The transformative power of classical music | Benjamin Zander | TED

Translator: Miriam Matejova Reviewer: Richard Hrdlovič

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

Asi väčšina z vás pozná príbeh o dvoch obchodníkoch,

who went down to Africa in the 1900s.

ktorí v 20-tom storočí odišli do Afriky.

They were sent down to find if there was any opportunity

Boli vyslaní, aby zistili, či sa tam dajú

predávať topánky.

for selling shoes,

and they wrote telegrams back to Manchester.

Potom telegramovali späť do Menčestru,

And one of them wrote,

a jeden napísal: "Situácia je beznádejná. Stop.

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

Oni nenosia topánky.

And the other one wrote,

A druhý napísal: "Úžasná možnosť.

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

Oni ešte nemajú topánky."

(Laughter)

(Smiech)

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

Podobná situácia nastala vo svete klasickej hudby,

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

pretože niektorí si myslia,

že klasická hudba vymiera.

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

A niektorí si myslia, že ste zatiaľ nič nevideli.

And rather than go into statistics and trends,

Namiesto štatistík a trendov

and tell you about all the orchestras that are closing,

vám vymenujú všetky orchestri, ktoré sa rušia

and the record companies that are folding,

a nahrávacie spoločnosti, ktoré skladajú karty.

I thought we should do an experiment tonight.

Dnes večer by sme mali spraviť experiment.

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

Vlastne to nie je skutočný experiment, lebo viem jeho výsledok.

(Laughter)

But it's like an experiment.

Ale je to ako experiment.

Now, before we start --

(Smiech)

(Laughter)

Before we start, I need to do two things.

Skôr než začnem, musím urobiť dve veci.

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

Najprv vám chcem pripomenúť, ako znie sedemročné dieťa,

sounds like when he plays the piano.

keď hrá na klavíri.

Maybe you have this child at home.

Možno toto dieťa máte doma.

He sounds something like this.

Znie asi takto.

(Music)

(Klavír)

(Music ends)

I see some of you recognize this child.

Vidím, že niektorí toto dieťa spoznávate.

Ak cvičí rok a chodí na hodiny, má teraz osem

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

and he sounds like this.

(Music)

a znie takto.

(Klavír)

(Music ends)

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

Potom cvičí ďalší rok a chodí na hodiny, a teraz má deväť.

(Music)

(Klavír)

(Music ends)

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

Potom cvičí ďalší rok, a teraz má desať.

(Klavír)

(Music)

(Music ends)

At that point, they usually give up.

Tu sa väčšinou vzdajú.

(Laughter)

(Smiech)

(Applause)

(Potlesk)

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

Ak by ste počkali, ak by ste počkali ďalší rok,

počuli by ste toto:

(Music)

(Klavír)

(Music ends)

Now, what happened was not maybe what you thought,

Nestalo sa to, čo si asi myslíte.

which is, he suddenly became passionate, engaged,

Nestal sa náhle vášnivým, zaujatým.

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

Nedostal nového učiteľa, nenastala uňho puberta alebo čokoľvek iné.

Stalo sa to, že zredukoval dôrazy.

What actually happened was the impulses were reduced.

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

Prvýkrát hral

s dôrazom na každú notu.

(Music)

(Klavír)

And the second, with an impulse every other note.

A druhýkrát na každú druhú notu.

(Music)

(Klavír)

You can see it by looking at my head.

Len sa dívajte na moju hlavu.

(Laughter)

(Smiech)

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

Deväťročný

dával dôraz na každú štvrtú notu.

(Klavír)

(Music)

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

A desaťročný na každú ôsmu.

(Klavír)

(Music)

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

A jedenásťročný dal jeden dôraz na celú frázu.

(Klavír)

(Music)

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

Neviem, ako som sa dostal do tejto pozície.

(Laughter)

(Smiech)

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

Nepovedal som si, že takto posuniem plece a telo.

Hudba ma odtlačila.

No, the music pushed me over,

which is why I call it one-buttock playing.

Volám to hranie na polovici zadku.

(Music)

(Klavír)

It can be the other buttock.

Môže to byť aj druhá polovica.

