag --

daca imi deschid micul meu rucsac de motocicleta -- avem, sa speram,

we have here, hopefully,

a piece of music that is full of little black dots on the page.

o partitura care este plina de mici puncte negre pe fiecare pagina.

And, you know, we open it up ...

Si o deschidem iar eu parcurg muzica scrisa.

And I read the music.

So technically, I can actually read this.

Tehnic vorbind, eu chiar pot citi aceasta pagina.

I will follow the instructions, the tempo markings, the dynamics.

Voi urma instructiunile, indiicatiile de tempo, dinamica.

I will do exactly as I'm told.

Voi face intocmai cum mi se spune.

And so therefore, because time is short,

Asadar, pentru ca timpul este limitat,

if I just played you, literally, the first, maybe, two lines or so --

va redau, sa zicem, primele doua randuri. Este foarte simplu.

It's very straightforward; there's nothing too difficult about the piece.

Aceasta bucata nu are parti prea dificile.

Dar mi se spune aici ca aceasta bucata muzicala este foarte rapida.

But here, I'm being told that the piece of music is very quick.

Mi se indica unde anume pe toba sa bat.

I'm being told where to play on the drum.

I'm being told which part of the stick to use.

Mi se indica ce parte a batului sa folosesc.

And I'm being told the dynamic.

Si mi se indica dinamica.

And I'm also being told that the drum is without snares.

Si mi se spune, de asemenea, ca premierul are cordarul lasat.

Snares on, snares off.

Cordar ridicat, cordar lasat.

So therefore, if I translate this piece of music,

Asadar, daca transpun aceasta bucata muzicala, avem urmatoarea idee.

we have this idea.

(Drum sounds)

(Drum sounds end)

And so on.

Si asa mai departe. Cariera mea ar dura, probabil, vreo cinci ani.

My career would probably last about five years.

(Laughter)

However, what I have to do as a musician

Insa, ceea ce am de facut ca muzician este sa fac si tot ceea ce nu scrie pe partitura.

is do everything that is not on the music;

everything that there isn't time to learn from a teacher,

Tot ceea ce nu am avut vreme sa invat de la un profesor,

or to talk about, even, from a teacher.

sau nici macar nu am avut vreme sa discut cu un profesor.

But it's the things you notice when you're not actually with your instrument

Este vorba despre lucruri pe care le observi atunci cand nu canti la instrumentul tau

that, in fact, become so interesting, and that you want to explore

dar care devin atat de interesante, incat vrei sa le explorezi

through this tiny, tiny surface of a drum.

prin intermediul acestei mici suprafete a unei tobe.

So there, we experience the translation.

Iata -- am experimentat transpunerea. Acum vom experimenta interpretarea.

Now we'll experience the interpretation.

(Drum sounds)

(Drum sounds end)

(Applause)

Acum cariera mea ar putea dura ceva mai mult timp!

Now my career may last a little longer.

(Laughter)

Intr-un fel, insa, este similar cu a ma uita la dumneavoastra si a vedea

But in a way, you know, it's the same if I look at you

and I see a nice, bright young lady with a pink top on.

o domnisoara draguta, inteligenta cu o bluza roz.

I see that you're clutching a teddy bear, etc., etc.

Vad ca tine in brate un ursulet de plus, etcetera, etcetera.

So I get a basic idea as to what you might be about,

Asa ca imi fac o idee de baza ce fel de persoana sunteti, ce preferinte ati putea avea,

what you might like, what you might do as a profession, etc., etc.

ce profesie ati putea avea, etcetera, etcetera.

However, that's just the initial idea I may have that we all get

Insa, aceasta este prima impresie pe care o am si pe care am putea-o avea

when we actually look and we try to interpret.

cand va privim. Si incercam sa o interpretam,

But actually it's so unbelievably shallow.

dar de fapt este extrem de superficiala.

In the same way, I look at the music; I get a basic idea;

In acelasi fel, privesc o partitura, imi fac o prima impresie,

I wonder what technically might be hard, or, you know, what I want to do.

ma intreb ce dificultati tehnice ar putea avea, sau ce vreau sa fac.

Just the basic feeling.

Doar prima impresie.

However, that is simply not enough.

Insa aceasta pur si simplu nu este indeajuns.

And I think what Herbie said: please listen, listen.

