Michael Tilson Thomas: Music and emotion through time

Translator: Timothy Covell Reviewer: Morton Bast

Translator: Blend Shaqiri Reviewer: Helena Bedalli

Well when I was asked to do this TEDTalk, I was really chuckled,

Kur mu kerkua te bej kete TEDTalk, une qesha

because, you see, my father's name was Ted,

sepse, e shihni, emri i babait tim ishte Ted,

and much of my life, especially my musical life,

dhe nje pjese e madhe e jetes time, sidomos jeta muzikore,

is really a talk that I'm still having with him,

eshte nje bisede qe une ende e bej me te,

or the part of me that he continues to be.

ose nje pjese e imja qe ai vazhdon te jete.

Now Ted was a New Yorker, an all-around theater guy,

Ted ishte nga New York, nje njeri i teatrit,

and he was a self-taught illustrator and musician.

ai ishte nje ilustrator dhe muzikant autodidakt.

He didn't read a note,

Ai nuk lexonte dot notat,

and he was profoundly hearing impaired.

dhe nuk degjonte pothuajse fare.

Yet, he was my greatest teacher.

Por prape, ai ishte mesuesi im me i mire.

Because even through the squeaks of his hearing aids,

Sepse megjithe zhurmen qe i bente aparati i degjimit,

his understanding of music was profound.

te kuptuarit e muzikes ishte e thelle.

And for him, it wasn't so much the way the music goes

Dhe per te, nuk ishte shume se si shkonte muzika

as about what it witnesses and where it can take you.

sesa ajo qe deshmonte ajo dhe ku mund t'iu coje.

And he did a painting of this experience,

Ai beri nje pikture mbi eksperiencen e tij,

which he called "In the Realm of Music."

te cilen e quajti "Ne Mbreterine e Muzikes."

Now Ted entered this realm every day by improvising

Ted hynte ne kete fushe cdo dite duke improvizuar

in a sort of Tin Pan Alley style like this.

ne nje lloj te stilit Tin Pan Alley si ky.

(Music)

(Muzike)

But he was tough when it came to music.

Por ai ishte i veshtire kur flitej per muzike.

He said, "There are only two things that matter in music:

Ai thoshte, "Egzistojne vetem dy gjera qe kane rendesi ne muzike"

what and how.

cfare dhe si.

And the thing about classical music,

Dhe gjeja per muziken klasike,

that what and how, it's inexhaustible."

ajo cka dhe si, eshte e palodhshme."

That was his passion for the music.

Ai ishte pasioni i tij per muziken.

Both my parents really loved it.

Te dy prinderit e mi e donin ate.

They didn't know all that much about it,

Ata nuk dinin shum per te,

but they gave me the opportunity to discover it

por ata me dhane mundesin qe ta zbuloj ate

together with them.

bashke me ta.

And I think inspired by that memory,

Dhe une mendoj i frymezuar nga ajo kujtese,

it's been my desire to try and bring it

ishte deshira ime qe te provoj ta sjell

to as many other people as I can,

te sa me shume njerez qe te mundem,

sort of pass it on through whatever means.

dhe duke e pasuar me cdo mjet te mundshem.

And how people get this music, how it comes into their lives,

Dhe se si njerezit bien ne kontakt me kete muzike, si hyn ne jetet e tyre,

really fascinates me.

kjo me cudit vertet mua.

One day in New York, I was on the street

Nje dite ne Nju Jork, une isha ne rruge

and I saw some kids playing baseball between stoops and cars and fire hydrants.

dhe pashe disa femije duke luajtur bejsboll afer shtyllave, makinave e hidranteve.

And a tough, slouchy kid got up to bat,

Nje djale i forte ne pozicionin e gjuajtesit ngriti shkopin,

and he took a swing and really connected.

mori shenje dhe goditi topin.

And he watched the ball fly for a second,

Dhe ai pa se si topi fluturoi per nje sekond,

and then he went, "Dah dadaratatatah.

the pastaj ai filloi, "Dah dadaratatatah.

Brah dada dadadadah."

Brah dada dadadadah."

And he ran around the bases.

Dhe ai vrapoi rreth bazave.

And I thought, go figure.