(Klavír)

(Music)

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

Jeden pán raz sledoval moju prezentáciu,

keď som vyučoval mladého klaviristu.

when I was working with a young pianist.

Bol prezidentom korporácie v Oháju.

He was the president of a corporation in Ohio.

Vyučoval som toho mladého klaviristu

I was working with this young pianist, and said,

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

a povedal som: "Tvoj problém je, že hráš na celom zadku.

Mal by si hrať na polovici zadku."

You should be a one-buttock player."

I moved his body while he was playing.

A posunul som ho, kým hral.

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

A zrazu sa hudba vzniesla.

The audience gasped when they heard the difference.

Obecenstvo zalapalo po dychu, keď počuli ten rozdiel.

Then I got a letter from this gentleman.

A potom mi ten pán napísal.

He said, "I was so moved.

"Bol som taký pohnutý,

že som zmenil svoju celú firmu

I went back and I transformed my entire company

into a one-buttock company."

na takú na polovici zadku."

(Laughter)

(Smiech)

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

Ďalej som vám chcel porozprávať o vás.

Je tu 1600 ľudí.

There are 1,600 people, I believe.

My estimation is that probably 45 of you

Odhadujem, že asi 45 z vás

are absolutely passionate about classical music.

má veľkú vášeň pre klasickú hudbu.

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

Zbožňujete klasiku. Vaše rádio je stále klasicky naladené.

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

Máte cédéčka v aute, a chodíte na symfonické koncerty.

your children are playing instruments.

A vaše deti hrajú na hudobné nástroje.

Neviete si predstaviť život bez klasickej hudby.

You can't imagine your life without classical music.

That's the first group, quite small.

To je prvá skupina - dosť malá.

Then there's another bigger group.

Potom máme väčšiu skupinu.

The people who don't mind classical music.

Týmto ľuďom klasická hudba nevadí.

(Laughter)

(Smiech)

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

Prídete domov po dlhom dni

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

a nalejete si pohár vína, vyložíte si nohy.

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

Trochu Vivaldiho v pozadí neuškodí.

(Smiech)

That's the second group.

To je druhá skupina.

Now comes the third group:

A teraz tretia skupina.

people who never listen to classical music.

Títo ľudia nikdy nepočúvajú klasickú hudbu.

Nie je časťou ich života.

It's just simply not part of your life.

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

Možno sa s ňou stretnete na letisku ako s pasívnym fajčením.

(Smiech)

(Laughter)

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

možno počujete trochu pochodu z Aidy,

keď prídete do haly. Ale inak ju nikdy nepočujete.

when you come into the hall.

But otherwise, you never hear it.

That's probably the largest group.

To je asi najväčšia skupina.

A potom máme veľmi malú skupinu.

And then there's a very small group.

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

Ľudí, ktorí si myslia, že nemajú hudobný sluch.

Prekvapujúco veľa ľudí si to myslí.

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

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

Veľakrát som počul: "Môj manžel nemá sluch."

(Laughter)

(Smiech)

Actually, you cannot be tone-deaf.

Nemôžete nemať sluch. Každý má sluch.

Nobody is tone-deaf.

Bez sluchu by ste nemohli preradiť rýchlosť

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

on your car, in a stick shift car.

vo vašom aute.

You couldn't tell the difference between

Nevedeli by ste rozdiel medzi

somebody from Texas and somebody from Rome.

niektom z Texasu a niektom z Ríma.

A telefón. Ak vám zavolá matka

And the telephone. The telephone.

If your mother calls

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

a povie: "Ahoj,"

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

nielen že viete, kto to je, ale aj v akej je nálade.

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

Máte skvelé ucho. Kažý má skvelé ucho.

So nobody is tone-deaf.

Každý má hudobný sluch.

But I tell you what.

Ale poviem vám, že nemôžem pokračovať,

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

with such a wide gulf between those who understand,

kým je taký veľký rozdiel medzi tými, ktorí rozumejú,

love and are passionate about classical music,

milujú a majú vášeň pre klasickú hudbu,

a tými, ktorí k nej nemajú žiaden vzťah.

and those who have no relationship to it at all.

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

Ľudia bez sluchu tu už nie sú.

Ale aj medzi tými troma kategóriami je príliš veľká priepasť.