Si cred ceea ce a spus si Herbie -- va rog ascultati, ascultati.

We have to listen to ourselves, first of all.

Trebuie sa ne ascultam pe noi insine, in primul rand.

If I play, for example, holding the stick --

Daca, de exemplu, cant tinand batul in asa fel incat nu ii dau drumul deloc

where literally I do not let go of the stick --

(Drum sound)

you'll experience quite a lot of shock coming up through the arm.

voi simti o serie de socuri urcand prin intermediul bratului.

And you feel really quite -- believe it or not --

si ma voi simti -- in mod surprinzator --

detached from the instrument and from the stick,

detasata de instrument si de bat,

even though I'm actually holding the stick quite tightly.

chiar daca eu tin, de fapt, batul foarte strans

(Drum sound)

By holding it tightly, I feel strangely more detached.

Tinandu-l strans, ma simt, in mod straniu, mai detasata.

If I just simply let go

Daca pur si simplu ii dau drumul si permit mainii mele, bratului meu sa fie mai degraba un sprijin

and allow my hand, my arm, to be more of a support system,

suddenly --

brusc voi avea o dinamica mai mare cu mai putin efort. Mult mai mare.

(Drum sound)

I have more dynamic with less effort.

Much more --

(Drum sound)

and I just feel, at last, one with the stick

Si devin, in sfarsit, una cu batul si una cu toba.

and one with the drum.

And I'm doing far, far less.

Si fac mult mai putin.

So in the same way that I need time with this instrument,

Astfel, asa cum am avut nevoie de timp cu acest instrument,

I need time with people in order to interpret them.

Am nevoie de timp cu oamenii, pentru a ii intelege.

Not just translate them, but interpret them.

Nu doar a-i auzi, ci a-i intelege.

If, for example, I play just a few bars of a piece of music

Daca, spre exemplu, redau cateva masuri dintr-o piesa

for which I think of myself as a technician --

gandindu-ma la mine insami ca la un tehnician

that is, someone who is basically a percussion player --

adica o persoana care este, in esenta, un percutionist

(Marimba sounds)

(Marimba sounds end)

And so on, if I think of myself as a musician --

si asa mai departe. Daca ma gandesc la mine insami ca la un muzician

(Marimba sounds)

(Marimba sounds end)

And so on.

si asa mai departe. Exista o mica diferenta care merita -- (aplauze)

There is a little bit of a difference there that is worth just --

(Applause)

thinking about.

-- atentie.

And I remember when I was 12 years old,

Imi amintesc cand aveam 12 ani

and I started playing timpani and percussion,

incepusem sa studiez timpanul si percutia, iar profesorul meu mi-a spus:

and my teacher said,

"Well, how are we going to do this? You know, music is about listening."

"Ei bine, cum procedam? Stii, muzica este strans legata de ascultare."

And I said, "Yes, I agree with that, so what's the problem?"

"Da, sunt de acord cu asta. Deci, care este problema?"

And he said, "Well, how are you going to hear this?

Si el mi-a zis, "Pai, cum vei auzi tu toate astea? Cum vei auzi tu totul?"

How are you going to hear that?"

And I said, "Well, how do you hear it?"

Iar eu i-am zis, "Pai tu cum le auzi?"

He said, "Well, I think I hear it through here."

El spuse "Pai, eu cred ca le aud pe aici."

And I said, "Well, I think I do too, but I also hear it through my hands,

Iar eu am zis "Ei bine, si eu cred ca le aud la fel -- dar le aud, de asemenea, prin mainile mele,

through my arms, cheekbones, my scalp,

prin bratele mele, pometi, cap, burta, piept, picioarele mele si asa mai departe."

my tummy, my chest, my legs and so on."

And so we began our lessons every single time

Asa ca ne incepeam de fiecare data lectiile acordand tobe --

tuning drums, in particular, the kettle drums, or timpani

mai ales paucele sau timpanele --

to such a narrow pitch interval, so something like --

la intervale sonore foarte mici, ceva de genul ...

(Marimba sounds)

cam asa diferenta. Apoi treptat ... si treptat ...

that of a difference.

