The transformative power of classical music | Benjamin Zander | TED

Prevodilac: Luka Pantic Lektor: Ivana Korom

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

Verovatno dosta vas zna priču o dvojici prodavaca

who went down to Africa in the 1900s.

koji su otišli u Afriku 1900-ih.

They were sent down to find if there was any opportunity

Poslali su ih da ustanove da li postoji mogućnost

za prodaju cipela.

for selling shoes,

and they wrote telegrams back to Manchester.

Odgovorili su telegramima Manchester-u.

And one of them wrote,

Jedan je napisao: "Očajna situacija. Stop.

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

Ne nose cipele."

And the other one wrote,

Drugi je napisao: "Fantastična prilika.

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

Još uvek nemaju cipele."

(Laughter)

(Smeh)

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

U svetu klasične muzike situacija je slična,

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

jer ima ljudi koji veruju

da klasična muzika umire.

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

Takođe ima nas koji verujemo da još ništa niste videli

And rather than go into statistics and trends,

Radije nego da se upuštam u statistike i trendove

and tell you about all the orchestras that are closing,

i da vam pričam o orkestrima i izdavačkim kućama

and the record companies that are folding,

koji prestaju sa radom,

I thought we should do an experiment tonight.

mislio sam da izvedemo eksperiment večeras - eksperiment

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

U stvari to nije eksperiment pošto ja znam ishod.

(Laughter)

But it's like an experiment.

Ali jeste kao eksperiment. Pre nego što --

Now, before we start --

(Smeh)

(Laughter)

Before we start, I need to do two things.

-- pre nego što počnemo moram da uradim dve stvari.

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

Prva, želim da vas podsetim kako sedmogodišnje dete

sounds like when he plays the piano.

zvuči dok svira klavir.

Maybe you have this child at home.

Možda imate to dete kod kuće.

He sounds something like this.

Zvuči otprilike ovako.

(Music)

(Klavir)

(Music ends)

I see some of you recognize this child.

Vidim neki od vas prepoznaju dete.

Ako vežba godinu dana i ide na časove, sad ima osam godina

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

and he sounds like this.

(Music)

i ovako svira.

(Klavir)

(Music ends)

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

Onda vežba još godinu dana i ide na časove; i sad ima devet

(Music)

(Klavir)

(Music ends)

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

Onda vežba još godinu i ide na časove; sad ima deset.

(Klavir)

(Music)

(Music ends)

At that point, they usually give up.

Tad obično odustanu.

(Laughter)

(Smeh)

(Applause)

(Aplauz)

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

Da ste čekali, da ste sačekali još godinu dana,

čuli biste ovo:

(Music)

(Klavir)

(Music ends)

Now, what happened was not maybe what you thought,

Ono što se desilo možda nije ono što ste očekivali,

which is, he suddenly became passionate, engaged,

to jest, odjednom je postao strastven, zaokupljen,

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

angažovan, našao novog nastavnika, ušao u pubertet, ili šta već.

Šta se u stvari desilo jeste da su se naglasci smanjili.

What actually happened was the impulses were reduced.

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

Vidite, prvi put je svirao

sa naglaskom na svakoj noti.

(Music)

(Klavir)

And the second, with an impulse every other note.

Drugi sa naglaskom na svakoj drugoj.

(Music)

(Klavir)

You can see it by looking at my head.

To možete da uočite gledajući moju glavu.

(Laughter)

(Smeh)

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

Devetogodišnjak, devetogodišnjak

je stavljao naglasak na svaku četvrtu notu.

(Klavir)

(Music)

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

I desetogodišnjak na svaku osmu notu.

(Klavir)

(Music)

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

I jedanaestogodišnjak, jedan naglasak na celu frazu.

(Klavir)

(Music)

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

Znam - ne znam kako smo došli do ove pozicije.

(Laughter)

(Smeh)

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

Nisam rekao da ću pomeriti rame, pomeriti telo.

Ne, muzika me je pregurala,

No, the music pushed me over,

which is why I call it one-buttock playing.

zato ja to zovem sviranje na jednom guzu.

(Music)

(Klavir)

It can be the other buttock.

Može biti i na drugom guzu.