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,

Nebudem pokračovať, kým každý človek v tejto miestnosti,

dole a v Aspene, a každý, čo sa teraz pozerá

downstairs and in Aspen, and everybody else looking,

will come to love and understand classical music.

si nezamiluje a neporozumie klasickej hudbe.

To teraz urobíme.

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

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

Všimnite si, že nepochybujem,

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

že sa to podarí, ak sa mi pozriete do tváre.

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

Je to jedná z vlastností vodcu, že nepochybuje

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

ani na minútu o kapacite ľudí, ktorých vedie,

to realize whatever he's dreaming.

aby uskutočnil čokoľvek o čom sníva.

Predstavte si, keby Martin Luter King povedal: "Mám sen.

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

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

Samozrejme, nie som si istý, či s tým budú súhlasiť."

(Smiech)

(Laughter)

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

Vezmem si jednu Chopinovu skladbu.

This is a beautiful prelude by Chopin.

Prekrásne prelúdium od Chopina. Niektorí ho spoznáte.

Some of you will know it.

(Music)

(Hudba)

Viete, čo si myslím sa asi stalo v tejto miestnosti?

Do you know what I think probably happened here?

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

Keď som začal, pomysleli ste si: "Ako krásne to znie."

(Hudba)

(Music)

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

"Budúci rok by sme nemali ísť

na dovolenku na to isté miesto."

for our summer holidays next year."

(Smiech)

(Laughter)

It's funny, isn't it?

Je to zábavné, ako sa takéto myšlienky

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

vkradnú do vašej hlavy.

A samozrejme --

And of course --

(Potlesk)

(Applause)

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

--samozrejme, ak je skladba dlhá a Vy ste mali dlhý deň,

you might actually drift off.

môžete aj zadriemať.

Then your companion will dig you in the ribs

Potom vás váš spoločník šťuchne do rebier

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

a povie:"Zobuď sa! To je kultúra!" A vy sa cítite ešte horšie.

(Laughter)

Ale pomysleli ste si niekedy, že ste ospalí

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?

z klasickej hudby kvôli nám a nie vám?

Did anybody think while I was playing,

Pomyslel si niekto, kým som hral,

"Why is he using so many impulses?"

"Prečo používa toľko dôrazu?"

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

Ak by som robil toto s hlavou, určite by ste si to pomysleli.

(Music)

(Hudba)

(Music ends)

A po zvyšok života, vždy keď by ste počuli klasiku,

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

by ste rozoznali tie dôrazy.

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

Pozrime sa, čo sa tu skutočne deje.

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

Máme tu H. Toto je H. Ďalšia 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.

C má na starosti zosmutniť H. A aj to robí, že?

And it does, doesn't it?

(Smiech)

(Laughter)

Composers know that.

Skladatelia to vedia. Ak chcú smutnú hudbu,

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

len zahrajú tieto dve noty.

(Hudba)

(Music)

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

Ale je to len H so štyrmi smútkami.

(Laughter)

(Smiech)

Now, it goes down to A.

Teraz sa posunieme k A. Teraz G a potom F.

Now to G.

And then to F.

So we have B, A, G, F.

Máme H, A, G, F. A ak máme H, A, G, F,

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

what do we expect next?

čo očakávame? To mohla byť len náhoda.

(Music)

That might have been a fluke.

Let's try it again.

Skúsme to znova. Och, TED zbor.

(Music)

Oh, the TED choir.

(Laughter)

(Smiech)

A všimnite si, že nikto nie je bez sluchu. Nikto.

And you notice nobody is tone-deaf, right?

Nobody is.

Každá dedina v Bangladéši

You know, every village in Bangladesh

a každá samota v Číne. Každý to vie:

and every hamlet in China -- everybody knows:

da, da, da, da -- da.

dá, dá, dá, dá -- dá. Kažý očakáva E.

Everybody knows, who's expecting that E.

Ale Chopin sa ešte nechcel dostať k E.

Chopin didn't want to reach the E there,

because what will have happened?

Lebo čo sa stane? Skončí sa to ako Hamlet.

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

Pamätáte si Hamleta? Akt 1, Scéna 3:

Act One, scene three,

he finds out his uncle killed his father.

zistí, že mu strýko zabil otca.