Then gradually:

(Marimba sounds)

And gradually:

(Marimba sounds)

And it's amazing that when you do open your body up,

si este spectaculos ca in momentul in care chiar iti deschizi corpul,

and open your hand up to allow the vibration to come through,

si iti deschizi mainile pentru a permite vibratiilor sa patrunda,

that in fact the tiny, tiny difference --

ca, de fapt, o foarte mica diferenta..

(Marimba sounds)

can be felt with just the tiniest part of your finger, there.

poate fi simtita cu o foarte mica parte a degetului, aici.

And so what we would do is that I would put my hands

Asa ca ceea ce faceam era ca eu sa imi pun mainile pe peretele

on the wall of the music room,

salii de muzica si impreuna sa ascultam sunetul instrumentelor

and together, we would "listen" to the sounds of the instruments,

and really try to connect with those sounds

si sa incercam sa conectam la sunete

far, far more broadly than simply depending on the ear.

mult mai amplu decat bazandu-ne doar pe ureche.

Because of course, the ear is subject to all sorts of things.

Pentru ca, in mod evident, urechea este supusa unei intregi serii de aspecte.

The room we happen to be in, the amplification,

Sala in care ne aflam, amplificarea, calitatea instrumentului,

the quality of the instrument, the type of sticks --

tipul de bat, et cetera, et cetera.

(Marimba sounds)

(Marimba sounds end)

Etc., etc., they're all different.

Toate variaza.

(Marimba sounds)

(Marimba sounds end)

Same amount of weight, but different sound colors.

Aceeasi greutate, dar cu nuante diferte ale sunetului.

And that's basically what we are; we're just human beings,

In esenta asta suntem si noi. Suntem toti fiinte umane

but we all have our own little sound colors, as it were,

dar, intr-un fel, fiecare are propriile nuante de sunet,

that make up these extraordinary personalities and characters

care alcatuiesc aceste personalitati extraordinare

si caractere si interese si tot felul de lucruri.

and interests and things.

And as I grew older, I then auditioned

Cand am crescut, am dat o proba la Academia Regala de Muzica din Londra,

for the Royal Academy of Music in London,

and they said, "Well, no, we won't accept you, because we haven't a clue,

iar ei mi-au spus "Nu, nu te putem primi pentru ca nu avem nici cea mai vaga idee

you know, of the future of a so-called 'deaf musician.'"

ce viitor ar putea avea un asa-zis muzician surd."

And I just couldn't quite accept that.

Iar eu nu am putut accepta acest raspuns

And so therefore, I said to them, "Well, look, if you refuse --

Asa ca le-am spus "Uitati, daca ma respingeti --

if you refuse me through those reasons,

daca ma respingeti pentru acest motiv,

as opposed to the ability to perform

netinand cont de capacitatea mea de a interpreta si de a intelege si iubi

and to understand and love the art of creating sound --

arta de a crea sunete --

then we have to think very, very hard about the people you do actually accept."

atunci trebuie sa ne gandim foarte, foarte atent la genul de oameni pe care ii acceptati."

And as a result, once we got over a little hurdle,

Drept urmare -- odata ce am trecut acest mic obstacol si am fost nevoita sa dau proba de doua ori --

and having to audition twice,

they accepted me.

m-au primit. Si nu doar atat --

And not only that,

what had happened was that it changed the whole role of the music institutions

ceea ce s-a intamplat a fost ca s-a schimbat intreg rolul

institutiilor muzicale de pe teritoriul Marii Britanii.

throughout the United Kingdom.

Under no circumstances were they to refuse

In nici un caz nu mai aveau sa refuze vreo candidatura pe baza faptului

any application whatsoever

on the basis of whether someone had no arms, no legs --

ca cineva nu are maini, nu are picioare --

they could still perhaps play a wind instrument if it was supported on a stand.

poate totusi pot canta la un instrument de suflat, daca este sustinut de un suport.

Nici un fel de conditii similare nu au fost folosite pentru a refuza o candidatura.

No circumstances at all were used to refuse any entry.

And every single entry had to be listened to, experienced,

Fiecare proba trebuia ascultata, parcursa si apoi

and then, based on the musical ability,

bazandu-se pe aptitudinea muzicala, acea persoana putea fi admisa sau nu.

then that person could either enter or not.