Dhe une thashe, mendoje tani.

How did this piece of 18th century Austrian aristocratic entertainment

Si mundi qe kjo cope e argetimit aristokrat autriak e shekullit 18

turn into the victory crow of this New York kid?

te kthehet ne nje thirrje fitoreje te ketij femije njujorkez?

How was that passed on? How did he get to hear Mozart?

Si ishte transmetuar ajo? Si mundi ai te degjonte Mozartin?

Well when it comes to classical music,

Pra kur vjen te muzika klasike,

there's an awful lot to pass on,

ka shume per te transmetuar,

much more than Mozart, Beethoven or Tchiakovsky.

shume me teper sesa Mozarti, Beethoveni apo Tchiakovsky.

Because classical music

Sepse muzika klasike

is an unbroken living tradition

eshte nje tradite e pathyshme jetesore

that goes back over 1,000 years.

e krijuar 1,000 me pare.

And every one of those years

Dhe cdo vit nga ato

has had something unique and powerful to say to us

ka pasur dicka unike dhe te fuqishme per te na thene

about what it's like to be alive.

se cdo te thote te jetosh.

Now the raw material of it, of course,

Materiali bazik, sigurisht,

is just the music of everyday life.

eshte vetem muzika e jetes se perditshme.

It's all the anthems and dance crazes

Jane te gjitha himnet dhe vallzimet e cmendura

and ballads and marches.

balladat dhe marshet.

But what classical music does

Por ajo qe ben muzika klasike eshte

is to distill all of these musics down,

qe i distilon te gjitha keto lloje te muzikes,

to condense them to their absolute essence,

per ti kondensuar ato te esenca e tyre e plote,

and from that essence create a new language,

dhe nga ajo esence to formoje nje gjuhe te re,

a language that speaks very lovingly and unflinchingly

nje gjuhe qe flet shume bukur dhe paster

about who we really are.

se kush jemi ne te vertete.

It's a language that's still evolving.

Eshte nje gjuhe e cila eshte ende duke u zhvilluar.

Now over the centuries it grew into the big pieces we always think of,

Gjate shekujve jane krijuar pjese te medha qe ne njohim,

like concertos and symphonies,

si koncerte dhe simfoni,

but even the most ambitious masterpiece

por bile edhe kryevepra me ambicioze

can have as its central mission

mund te kete si mision qendror

to bring you back to a fragile and personal moment --

qe t'iu coje prapa ne nje moment delikat dhe personal --

like this one from the Beethoven Violin Concerto.

si kjo nga Koncerti per Violine i Beethoven.

(Music)

(Muzike)

It's so simple, so evocative.

Eshte kaq e thjeshte, kaq ndjellese.

So many emotions seem to be inside of it.

Kaq shume emocione shihen brenda saj.

Yet, of course, like all music,

Por sigurisht, si te gjitha muzikat,

it's essentially not about anything.

nuk eshte per ndonje gje.

It's just a design of pitches and silence and time.

Eshte vetem nje dizajn i toneve dhe qetesise dhe kohes.

And the pitches, the notes, as you know, are just vibrations.

Dhe tonet, notat sic e dini jane vetem vibrime.

They're locations in the spectrum of sound.

Ato jane lokacione ne spekter te tingullit.

And whether we call them 440 per second, A,

Dhe nese i quajme ato 440 per second, A,

or 3,729, B flat -- trust me, that's right --

apo 3,729, B e rrafshet -- me besoni, keshtu eshte--

they're just phenomena.

ato jane vetem fenomene.

But the way we react to different combinations of these phenomena

Por menyra se si ne reagojme te kombinimet e ndryshme te ketyre fenomeneve

is complex and emotional and not totally understood.

eshte komplekse dhe emocionale dhe nuk kuptohet shume mire.

And the way we react to them has changed radically over the centuries,

Dhe menyra se si ne reagojme te ato ka ndryshuar shume pergjate shekujve,

as have our preferences for them.

sic kan ndryshuar edhe pelqimet tona per to.

So for example, in the 11th century,

Si pershembull, ne shekullin e 11,

people liked pieces that ended like this.

njerezit pelqenin pjese qe perfundonin keshtu.