Pamätáte si, že príde ku strýkovi

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

a takmer ho zabije. A potom cúvne.

A podíde k nemu a takmer ho zabije.

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

A kritici, ktorí sedia v zadnom rade,

The critics sitting in the back row there,

musia mať nejaký názor, tak povedia: "Hamlet je váhavec."

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

(Smiech)

Alebo povedia: "Hamlet má Oidipov komplex."

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

No, otherwise the play would be over, stupid.

Nie, inak by hra skončila, hlúpi.

(Laughter)

Preto to Shakespeare všetko dal do Hamleta.

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

Ophelia going mad, the play within the play,

Veď viete - Ofélia sa zblázni, a je tam hra v hre,

and Yorick's skull, and the gravediggers.

a Jorikova lebka a hrobári.

That's in order to delay --

To kvôli zdržiavaniu -- až v Akte 5 ho môže zabiť.

until Act Five, he can kill him.

Tak to je aj so Chopinom. Takmer sa dostane k 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."

a potom si povie: "Radšej sa vrátim a urobím to ešte raz."

A tak to spraví ešte raz.

So he does it again.

Now, he gets excited.

(Music)

Teraz sa rozruší -- to je vzrušenie.

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

O to sa nebojte.

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

Dostane sa k Fis a konečne príde k E,

ale to je zlý akord. Lebo akord, ktorý hľadá

but it's the wrong chord --

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

je tento, a namiesto toho...

and instead he does ...

voláme to klamlivá kadencia, pretože nás klame.

Now, we call that a deceptive cadence,

because it deceives us.

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

Vždy hovorím mojim študentom: "Ak máte klamlivú kadenciu,

určite zdvihnite obočie, aby to každý vedel,"

raise your eyebrows, and everybody will know."

(Smiech)

(Laughter)

(Applause)

(Potlesk)

Right.

Dostane sa k E, ale je to zlý akord.

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

Tak znova skúša E. Ten akord neznie dobre.

Now, he tries E again.

That chord doesn't work.

Znova skúsi E. Ten akord neznie dobre.

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

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

Znova skúsi E, a neznie to dobre.

And then finally ...

A nakoniec...

Pán v prvom rade urobil: "Hmm."

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

(Laughter)

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

To isté gesto spraví, keď príde domov

po dlhom dni, otočí kľúčikom v aute a povie si:

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

"Aah, I'm home."

"Ach, som doma." Pretože všetci vieme, kde je domov.

Because we all know where home is.

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

Táto skladba plynie z ďiaľky domov.

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

A zahrám ju celú od začiatku do konca.

A vy budete sledovať: H, C, H, C, H, C, H --

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

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

dole k A, dole k G, dole k F.

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

Takmer k E, ale inak by skladba skončila.

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

Vráti sa k H. Rozruší sa. Ide k Fis, ide k E.

Goes to F-sharp. Goes to E.

Je to nesprávny akord. Zlý akord. Zlý akord.

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

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

A potom konečne k E, a je doma.

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

Uvidíte hranie na polovici zadku.

(Smiech)

(Laughter)

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

Pretože ak chcem prepojiť H s E,

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

musím prestať myslieť na každú notu, ktorú zahrám,

a začať myslieť na dlhú čiaru od H k 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

Práve sme boli v Južnej Afrike a nemôžete ísť do Južnej Afriky

bez spomienky na Mandelu a jeho 27 rokov vo väzení.

without thinking of Mandela in jail for 27 years.

What was he thinking about? Lunch?

Nad čím rozmýšľal? Nad obedom?

No, he was thinking about the vision for South Africa

Nie, rozmýšľal nad víziou Južnej Afriky

and for human beings.

a ľudí. To ho udržalo -

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

toto je o vízii. Toto je o dlhej čiare.

Like the bird who flies over the field

Ako vták, ktorý preletí ponad pole,

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

nestarajúc sa o ploty pod ním.

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

Teraz sledujte čiaru od H po E.

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

Mám ešte jednu požiadavku predtým, ako to celé zahrám.

Would you think of somebody who you adore,

Myslite na niekoho, koho zbožňujete a kto tu už nie je.

who's no longer there?