And so therefore, this in turn meant

Asadar, acesta turnura a adus o generatie fascinanta

that there was an extremely interesting bunch of students

de studenti a fost admisa in toate aceste institutii.

who arrived in these various music institutions,

and I have to say, many of them now in the professional orchestras

Si trebuie sa mentionez ca, multi dintre ei,

au intrat, mai departe, in orchestre de pretutindeni.

throughout the world.

The interesting thing about this as well, though --

Lucrul interesant in legatura cu asta, insa --

(Applause)

(Aplauze) --

is quite simply that not only were people connected with sound --

este nu numai ca oamenii sunt legati de sunet --

which is basically all of us --

adica noi toti si stim bine ca muzica este leacul nostru zilnic.

we well know that music really is our daily medicine.

I say "music," but actually I mean "sound."

Spun muzica, dar de fapt ma refer la sunet.

Because some of the extraordinary things I've experienced as a musician --

Pentru ca unele din lucrurile extraordinare pe care le-am trait

ca muzician, cand poate ai un baiat de 15 ani

when you may have a 15-year-old lad

who has got the most incredible challenges,

care infrunta cele mai crancene provocari

who may not be able to control his movements,

care poate nu este capabil sa isi controleze miscarile,

who may be deaf, who may be blind, etc., etc. --

care poate fi surd, care poate fi orb, etcetera, etcetera

suddenly, if that young lad sits close to this instrument,

Totusi, daca acest tanar este asezat aproape de instrument,

and perhaps even lies underneath the marimba,

sau poate chiar intins sub marimbafon

and you play something that's so incredibly organ-like, almost --

iar tu intrepretezi ceva ce semana foarte mult cu o orga --

I don't really have the right sticks, perhaps --

Nu prea am eu betele potrivite, poate --

but something like this -- let me change --

ceva de genul acesta. Dati-mi voie sa schimb.

(Soft marimba sounds)

(Soft marimba sounds end)

Something that's so unbelievably simple --

Ceva ce este incredibil de simplu --

dar el ar trai ceva ce eu nu as trai,

but he would be experiencing something that I wouldn't be,

because I'm on top of the sound.

pentru ca eu sunt deasupra sunetului.

I have the sound coming this way.

Sunetul ajunge la mine pe aceasta cale.

He would have the sound coming through the resonators.

Sunetul ar ajunge la el prin intermediul rezonatorilor.

If there were no resonators on here, we would have:

Daca nu as avea rezonatori aici, am obtine --

(Marimba sounds)

So he would have a fullness of sound

si el ar beneficia de o plenitudine a sunetului de care voi in primele cateva randuri

that those of you in the front few rows wouldn't experience,

nu ati beneficia; nici cei dintre voi asezati in randurile din spate.

those of you in the back few rows wouldn't experience, either.

Every single one of us, depending on where we're sitting,

Fiecare dintre noi, in functie de unde suntem asezati,

will experience this sound quite, quite differently.

vom percepe acest sunet foarte, foarte diferit.

And of course, being the participator of the sound,

Si bineinteles, fiind generatorul acestui sunet

and that is, starting from the idea of what type of sound

pornesc de la ideea de ce fel de sunet vreau sa produc --

I want to produce, for example, this sound:

spre exemplu, acest sunet.

(No sound)

Can you hear anything?

Auziti ceva?

Exactly -- because I'm not even touching it.

Exact. Pentru ca nici nu il ating.

(Laughter)

Si totusi, avem senzatia ca ceva se intampla.

But yet, we get the sensation of something happening.

In the same way that when I see a tree moves,

In acelasi fel in care, atunci cand un copac se misca,

then I imagine that tree making a rustling sound.

eu imi imaginez copacul fosnind.

Do you see what I mean?

Intelegeti ce vreau sa spun?

Whatever the eye sees, then there's always sound happening.

Orice vad ochii este insotit si de producerea unui sunet.

So there's always, always that huge --

Asa ca intotdeauna exista acea imensa --

I mean, just this kaleidoscope of things to draw from.

literalmente caleidoscopica, gama de aspecte din care sa te inspiri.

So all of my performances are based on entirely what I experience,

Asadar toate spectacolele mele se bazeaza in intregime pe ceea ce simt

and not by learning a piece of music,

si nu pe memorarea unei piese, pe ascultarea unei alte interpretari a piesei,

putting on someone else's interpretation of it,

buying all the CDs possible of that particular piece of music,

pe achizitia tuturor CD-urilor posibile ce contin acea piesa si asa mai departe.

and so on and so forth,

because that isn't giving me enough of something that is so raw and so basic,

Pentru ca aceste lucruri nu imi dau destul din ceva ce este atat de neprelucrat si de primar

and something that I can fully experience the journey of.

si ceva ce pot eu insami experimenta ca si calatorie.