(Music)

(Muzike)

And in the 17th century, it was more like this.

Dhe ne shekullin 17, ishte me shume keshtu.

(Music)

(Muzike)

And in the 21st century ...

Dhe ne shekullin e 21...

(Music)

(Muzike)

Now your 21st century ears are quite happy with this last chord,

Tani veshet tuaj te shekullit 21 jane shume te kenaqur me kordin e fundit,

even though a while back it would have puzzled or annoyed you

edhe pse pak me pare nuk ju ka pelqyer

or sent some of you running from the room.

apo i ka bere disa nga ju te dalin nga salla.

And the reason you like it

Dhe arsye pse ju pelqen

is because you've inherited, whether you knew it or not,

eshte sepse ju keni trasheguar, e dinit apo jo,

centuries-worth of changes

ndryshime shekullore

in musical theory, practice and fashion.

ne teori muzikore, praktike dhe mode.

And in classical music we can follow these changes very, very accurately

Dhe ne muziken klasike ne mund te ndjekim keto ndryshime shume, shume mire

because of the music's powerful silent partner,

per shkak te shokut te fuqishem dhe te qete te muzikes,

the way it's been passed on: notation.

menyra sesi ka vazhduar: notimi.

Now the impulse to notate,

Tani impulsi per te notuar,

or, more exactly I should say, encode music

apo, me mire te themi, shifroj muziken

has been with us for a very long time.

ka qene me ne per nje kohe te gjate.

In 200 B.C., a man named Sekulos

Ne 200 P.J.K, nje njeri me emrin Sekulos

wrote this song for his departed wife

shkroi kete kenge per gruan e tij te vdekur

and inscribed it on her gravestone

dhe e gdhendi ate ne gurin e varrit

in the notational system of the Greeks.

ne systemin Grek te notimit.

(Music)

(Muzike)

And a thousand years later,

Dhe njemije vjet me vone,

this impulse to notate took an entirely different form.

ky impuls per notim mori nje forme shume ndryshe.

And you can see how this happened

Dhe ju mund ta shihni se si ndodhi kjo

in these excerpts from the Christmas mass "Puer Natus est nobis,"

ne kete pjese nga Krishtlindjet "Puer Natus est nobis,"

"For Us is Born."

"Per Ne Ka Lindur."

(Music)

(Muzike)

In the 10th century, little squiggles were used

Ne shekullin 10, valezime te vogla te zerit jane perdorur

just to indicate the general shape of the tune.

per te treguar formen gjenerale te melodise.

And in the 12th century, a line was drawn, like a musical horizon line,

Dhe ne shekullin 12, u vendos nje vije, si nje horizont muzikor,

to better pinpoint the pitch's location.

per te treguar me mire pozicionin e tonit.

And then in the 13th century, more lines and new shapes of notes

Dhe pastaj ne shekullin 13, me shume vija dhe forma te notave

locked in the concept of the tune exactly,

per te percaktuar saktesisht melodine,

and that led to the kind of notation we have today.

dhe kjo coi drejt notimit qe kemi sot.

Well notation not only passed the music on,

Notimi jo vetem qe transmetoi muziken,

notating and encoding the music changed its priorities entirely,

notimi dhe kodimi i muzikes ndryshoi prioritetet e tyre teresisht,

because it enabled the musicians

sepse i lejoi muzikantet

to imagine music on a much vaster scale.

per te imagjinuar muziken ne nje shkalle shume me te gjere.

Now inspired moves of improvisation

Tani levizjet e inspiruara te improvizimit

could be recorded, saved, considered, prioritized,

mund te regjistrohen, ruhen, konsiderohen, prioritetizohen,

made into intricate designs.

te krijohen projekte me te komplikuara.

And from this moment, classical music became

Dhe nga ky moment, muzika klasike u be

what it most essentially is,

ajo qe eshte tani,

a dialogue between the two powerful sides of our nature:

nje dialog mes dy aneve shume te fuqishme te natyres tone:

instinct and intelligence.

instinktit dhe intelegjences.

And there began to be a real difference at this point

Dhe pastaj filloi te kete nje ndryshim te vertete ne kete pike

between the art of improvisation

mes artit te improvizimit

and the art of composition.

dhe artit te kompozimit.