Milovaná stará mama, milenec,

A beloved grandmother, a lover --

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

niekto koho milujete celým srdcom,

ale kto už s vami nie je.

but that person is no longer with you.

Bring that person into your mind,

Pomyslite na toho človeka a zároveň

and at the same time,

sledujte čiaru od H po E,

follow the line all the way from B to E,

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

a budete počuť všetko, čo Chopin chcel povedať.

(Hudba)

(Music)

(Music ends)

(Applause)

(Potlesk)

Možno sa čudujete,

Now, you may be wondering --

(Applause)

prečo tlieskam.

(Applause ends)

You may be wondering why I'm clapping.

Well, I did this at a school in Boston

Spravil som to v škole v Bostone

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

s asi 70-timi siedmakmi - dvanásť ročnými.

I did exactly what I did with you,

A urobil som presne to isté čo s vami, a

and I explained the whole thing.

vysvetlil som im to celé.

A na konci zbesilo tlieskali. Oni tlieskali,

At the end, they went crazy, clapping.

I was clapping. They were clapping.

ja som tlieskal. Oni tlieskali.

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

Nakoniec som povedal: "Prečo ja tlieskam?"

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

A jedno dieťa povedalo: "Lebo sme počúvali."

(Smiech)

(Laughter)

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

Len si pomyslite. 1600 zaneprázdnených ľudí,

zaoberajúcimi sa mnohými rozličnými vecami.

involved in all sorts of different things,

listening, understanding and being moved

Počúvajú, chápu a sú pohnutí skladbou od Chopina.

by a piece by Chopin.

Now, that is something.

Tak to je niečo.

Am I sure that every single person followed that,

Ale som si istý, že každý to nasledoval,

understood it, was moved by it?

chápal a bol pohnutý? Samozrejme si nemôžem byť istý.

Of course, I can't be sure.

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

Ale poviem vám, čo sa mi stalo.

Bol som v Írsku počas nepokojov pred desiatimi rokmi,

during the Troubles, 10 years ago,

and I was working with some Catholic and Protestant kids

a pracoval som s katolíckymi a protestantskými deťmi

on conflict resolution.

na riešení konfliktov. A toto som s nimi spravil.

And I did this with them --

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

Bolo to riskantné, pretože to boli deti z ulice.

Jeden z nich ku mne prišiel nasledujúce ráno a povedal:

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,

"Nikdy predtým som nepočúval klasickú hudbu,

but when you played that shopping piece ..."

ale keď ste hrali tú skladbu,

(Smiech)

(Laughter)

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

môjho brata minulý rok zastrelili a neplakal som za ním.

But last night, when you played that piece,

Ale keď ste včera hrali tú skladbu,

he was the one I was thinking about.

on bol ten, na ktorého som myslel.

And I felt the tears streaming down my face.

Cítil som, ako mi slzy stekajú po tvári.

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

Bol to skutočne dobrý pocit plakať za mojím bratom."

So I made up my mind at that moment

V tej chvíli som sa rozhodol,

že klasická hudba je pre každého. Každého.

that classical music is for everybody.

Everybody.

Now, how would you walk --

Ako by ste kráčali -- pretože

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

moja profesia, hudobná profesia to tak nevidí.

They say three percent of the population likes classical music.

Hovoria, že tri percentá populácie majú radi klasiku.

Ak by sme to mohli zvýšiť na štyri percentá, naše problémy by sa skončili.

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?

Hovorím: "Ako by ste kráčali? Ako by ste rozprávali? Akí by ste boli,

keby ste si mysleli, že tri percentá populácie majú radi klasiku?

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

if only we could move it to four percent."

Ak by sme to mohli zvýšiť na štyri percentá, ako by ste kráčali?

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

Ako by ste rozprávali? Akí by ste boli,

If you thought, "Everybody loves classical music --

keby ste si mysleli, že každý má rád klasiku --

len o tom ešte nevedia."

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

(Smiech)

See, these are totally different worlds.

To sú úplne odlišné svety.

Now, I had an amazing experience.

Mal som úžasný zážitok. Mal som 45 rokov,

I was 45 years old,

už som dirigoval 20 rokov, a náhle som si niečo uvedomil.