(Klavir)

(Music)

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

Znate, jedan gospodin je jednom gledao prezentaciju koju sam izvodio

dok sam radio sa jednim mladim pijanistom.

when I was working with a young pianist.

Bio je predsednik jedne korporacije u Ohaju (Ohio).

He was the president of a corporation in Ohio.

I dok sam radio sa tim mladim pijanistom

I was working with this young pianist, and said,

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

rekao sam, "Nezgoda sa tobom je što si ti dvoguzni svirač.

Trebalo bi da budeš jednoguzni svirač."

You should be a one-buttock player."

I moved his body while he was playing.

I tako sam mu pomerio telo dok je svirao.

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

Odjednom je muzika zaživela. Poletela je.

The audience gasped when they heard the difference.

Publika je izgubila dah kad je čula razliku.

Then I got a letter from this gentleman.

I onda sam dobio pismo od tog gospodina.

He said, "I was so moved.

Rekao je, "Toliko sam bio potresen.

Vratio sam se i pretvorio moju celu kompaniju

I went back and I transformed my entire company

into a one-buttock company."

u jednoguznu kompaniju."

(Laughter)

(Smeh)

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

Druga stvar koju sam hteo da uradim je da vam pričam o vama.

Verujem da je ovde 1600 ljudi.

There are 1,600 people, I believe.

My estimation is that probably 45 of you

Mojom procenom verovatno vas 45

are absolutely passionate about classical music.

strasno voli klasičnu muziku.

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

Obožavate klasičnu muziku, Vaš je radio uvek na stanici klasične muzike,

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

imate CD-e u svom autu, idete da slušate simfonije.

your children are playing instruments.

Vaša deca sviraju.

Ne možete da zamislite svoj život bez klasične muzike.

You can't imagine your life without classical music.

That's the first group, quite small.

To je prva grupa, prilično je mala.

Then there's another bigger group.

Onda postoji druga, veća grupa.

The people who don't mind classical music.

To su osobe kojima ne smeta klasična muzika.

(Laughter)

(Smeh)

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

Znate, dođete kući nakon dugog dana

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

uzmete čašu vina i dignete noge na sto.

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

Malo Vivaldija u pozadini ne smeta.

(Smeh)

That's the second group.

To je druga grupa.

Now comes the third group:

Sada sledi treća grupa.

people who never listen to classical music.

To su ljudi koji nikad ne slušaju klasičnu muziku.

Jednostavno nije deo njihovog života.

It's just simply not part of your life.

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

Možda je čujete kao što osetite dim tuđe cigare na aerodromu, ali --

(Smeh)

(Laughter)

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

-- i možda malo marša iz Aide

kada uđete u dvoranu. Inače, nikad je ne čujete.

when you come into the hall.

But otherwise, you never hear it.

That's probably the largest group.

To je verovatno najveća grupa

I onda postoji jedna vrlo mala grupa.

And then there's a very small group.

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

To su ljudi koji misle da nemaju sluha.

Neverovatan broj ljudi misli da nema sluha.

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

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

U stvari, često čujem, "Moj muž nema sluha."

(Laughter)

(Smeh)

Actually, you cannot be tone-deaf.

U stvari, ne možete da budete bez sluha. Niko nije.

Nobody is tone-deaf.

Kad ne biste imali sluha, ne biste mogli da promenite brzine

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

on your car, in a stick shift car.

u autu sa ručnim menjačem.

You couldn't tell the difference between

Ne biste razlikovali

somebody from Texas and somebody from Rome.

govor nekoga iz Teksasa i nekoga iz Rima.

I telefon. Telefon. Ako vaša majka nazove

And the telephone. The telephone.

If your mother calls

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

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

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

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

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

Imate fantastično uvo. Svako ima fantastično uvo.

So nobody is tone-deaf.

I niko nije bez sluha.

But I tell you what.

Ali reći ću vam. Nema svrhe nastaviti ovako

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

with such a wide gulf between those who understand,

sa tako velikim jazom između onih koji razumeju,

love and are passionate about classical music,

i strasno vole klasičnu muziku,

i onih koji sa njom nemaju nikakve veze.

and those who have no relationship to it at all.