So it may be that, in certain halls,

Este posibil ca in anumite sali sa functioneze dinamica aceasta.

this dynamic may well work.

(Soft marimba sounds)

(Soft marimba sounds end)

It may be that in other halls,

Este la fel de posibil ca in alte sali, publicul sa nu auda deloc acelasi lucru

they're simply not going to experience that at all,

si, ca urmare, gradul meu de interpretare domoala,

and so therefore, my level of soft, gentle playing may have to be --

linistita sa fie nevoit a fi

(Marimba sounds)

(Marimba sounds end)

Do you see what I mean?

So, because of this explosion in access to sound,

intelegeti ceea ce vreau sa spun? Astfel, datorita acestei explozii de acces la sunet,

especially through the Deaf community,

mai ales in randurile comunitatii de surzi,

this has not only affected how music institutions,

a fost afectat felul in care institutiile muzicale,

how schools for the deaf treat sound, and not just as a means of therapy --

in care scolile pentru surzi abordeaza sunetele. Si nu numai in calitate terapeutica --

although, of course, being a participator of music,

desi evident, fiind un generator de muzica,

that definitely is the case as well --

este si acesta scopul, cu siguranta.

but it's meant that acousticians have had to really think

Ceea ce a insemnat, insa, este ca acusticienii au fost nevoiti sa se gandeasca atent la salile

about the types of halls they put together.

pe care le proiecteaza. Sunt atat de putin sali pe lumea aceasta

There are so few halls in this world

that actually have very good acoustics, dare I say.

care au realmente o acustica buna,

imi permit sa o spun. Iar, prin asta vreau sa spun ca poti face orice iti trece prin minte.

But by that I mean, where you can absolutely do anything you imagine.

The tiniest, softest, softest sound to something that is so broad,

Cel mai marunt si mai stins sunet este raspandit atat de larg,

so huge, so incredible.

de imens, de incredibil! Intotdeauna apare ceva --

There's always something:

it may sound good up there, may not be so good there;

poate ca suna bine acolo, dar nu asa de bine dincolo.

it may be great there, but terrible up there;

Poate fi minunat acolo, dar ingrozitor dincolo.

maybe terrible over there, but not too bad there, etc., etc.

Poate fi ingrozitor acolo, dar nu asa de rau dincolo, etcetera, etcetera.

So to find an actual hall is incredible --

Asa ca este incredibil sa gasesti o sala adevarata

for which you can play exactly what you imagine,

-- unde poti canta tot ce iti imaginezi,

without it being cosmetically enhanced.

fara a fi nevoit sa cosmetizezi sunetul.

So therefore, acousticians are actually in conversation

Asadar acusticienii sunt in dialog cu persoane

with people who are hearing impaired,

care au deficiente de auz si care sunt, de asemenea, generatori de sunet.

and who are participators of sound.

And this is quite interesting.

Si este foarte interesant.

I cannot give you any detail

Nu pot sa va dau detalii cu privire la ce anume se intampla

as far as what is actually happening with those halls,

cu acele sali, dar faptul ca sunt atenti la un grup de oameni

but it's just the fact that they are going to a group of people

for whom so many years, we've been saying,

despre care atat de mult timp s-a spus

"Well, how on earth can they experience music? They're deaf."

"Cum naiba sa asculte muzica? Stiti, sunt surzi."

We go like that, and we imagine that's what deafness is about.

Facem asa -- si ne inchipuim ca asta inseamna sa fii surd.

Or we go like that, and we imagine that's what blindness is about.

Sau facem asa -- si ne inchipuim ca asta inseamna sa fii nevazator.

Daca vedem pe cineva intr-un scaun cu rotile, presupunem ca nu pot merge.

If we see someone in a wheelchair, we assume they cannot walk.

It may be that they can walk three, four, five steps.

Poate ca pot merge trei, patru, cinci pasi. Asta, pentru ei, inseamna ca pot merge.

That, to them, means they can walk.

In a year's time, it could be two extra steps.