I'd been conducting for 20 years,

and I suddenly had a realization.

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

Dirigent nevydáva žiaden zvuk.

My picture appears on the front of the CD --

Moja fotka je na obale cédéčka --

(Smiech)

(Laughter)

But the conductor doesn't make a sound.

-- ale dirigent nevydáva zvuk.

He depends, for his power,

Jeho moc závisí na jeho schopnosti urobiť iných mocnými.

on his ability to make other people powerful.

Všetko to pre mňa zmenilo. Zmenilo mi to život.

And that changed everything for me.

It was totally life-changing.

People in my orchestra said,

Ľudia z môjho orchestra ku mne prišli a povedali:

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

"Ben, čo sa stalo?" To sa stalo.

Uvedomil som si, že mojou prácou bolo prebudiť možnosti v iných ľuďoch.

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

Samozrejme, chcel som vedieť, či som to dokázal.

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

Viete, ako som to zistil? Musíte sa pozrieť na ich oči.

How do you find out?

You look at their eyes.

Ak sa im oči ligocú, viete, že to robíte.

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

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

Očami tohto pána by ste mohli rozjasniť dedinu.

(Smiech)

(Laughter)

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

Ak sa im oči ligocú, viete, že to robíte.

Ak sa neligocú, musíte si položiť otázku.

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

Takúto:

And this is the question:

Kým som, že sa môjmu hudobníkovi neligocú oči?

who am I being

that my players' eyes are not shining?

We can do that with our children, too.

Môžeme to spraviť aj s deťmi.

Who am I being,

Kým som, že sa mojím deťom neligocú oči?

that my children's eyes are not shining?

That's a totally different world.

Je to úplne iný svet.

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

Teraz končíme tento čarovný týždeň

we're going back into the world.

a vraciame sa do sveta.

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

Je vhodné spýtať sa:

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

Kým sme, keď sa vraciame do sveta?

And you know, I have a definition of success.

Mám definíciu úspechu.

For me, it's very simple.

Pre mňa je to jednoduché. Nie je to o bohatstve a sláve a moci.

It's not about wealth and fame and power.

Je to o množstve ligotajúcich sa očí okolo mňa.

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

So now, I have one last thought,

Mám poslednú myšlienku.

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

Naše slová urobia rozdiel.

Slová, ktoré vypustíte z úst.

the words that come out of our mouth.

Naučil som sa to od ženy, ktorá prežila Auschwitz,

I learned this from a woman who survived Auschwitz,

one of the rare survivors.

jedna z mála.

She went to Auschwitz when she was 15 years old.

Išla do Auschwitzu, keď mala 15 rokov.

And ...

Jej brat mal osem, a ich rodičia boli v nenávratne.

And her brother was eight,

and the parents were lost.

And she told me this, she said,

Povedala mi:

"We were in the train going to Auschwitz,

"Boli sme vo vlaku, idúc do Auschwitzu, a ja som sa pozrela dole

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

a videla som, že môj brat nemal topánky.

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

Povedala som mu: "Prečo si taký hlúpy -- nemôžeš si dať pozor na veci

for goodness' sake?'"

preboha? -- tak ako staršie sestry

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

zvyknú hovoriť mladším bratom.

Nanešťastie, to bolo posledné, čo mu kedy povedala,

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

pretože ho už nikdy viac nevidela. Neprežil.

because she never saw him again.

He did not survive.

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

A tak keď opustila Auschwitz, dala si sľub.

She told me this.

Povedala mi: "Vyšla som z Auschwitzu do života

She said, "I walked out of Auschwitz into life

a dala som si sľub. Ten sľub bol, že už nikdy nepoviem nič,

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."

čo by neobstálo ako to posledné, čo kedy poviem."

Môžeme to dokázať? Nie. Pomýlime sa

Now, can we do that? No.

And we'll make ourselves wrong and others wrong.

a pomýlime iných. Ale je to možnosť, ktorou žiť. Ďakujem.

But it is a possibility to live into.

Thank you.

(Applause)

(Potlesk)

Shining eyes.

Ligotajúce sa oči, ligotajúce sa oči.

(Applause)

Shining eyes.

(Applause)

Thank you, thank you.

Ďakujem.

(Hudba)