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

Ljudi bez sluha, oni više nisu ovde.

Ali čak i između preostale tri kategorije je razlika prevelika.

But even between those three categories,

it's too wide a gulf.

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

Zato neću nastaviti dok svaka pojedinačna osoba u ovoj dvorani,

dole i u Aspenu i svako ko ovo gleda,

downstairs and in Aspen, and everybody else looking,

will come to love and understand classical music.

ne zavoli i ne počne da razume klasičnu muziku.

To ćemo uraditi.

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

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

Naravno, primećujete da ni u mojim mislima ni na mom licu

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

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

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

To je jedna od karakteristika vođe da ne posumnja,

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

ni u jednom trenutku, u sposobnosti osoba koje vodi

to realize whatever he's dreaming.

kako bi ostvario sve o čemu sanja.

Zamislite da je Martin Luther King rekao, "Ja imam san.

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

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

Naravno, nisam baš siguran da ste tome dorasli."

(Smeh)

(Laughter)

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

U redu. Uzeću jedno Šopenovo (Chopin) delo.

This is a beautiful prelude by Chopin.

Ovo je predivan Šopenov uvod. Neki od vas ga znaju.

Some of you will know it.

(Music)

(Muzika)

Da li znate šta mislim da se dogodilo u ovoj sobi?

Do you know what I think probably happened here?

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

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

(Muzika)

(Music)

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

"Mislim da ne treba da idemo na isto mesto

na letovanje sledeće godine."

for our summer holidays next year."

(Smeh)

(Laughter)

It's funny, isn't it?

Smešno, zar ne? Smešno je kako se te misli

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

nekako umuvaju u naš glavu.

I naravno --

And of course --

(Aplauz)

(Applause)

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

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

you might actually drift off.

mogli biste i zadremati.

Then your companion will dig you in the ribs

Tada će vas vaša pratnja gurnuti laktom u rebra

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

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

(Laughter)

Da li vam je ikada palo na pamet da razlog što se osećate pospano

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

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

uz klasičnu muziku niste vi, nego mi?

Did anybody think while I was playing,

Da li je iko pomislio dok sam svirao,

"Why is he using so many impulses?"

"Zašto toliko naglašava tonove?"

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

Da sam to radio pokretima glave sigurno biste to pomislili.

(Music)

(Muzika)

(Music ends)

I do kraja života, svaki put kada čujete klasičnu muziku

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

znaćete da čujete ta naglašavanja.

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

Da vidimo šta se ovde stvarno dešava.

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

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

We have a B. This is a B.

The next note is a C.

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

Posao note C je da ušini notu H tužnom. Uspeva joj, zar ne?

And it does, doesn't it?

(Smeh)

(Laughter)

Composers know that.

Kompozitori to znaju. Ako žele tužnu muziku

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

oni samo odsviraju ta dva tona.

(Muzika)

(Music)

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

Ali suštinski, to je samo H sa četri tuge.

(Laughter)

(Smeh)

Now, it goes down to A.

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

Now to G.

And then to F.

So we have B, A, G, F.

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

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

what do we expect next?

šta sledeće očekujemo? Oh, pa to je možda bila slučajnost.

(Music)

That might have been a fluke.

Let's try it again.

Probajmo opet. Uuu, TED hor.

(Music)

Oh, the TED choir.

(Laughter)

(Smeh)

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

And you notice nobody is tone-deaf, right?

Nobody is.

Znate, svako selo u Bangladešu

You know, every village in Bangladesh

i svako seoce u Kini. Svi znaju:

and every hamlet in China -- everybody knows:

da, da, da, da -- da.

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

Everybody knows, who's expecting that E.

E sad, Šopen nije tad hteo da dođe do tona E,

Chopin didn't want to reach the E there,

because what will have happened?

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

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

Sećate se Hamleta? 1. čin, 3. scena:

Act One, scene three,

he finds out his uncle killed his father.

otkriva da mu je ujak ubio oca.

Sećate se kako nastavlja da ide svom ujaku

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

i skoro ga ubija. I onda se povlači

i odlazi opet i ponovno ga zamalo ubija.