Now an improviser senses and plays the next cool move,

Tani nje improvizues ndjen dhe luan levizjen tjeter te mire,

but a composer is considering all possible moves,

por kompozitori i konsideron te gjithat levizjet e mundshme,

testing them out, prioritizing them out,

duke i testuar, duke i dhene prioritet,

until he sees how they can form a powerful and coherent design

derisa ai formon nje dizajn te fuqishem e koherent

of ultimate and enduring coolness.

me nje stil te forte qe qendron.

Now some of the greatest composers, like Bach,

Tani disa nga kompozitoret me te medhenj, si Bach,

were combinations of these two things.

ishin kombinime te ketyre dy gjerave.

Bach was like a great improviser with a mind of a chess master.

Bach ishte nje improvizues me nje mendje te lojtarit te shahut.

Mozart was the same way.

Mozarti po ashtu.

But every musician strikes a different balance

Por cdo muzikant ka nje balance ndryshe

between faith and reason, instinct and intelligence.

mes besimit dhe arsyes, instinktit dhe inteligjences.

And every musical era had different priorities of these things,

Dhe cdo kohe e muzikes ka prioritetet e ketyre gjerave,

different things to pass on, different 'whats' and 'hows'.

gjera te ndryshme per te transmetuar, "cfare" dhe "si" te ndryshme.

So in the first eight centuries or so of this tradition

Pra ne tete shekujt e pare te kesaj tradite

the big 'what' was to praise God.

"cfare" e madhe ishte lavderimi i Zotit.

And by the 1400s, music was being written

Dhe deri tek 1400-t, muzika ishte shkruar

that tried to mirror God's mind

mundohej te pasqyronte mendjen e Zotit

as could be seen in the design of the night sky.

si mund te shihet ne dizajnin e qiellit te nates.

The 'how' was a style called polyphony,

The "si" ishte nje stil i quajtur polifoni,

music of many independently moving voices

muzika e shume zerave te pavarur

that suggested the way the planets seemed to move

qe sugjeronte menyren se si leviznin planetet

in Ptolemy's geocentric universe.

ne universin gjeoqendror te Ptolomeut.

This was truly the music of the spheres.

Kjo ishte muzika e vertet e sferave.

(Music)

(Muzike)

This is the kind of music that Leonardo DaVinci would have known.

Kjo ishte lloji i muzikes qe Leonardo DaVinci do ta kishte njohur.

And perhaps its tremendous intellectual perfection and serenity

Dhe ndoshta perfeksioni intelektual shume i madh

meant that something new had to happen --

do te thonin se dicka e re do te ndodhte --

a radical new move, which in 1600 is what did happen.

nje levizje e re radikale, qe ndodhi ne 1600.

(Music) Singer: Ah, bitter blow!

(Muzike) Kengetari: Ah, goditje e hidhur!

Ah, wicked, cruel fate!

Ah, fat i i lig, i keq!

Ah, baleful stars!

Ah, yje te keqinj!

Ah, avaricious heaven!

Ah, parajse doreshtrenguar!

MTT: This, of course, was the birth of opera,

MTT: Kjo, sigurisht, ishte lindja e operes,

and its development put music on a radical new course.

dhe zhvillimi i saj e solli muziken ne nje drejtimin te ri.

The what now was not to mirror the mind of God,

Dhe cfare nuk ishte me pasqyrja e mendjes se Zotit,

but to follow the emotion turbulence of man.

por ndjekja e emocionit turbulent te njeriut.

And the how was harmony,

Dhe se si ishte harmonia,

stacking up the pitches to form chords.

duke kompozuar tonet per te formuar akordet.

And the chords, it turned out,

Dhe doli se, akordet,

were capable of representing incredible varieties of emotions.

ishim ne gjendje te perfaqesonin variante te ndryshme te emocioneve.

And the basic chords were the ones we still have with us,

Kordat bazike ishin ato qe ne ende kemi,

the triads,

triadat,

either the major one,

ajo maxhore,

which we think is happy,

qe ne mendojme qe eshte e lumtur,

or the minor one,

apo minore,

which we perceive as sad.

qe ne mendojme si jo te lumtur.