Poate intr-un an, mai pot face doi pasi in plus.

In another year's time, three extra steps.

In inca un an, trei pasi in plus.

Those are hugely important aspects to think about.

Este extrem de important sa ne gandim la aspecte de genul acesta.

So when we do listen to each other,

Asadar, atunci cand ne ascultam unii pe altii,

it's unbelievably important for us

este extrem de important sa ne testam cu adevarat capacitatea de ascultare.

to really test our listening skills,

to really use our bodies as a resonating chamber,

Sa ne folosim trupurile ca pe niste camere de rezonanta. Sa oprim prejudecatile.

to stop the judgment.

For me, as a musician who deals with 99 percent of new music,

Pentru mine, ca muzician care are de-a face cu muzica noua in proportie de 99 la suta

it's very easy for me to say,

este foarte usor sa spun "Da, imi place piesa aceea.

"Oh yes, I like that piece. No, I don't like that piece," and so on.

Nu, nu imi place piesa cealalta." Si asa mai departe.

And I just find that I have to give those pieces of music real time.

Am descoperit insa ca trebuie sa le dau timp acelor piese.

It may be that the chemistry isn't quite right between myself

Se poate intampla ca legatura dintre mine si piesa sa nu fie tocmai buna.

and that particular piece of music,

but that doesn't mean I have the right to say it's a bad piece of music.

Dar asta nu inseamna ca am dreptul sa spun ca este o piesa muzicala proasta.

And you know, one of the great things about being a musician

Unul din aspectele minunate ale vietii de muzician

is that it is so unbelievably fluid.

este fluiditatea incredibila

So there are no rules, no right, no wrong, this way, that way.

Nu exista reguli, bine, rau, asa da, asa nu.

If I asked you to clap -- maybe I can do this.

Daca v-as ruga sa bateti din palme -- poate o pot face.

If I can just say, "Please clap and create the sound of thunder."

Daca va spun "va rog bateti din palme". Si creati sunetul unui tunet.

I'm assuming we've all experienced thunder.

Presupun ca stim cu totii ce este acela un tunet.

Now, I don't mean just the sound;

Nu ma refer doar la sunet

I mean really listen to that thunder within yourselves.

vreau sa ascultati, cu adevarat, tunetul dinauntrul vostru.

And please try to create that through your clapping.

Si va rog sa creati acel sunet prin bataia palmelor. Incercati. Doar incercati va rog.

Try, just -- please try.

(Loud clapping sounds)

(Aplauze)

(Clapping ends)

Foarte bine! Zapada. Zapada. Ati auzit vreodata zapada?

Snow.

(Laughter)

Snow.

(Soft clapping sounds)

Have you ever heard snow?

Audience: No.

Publicul: Nu.

Evelyn Glennie: Well, then, stop clapping.

Evelyn Glennie: Ei bine, atunci opriti-va din batut. (Rasete) Incercati din nou.

(Laughter)

Try again. Try again: snow.

Incercati din nou. Zapada.

(No sound)

See, you're awake.

Vedeti, dumneavoastra sunteti atent.

Rain.

Ploaie.Nu e rau. Nu e rau.

(Light clapping sounds)

EG: (Laughs)

Not bad. Not bad.

The interesting thing here, though, is that I asked a group of kids

Aspectul interesant, insa, este ca am rugat un grup de copii

not so long ago

sa faca acelasi lucru, acum recent.

exactly the same question.

Now -- great imagination, thank you very much.

Acum -- extraordinara imaginatie, multumesc mult.

However, not one of you got out of your seats to think,

Insa, nici unul dintre dumneavoastra nu s-a ridicat de pe scaun

"Right! How can I clap?

sa se gandeasca "Bine! Cum pot bate din palme? Ok, poate...

OK, maybe:

(Clapping sounds)

Maybe I can use my jewelry to create extra sounds.

-- poate ma pot folosi de bijuterii sa creez sunete noi.

Maybe I can use the other parts of my body to create extra sounds."

Poate ma pot folosi de celelalte parti ale trupului sa creez sunete noi."

Not a single one of you thought about clapping in a slightly different way

Nici unul dintre dumneavoastra nu s-a gandit sa bata din palme in mod diferit

other than sitting in your seats there and using two hands.

in alt fel decat a sta pe scaun si a folosi doua maini.