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

I kritičari, koji svi sede tamo u zadnjem redu,

The critics sitting in the back row there,

oni moraju da imaju mišljenje, zato kažu, "Hamlet odugovlači."

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

(Smeh)

Ili kažu, "Hamlet ima Edipov kompleks."

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

No, otherwise the play would be over, stupid.

Ne, jer inače bi predstava bila gotova, glupane!

(Laughter)

Zato Šekspir stavlja sve te stvari u Hamleta.

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

Ophelia going mad, the play within the play,

Znate, Ofelija koja ludi i predstava u predstavi,

and Yorick's skull, and the gravediggers.

i Jorikova lobanja, kopači grobova.

That's in order to delay --

To je radi razvlačenja -- do 5. čina kada može da ga ubije.

until Act Five, he can kill him.

Isto je i sa Šhopenom. Taman se spremi da dođe do E,

It's the same with the Chopin.

He's just about to reach the E,

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

kada kaže, "Uups, bolje da se vratim gore i to ponovim."

Pa to ponovi.

So he does it again.

Now, he gets excited.

(Music)

Sad se zanese -- to je uzbuđenje,

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

ne treba da se brinete oko toga.

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

Sada konačno dođe do F# i krene na E,

ali to je pogrešan akord. Jer akord koji traži

but it's the wrong chord --

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

je ovaj i umesto njega on odsvira...

and instead he does ...

e sad, mi to zovemo deceptivnom kadencom jer nas je prevarila.

Now, we call that a deceptive cadence,

because it deceives us.

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

Uvek kažem svojim studentima, "Ako imate deceptivnu kadencu

obavezno podignite svoje obrve kako bi svi to znali."

raise your eyebrows, and everybody will know."

(Smeh)

(Laughter)

(Applause)

(Aplauz)

Right.

U redu. Tako on dođe do E, ali to je pogrešan akord.

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

Sada proba E ponovno. Taj akord nije dobar.

Now, he tries E again.

That chord doesn't work.

Sada proba ponovo sa E. Ali ni taj ne valja.

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

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

Sada pokuša E ponovo, to nije dobro.

And then finally ...

I onda konačno ...

U prvom je redu gospodin uzdahnuo, "Mmm".

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

(Laughter)

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

To je isti gest koji napravi kad dođe kući

nakon teškog dana, izvadi ključ iz auta i kaže,

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

"Aah, I'm home."

" Aah, stigao sam kući." Jer svi znamo gde nam je kuća.

Because we all know where home is.

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

Tako ovo delo ide izdaleka do kuće

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

i odsviraću ga celog,

a vi pratite. H, C, H, C, H, C, H --

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

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

dole na A, dole na G, dole na F.

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

Skoro na E, ali u tom slučaju bi komad bio gotov.

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

Vraća se na H. Uzbuđuje se. Dolazi na F#. Dolazi na E.

Goes to F-sharp. Goes to E.

Pogrešan akord. Pogrešan akord. Pogrešan akord.

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

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

I konačno dođe do E i kod kuće je.

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

A vi ćete videti sviranje na jednom guzu.

(Smeh)

(Laughter)

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

Jer za mene, kako bih spojio notu H sa E,

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

moram da prestanem da razmišljam o svakoj noti na putu

i da počnem da razmišljam o dugom, dugom nizu od H do E.

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

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

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

a da ne mislite o Mandeli u zatvoru 27 godina.

without thinking of Mandela in jail for 27 years.

What was he thinking about? Lunch?

O čemu je razmišljao? O ručku?

No, he was thinking about the vision for South Africa

Ne, razmišljao je o viziji za Južnu Afriku

and for human beings.

i za ljudska bića. To ga je držalo --

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

radi se o viziji, o dugom nizu.

Like the bird who flies over the field

Kao ptica koja leti preko polja

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

i ne razmišlja o ogradama ispod sebe, u redu?

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

I sad ćete pratiti niz celim putem od H do E.

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

Imam poslednju molbu pre nego što odsviram ovo delo od početka do kraja

Would you think of somebody who you adore,

Hoćete li zamisliti nekoga koga obožavate, a nije više tu?

who's no longer there?