But what's the actual difference between these two chords?

Por cila eshte ne fakt dallimi midis ketyre akordeve?

It's just these two notes in the middle.

Jane vetem keto dy nota ne mes.

It's either E natural,

Eshte E natyrale,

and 659 vibrations per second,

dhe 659 vibrime per sekond,

or E flat, at 622.

apo E e rrafshet, te 622.

So the big difference between human happiness and sadness?

Pra dallimi i madh mes gezimit dhe hidherimit njerezor?

37 freakin' vibrations.

37 vibrime.

So you can see in a system like this

Pra ju mund te shihni ne nje sistem si ky

there was enormous subtle potential

eshte nje potencial teper i madh

of representing human emotions.

i perfaqesimit te emocioneve njerezore.

And in fact, as man began to understand more

Dhe ne fakt, kur njeriu fillon te kuptoje me shume

his complex and ambivalent nature,

natyren e tij komplekse dhe kontradiktore,

harmony grew more complex to reflect it.

rriti kompleksin e harmonise per t'a reflektuar ate.

Turns out it was capable of expressing emotions

Del qe ishte i afte qe te shprehe emocione

beyond the ability of words.

pertej aftesise se fjaleve.

Now with all this possibility,

Tani me gjithe kete mundesi,

classical music really took off.

muzika klasike me te vertete lulezoi.

It's the time in which the big forms began to arise.

Eshte koha kur format e medha filluan to rriten.

And the effects of technology began to be felt also,

Dhe efektet e teknologjise filluan te ndjehen po ashtu,

because printing put music, the scores, the codebooks of music,

sepse printimi mundesoi qe pjeset dhe kodet muzikore te

into the hands of performers everywhere.

arrijne ne duart e interpretuesve kudo.

And new and improved instruments

Dhe instrumente te reja dhe te permiresuara

made the age of the virtuoso possible.

bene te mundur epoken e virtuozve.

This is when those big forms arose --

Kjo eshte kur ato forma te medhaja u rriten --

the symphonies, the sonatas, the concertos.

simfonite, sonatat, koncertet.

And in these big architectures of time,

Dhe ne keto arkitektura te medha te kohes,

composers like Beethoven could share the insights of a lifetime.

kompozitoret si Beethoven do te ndanin intuitat jetesore.

A piece like Beethoven's Fifth

Nje pjese si E Pesta e Beethovenit

basically witnessing how it was possible

eshte nje shembull se si ishte e mundur

for him to go from sorrow and anger,

per te qe te shkonte nga pikellimi dhe zemerimi,

over the course of a half an hour,

per nje kohe gjysme ore,

step by exacting step of his route,

hap pas hapi te rruges se tij,

to the moment when he could make it across to joy.

deri te momenti kur ai del te gezimi.

(Music)

(Muzike)

And it turned out the symphony could be used for more complex issues,

Simfonia mund te perdoret per qellime me komplekse,

like gripping ones of culture,

si rrembime te kultures,

such as nationalism or quest for freedom

si nacionalismi apo kerkesa per liri

or the frontiers of sensuality.

apo kufijte e ndjeshmerise.

But whatever direction the music took,

Por cfaredo drejtimi qe muzika mori,

one thing until recently was always the same,

nje gje deri tanime mbeti e njejte,

and that was when the musicians stopped playing,

dhe ajo ishte se kur muzikantet ndaluan se luajturi,

the music stopped.

muzika ndaloi.

Now this moment so fascinates me.

Tani ky moment me mallengjen mua.

I find it such a profound one.

Une mendoj se eshte nje moment i thelle.

What happens when the music stops?

Cfare ndodh kur muzika ndalon?

Where does it go? What's left?

Ku shkon ajo? Cfare mbetet?

What sticks with people in the audience at the end of a performance?

Cfare mbetet me publikun ne fund te nje performance?

Is it a melody or a rhythm

A eshte nje melodi apo ritem

or a mood or an attitude?

nje gjendje shpirterore apo nje qendrim?

And how might that change their lives?

Dhe si mundet kjo ti ndryshoje jeten atyre?

To me this is the intimate, personal side of music.

Per mua kjo eshte nje ane personale e muzikes.