In the same way, when we listen to music,

In mod similar atunci cand ascultam muzica

we assume that it's all being fed through here.

presupunem ca intra pe aici.

This is how we experience music.

In acest fel traim muzica. Bineinteles ca nu este asa.

Of course, it's not.

We experience thunder, thunder, thunder.

Traim tunetul -- tunet, tunet. Ganditi-va, ganditi-va, ganditi-va.

Think, think, think.

Listen, listen, listen.

Ascultati, ascultati, ascultati. Acum -- ce putem face cu tunetul?

Now, what can we do with thunder?

I remember my teacher, when I first started, my very first lesson,

Imi amintesc de profesorul meu. Cand am inceput prima lectie din viata mea

I was all prepared with sticks, ready to go.

eram pregatita, aveam bete, eram gata sa incep.

And instead of him saying, "OK, Evelyn, please, feet slightly apart,

Si in loc sa imi spuna "OK, Evelyn, te rog. Picioarele usor departate,

arms at a more or less 90-degree angle, sticks in a more or less V shape,

bratele la unghi de 90 grade, betele intr-o pozitie de V

keep this amount of space here, etc.

pastreaza atat spatiu aici, etcetera.

Please keep your back straight, etc., etc., etc." --

Te rog mentine-ti spatele drept, etcetera, etcetera, etcetera."

where I was just probably going to end up absolutely rigid, frozen,

Probabil ca as fi devenit extrem de rigida, intepenita

and I would not be able to strike the drum

si nu as fi fost in stare sa lovesc toba

because I was thinking of so many other things,

pentru ca m-as fi gandit la o mie de alte lucruri. Mi-a spus

he said, "Evelyn, take this drum away for seven days,

"Evelyn ia toba asta cu tine timp de sapte zile si ne vedem peste o saptamana".

and I'll see you next week."

So -- heavens! What was I to do?

Dumnezeule! Ce sa fac? Nu mai aveam nevoie de bete,

I no longer required the sticks.

I wasn't allowed to have these sticks.

Nu aveam voie sa am betele cu mine.

I had to basically look at this particular drum,

Am fost nevoita sa ma uit la toba aceasta,

see how it was made,

sa vad cum este construita, ce fac suruburile astea mici, ce face cordarul.

what these little lugs did, what the snares did.

Turned it upside down, experimented with the shell.

Am intors-o cu susul in jos, am experimentat cu corpul de lemn, am experimentat cu membrana

(Drum sounds)

Experimented with the head.

(Drum sounds)

Experimented with my body.

Am experimentat cu trupul meu, am experimentat cu bijuteriile,

(Drum sounds)

Experimented with jewelry.

Experimented with all sorts of things.

am experimentat cu tot soiul de lucruri.

(Drum sounds)

(Drum sounds end)

And of course, I returned with all sorts of bruises.

Si, evident, m-am intors cu tot felul de vanatai si lucruri de genul asta --

(Laughter)

dar cu toate astea, a fost o experienta de necrezut

But nevertheless, it was such an unbelievable experience,

because where on earth are you going to experience that in a piece of music?

pentru ca in ce piesa muzicala o sa traiesti o astfel de experienta?

Where on earth are you going to experience that in a study book?

In ce caiet de studiu o sa traiesti o asa experienta?

So we never, ever dealt with actual study books.

Asa ca niciodata nu ne-am ocupat propriu-zis de caiete de studiu.

So for example, one of the things that we learn

Spre exemplu, unul din lucrurile pe care le invatam

when we are dealing with being a percussion player

cand vrem sa devenim percutionisti, spre deosebire de alti muzicieni,

as opposed to a musician,

is basically, straightforward single-stroke rolls.

sunt lovituri simple, drepte, una cate una.

(Drum sounds)

Like that, and then we get a little faster --

Asa. Apoi acceleram un pic, si inca un pic, si inca un pic.

(Drum sounds)

and a little faster --

(Drum sounds)

and a little faster, and so on and so forth.

Si asa mai departe. De ce are nevoie piesa aceasta?

What does this piece require?

Single-stroke rolls.

Lovituri simple una cate una. Si de ce nu pot face asta in timp ce ascult muzica?

(Drum sound)

So why can't I then do that whilst learning a piece of music?

And that's exactly what he did.

Si exact asta a facut el.

And interestingly, the older I became, and when I became a full-time student

In mod interesant, pe masura ce am crescut, atunci cand am devenit studenta

at a so-called "music institution," all of that went out of the window.

la o asa-zisa "institutie muzicala", toate acestea au disparut.

We had to study from study books.

Am fost nevoiti sa invatam din carti.

And constantly, the question, "Well, why? Why? What is this relating to?

Si in mod constant ne intrebam de ce? De ce? Cu ce are legatura asta?

I need to play a piece of music."

Eu vreau sa cant o piesa. "Ei bine, asta te va ajuta la partea de control"

"Well, this will help your control."

"Well, how? Why do I need to learn that?

Cum? De ce trebuie sa invat asta? Am nevoie sa o leg de o melodie.

I need to relate it to a piece of music.

You know, I need to say something.

Stiti. Am nevoie sa spun ceva.

Why am I practicing paradiddles?

De ce exersez grupuri de patru lovituri?

(Drum sounds)

Is it just literally for control, for hand-stick control?

Este oare doar pentru controlul mai bun al betelor? De ce fac asta?

Why am I doing that?

I need to have the reason,

Imi trebuie un motiv

and the reason has to be by saying something through the music."

si motivul trebuie sa fie ceva ce pot transmite prin muzica.

And by saying something through music, which basically is sound,

Si transmitand ceva prin muzica, ce in esenta este sunet

we then can reach all sorts of things to all sorts of people.

putem transmite tot soiul de lucruri catre tot soiul de oameni.

But I don't want to take responsibility of your emotional baggage.

Dar nu vreau sa imi asum responsabilitatea pentru bagajul dumneavoastra emotional.

That's up to you, when you walk through a hall,

Acesta este la latitudinea dumneavoastra atunci cand intrati intr-o sala.

because that then determines what and how we listen to certain things.

Pentru ca acesta determina ce si cum ascultam.

I may feel sorrowful, or happy, or exhilarated, or angry

Poate sunt trista, sau vesela, sau exuberanta sau furioasa atunci cand cant

when I play certain pieces of music,

anumite melodii, dar nu vreau neaparat

but I'm not necessarily wanting you to feel exactly the same thing.

ca voi sa simtiti acelasi lucru.

So please, the next time you go to a concert,

Asa ca, va rog, data viitoare cand mergeti la un concert

just allow your body to open up,

permiteti trupului vostru sa se deschida, permiteti trupului vostru sa fie o camera de rezonanta

allow your body to be this resonating chamber.

Be aware that you're not going to experience the same thing

Intelegeti ca nu veti trai acelasi sentiment ca si intrepretul.

as the performer is.

The performer is in the worst possible position for the actual sound,

Intrepretul este, de fapt, cel mai prost pozitionat pentru a percepe sunetul

because they're hearing the contact of the stick --

el aude zgomotul la contactul batului cu toba,

(Drum sound)

on the drum, or the mallet on the bit of wood,

sau al ciocanelului cu lemnul, sau al arcusului cu coarda, etcetera.

or the bow on the string, etc.,

or the breath that's creating the sound from wind and brass.

Sau suflul care da nastere sunetului alamei si al suflatorilor.

They're experiencing that rawness there.

Ei traiesc sunetul brut acolo.

But yet they're experiencing something so unbelievably pure,

Si totusi experimenteaza ceva atat de pur

which is before the sound is actually happening.

inainte ca sunetul sa ia nastere.

Please take note of the life of the sound after the actual initial strike,

Va rog observati viata sunetului dupa prima lovitura propriu-zisa

sau dupa prima suflare. Ganditi-va la intreaga calatorie a acelui sunet

or breath, is being pulled.

Just experience the whole journey of that sound

in the same way that I wished I'd experienced the whole journey

in acelasi fel in care imi doresc sa ma gandesc la intregul drum

of this particular conference, rather than just arriving last night.

al acestei conferinte, spre deosebire de a ma gandi ca abia am ajuns aseara.

But I hope maybe we can share one or two things as the day progresses.

Sper sa putem imparti unul sau doua lucruri pe masura ce ziua merge mai departe.

But thank you very much for having me!

Va multumesc foarte mult ca m-ati primit!

(Applause)

(Aplauze)

(Applause ends)

(Music)

(Music ends)

(Applause)