It's the passing on part. It's the 'why' part of it.

Eshte pjesa e transmetimit. Eshte pjesa "pse" e saj.

And to me that's the most essential of all.

Dhe per mua kjo eshte me e rendesishme se tjerat.

Mostly it's been a person-to-person thing,

Me se shumti ka qene nje gje individuale,

a teacher-student, performer-audience thing,

mesues-nxenes, performues-degjues,

and then around 1880 came this new technology

dhe pastaj rreth 1880 erdhi kjo teknologji e re

that first mechanically then through analogs then digitally

qe se pari mekanikisht, pastaj analoge dhe me pas dixhitale

created a new and miraculous way of passing things on,

formoi nje menyre te re te kalimit te gjerave,

albeit an impersonal one.

edhe pse jopersonale.

People could now hear music all the time,

Njerezit tani mund te degjojne muzike gjate gjithe kohes,

even though it wasn't necessary

for them to play an instrument, read music or even go to concerts.

edhe kur nuk eshte e nevojshme

per ta te luajne nje instrument, te lexojne muzike apo edhe te shkojne ne koncerte.

And technology democratized music by making everything available.

Dhe teknologjia e beri muziken demokratike duke bere cdo gje te disponueshme.

It spearheaded a cultural revolution

Ajo promovoi nje revolucion kulturor

in which artists like Caruso and Bessie Smith were on the same footing.

ku artistet si Caruso dhe Bessie Smith ishin ne te njejten piano.

And technology pushed composers to tremendous extremes,

Dhe teknologjia shtyu kompozitoret ne ekstrem,

using computers and synthesizers

duke perdorur kompjuteret dhe sintetizatoret

to create works of intellectually impenetrable complexity

per te krijuar pune te nje kompleksitet intelektualisht te papershkueshem

beyond the means of performers and audiences.

pertej kuptimeve te interpretuesve dhe degjuesve.

At the same time technology,

Ne te njejten kohe, teknologjia,

by taking over the role that notation had always played,

duke marre rolin qe notimi ka luajtur gjithnje

shifted the balance within music between instinct and intelligence

nderroi balancen e muzikes mes instinktit dhe inteligjences,

way over to the instinctive side.

duke iu afruar shume anes instinktive.

The culture in which we live now

Kultura ne te cilen jetojme tani

is awash with music of improvisation

eshte e njejte me muziken e improvizimit

that's been sliced, diced, layered

qe vjen ne shume menyra

and, God knows, distributed and sold.

dhe, Zoti e di, shperndare dhe shitur.

What's the long-term effect of this on us or on music?

Cili eshte efekti afatgjate i kesaj tek ne apo tek muzika?

Nobody knows.

Askush nuk e di.

The question remains: What happens when the music stops?

Pyetja mbete e njejte: Cfare ndodh kur muzika ndalon?

What sticks with people?

Cfare mbetet me njerezit?

Now that we have unlimited access to music, what does stick with us?

Tani qe kemi hyrje te pakufizuar te muzika, cfare mbetet me ne?

Well let me show you a story of what I mean

Me lini t'iu tregoj nje tregim se cfare dua te them

by "really sticking with us."

me "ajo qe verte mbetet me ne."

I was visiting a cousin of mine in an old age home,

Une isha duke vizituar nje kusheri ne nje azil pleqsh,

and I spied a very shaky old man

dhe pashe nje njeri shume te vjeter qe dridhej

making his way across the room on a walker.

qe eshte duke u mbajtur.

He came over to a piano that was there,

Ai erdhi tek piano qe ishte aty,

and he balanced himself and began playing something like this.

u drejtua veten dhe filloi te luante dicka si kjo.

(Music)

(Muzike)

And he said something like, "Me ... boy ... symphony ... Beethoven."

Dhe tha dicka si, "Une...djalosh..simfoni...Beethoven."

And I suddenly got it,

Dhe une papritmas e kuptova,

and I said, "Friend, by any chance are you trying to play this?"

dhe thash, "Shok, mos ndoshta po perpiqeni te luani kete?"

(Music)

(Muzike)

And he said, "Yes, yes. I was a little boy.

Dhe pastaj ai tha, "Po, po. Une isha djale i vogel.

The symphony: Isaac Stern, the concerto, I heard it."

Simfonia: Isaac Stern, koncerti, e degjova."

And I thought, my God,

Dhe mendova, Zoti im,

how much must this music mean to this man

sa shume kuptim ka kjo muzike tek ky njeri

that he would get himself out of his bed, across the room

s ai te cohej nga krevati i tij, I dhomes perballe

to recover the memory of this music

per te rikuperuar memorjen e kesaj muzike

that, after everything else in his life is sloughing away,

ate, pas cdo gjeje qe po iken nga jeta e tij,

still means so much to him?

prap ka kaq rendesi per te?

Well, that's why I take every performance so seriously,

Ja pse une e mar cdo performance kaq seriozisht,

why it matters to me so much.

pse do te thote kaq shume per mua.

I never know who might be there, who might be absorbing it

Une nuk e dija se kush mund te ishte aty, kush mund te jete duke e absorbuar

and what will happen to it in their life.

dhe cfare do te ndodhe ne jeten e tyre.

But now I'm excited that there's more chance than ever before possible

Por tani une jam i eksituar qe ka shanse me shume se kurre

of sharing this music.

per te ndare kete muzike.

That's what drives my interest in projects

Kjo eshte pse une jam i interesuar ne projekte

like the TV series "Keeping Score" with the San Francisco Symphony

si ne seriet televizore "Duke mbajtur piket" me simfonine e San Francisco

that looks at the backstories of music,

qe sheh tek sfondet e muzikes,

and working with the young musicians at the New World Symphony

dhe duke punuar me muzikantet e rinj te simfonia e New World

on projects that explore the potential

ne projekte qe eksplorojne potencialin

of the new performing arts centers

e qendrave te reja te performimit

for both entertainment and education.

per argetimin dhe edukimin.

And of course, the New World Symphony

Dhe sigurisht, simfonia e New World

led to the YouTube Symphony and projects on the internet

krijoi simfonine YouTube dhe projektet ne internet

that reach out to musicians and audiences all over the world.

qe mberrin deri tek muzikantet dhe degjuesit nga e gjithe bota.

And the exciting thing is all this is just a prototype.

Dhe gjeja eksituese eshte se e gjithe kjo eshte nje prototip.

There's just a role here for so many people --

Aty eshte nje rol per shume njerez --

teachers, parents, performers --

mesues, prind, performues --

to be explorers together.

qe te jene eksplorues se bashku.

Sure, the big events attract a lot of attention,

Sigurisht, ngjarjet e medha marrin shume vemendje,

but what really matters is what goes on every single day.

por ajo qe ka rendesi eshte cfare ndodh cdo dite.

We need your perspectives, your curiosity, your voices.

Na duhet perspektiva, kurioziteti dhe zeri juaj.

And it excites me now to meet people

Dhe me eksiton shume kur takoj njerez

who are hikers, chefs, code writers, taxi drivers,

qe jane eskursioniste, kuzhiniere, programues, shofere taksish,

people I never would have guessed who loved the music

njerez qe nuk do te besoja kurre se pelqenin muziken

and who are passing it on.

dhe qe po e transmetonin ate te te tjeret.

You don't need to worry about knowing anything.

Ju nuk duhet te shqetesoheni per te ditur cdo gje.

If you're curious, if you have a capacity for wonder, if you're alive,

Nese jeni kurioz, nese keni kapacitet per tu mrekulluar, nese jeni gjalle,

you know all that you need to know.

ju dini cdo gje qe duhet te dini.

You can start anywhere. Ramble a bit.

Ju mund te filloni gjithekund. Bridhni pakez.

Follow traces. Get lost. Be surprised, amused inspired.

Ndiqni gjurmet. Humbni. Jini te habitur dhe te inspiruar.

All that 'what', all that 'how' is out there

E gjithe ajo "Cka", e gjithe ajo "Si" eshte atje jashte

waiting for you to discover its 'why',

duke ju pritur ju per te zbuluar "pse",

to dive in and pass it on.

per tu zhytur dhe per ta percjelle ate.

Thank you.

Ju faleminderit.

(Applause)

(Duartrokitje)