Voljenu baku, ljubav,

A beloved grandmother, a lover --

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

nekoga u vašem životu koga volite svim srcem,

ali ta osoba nije više sa vama.

but that person is no longer with you.

Bring that person into your mind,

Ponesite je u mislima i u isto vreme

and at the same time,

pratite niz celim putem od H do E,

follow the line all the way from B to E,

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

i čućete sve što je Šopen hteo reći.

(Muzika)

(Music)

(Music ends)

(Applause)

(Aplauz)

Možda se pitate,

Now, you may be wondering --

(Applause)

možda se pitate zašto ja tapšem.

(Applause ends)

You may be wondering why I'm clapping.

Well, I did this at a school in Boston

Pa, to sam uradio u školi u Bostonu

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

sa oko 70 sedmaka -- 12-godišnjaka.

I did exactly what I did with you,

Uradio sam isto što i ovde i rekao sam im

and I explained the whole thing.

i objasnio celu priču.

I na kraju su poludeli, tapšući. Oni su tapšali.

At the end, they went crazy, clapping.

I was clapping. They were clapping.

Ja sam tapšao. Oni su tapšali.

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

Na kraju, rekao sam, "Zašto ja tapšem?"

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

A jedno dete je reklo, "Zato što smo mi slušali."

(Smeh)

(Laughter)

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

Razmislite o tome. 1600 osoba, zauzetih osoba,

angažovanih na raznim različitim stvarima.

involved in all sorts of different things,

listening, understanding and being moved

Slušaju, razumeju i dirnuti su Šopenovim delom.

by a piece by Chopin.

Now, that is something.

To je već nešto.

Am I sure that every single person followed that,

E sad, jesam li siguran da je svaka osoba pratila,

understood it, was moved by it?

shvatila i bila dirnuta. Naravno, ne mogu da budem siguran.

Of course, I can't be sure.

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

Ali ću vam reći šta mi se dogodilo.

Bio sam u Irskoj tokom nereda pre deset godina,

during the Troubles, 10 years ago,

and I was working with some Catholic and Protestant kids

i radio sam sa katoličkom i protestantskom decom

on conflict resolution.

na rešavanju sukoba. I ovo sam uradio sa njima.

And I did this with them --

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

To je bio riskantan potez jer su to bila deca sa ulice.

I jedan od njih mi je prišao sledećeg jutra i rekao,

And one of them came to me the next morning

and he said,

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

"Znate, nikad u životu nisam slušao klasičnu muziku,

but when you played that shopping piece ..."

ali kad ste odsvirali to Shopping delo..."

(Smeh)

(Laughter)

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

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

But last night, when you played that piece,

Ali sinoć kad ste odsvirali to delo,

he was the one I was thinking about.

on je bio taj o kome sam razmišljao.

And I felt the tears streaming down my face.

I osetio sam kako mi suze teku niz lice.

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

I znate, osećao sam se stvarno dobro plačući za brata."

So I made up my mind at that moment

U tom sam trenutku odlučio

da je klasična muzika za sve ljude. Sve.

that classical music is for everybody.

Everybody.

Now, how would you walk --

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

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

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

They say three percent of the population likes classical music.

Oni kažu da 3% populacije voli klasičnu muziku.

Kada bi smo to samo mogli da povećamo na 4%, naši problemi bi nestali.

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

(Laughter)

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

Ja kažem, "Kako bi ste vi hodali? Govorili? Bili

kada bi ste mislili da 3% populacije voli klasičnu muziku?

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

if only we could move it to four percent."

Kada bi smo to samo mogli da povećamo na 4%. Kako biste hodali?

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

Govorili? Bili,

If you thought, "Everybody loves classical music --

kada biste mislili da svi vole klasičnu muziku --

samo što to još ne znaju."

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

(Smeh)

See, these are totally different worlds.

Vidite, to su potpuno različiti svetovi.

Now, I had an amazing experience.

Imao sam neverovatno iskustvo. Imao sam 45 godina,

I was 45 years old,

dirigovao sam 20 godina i odjednom došao do saznanja.

I'd been conducting for 20 years,

and I suddenly had a realization.

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

Dirigent orkestra ne proizvodi nijedan zvuk.

My picture appears on the front of the CD --

Moja se slika pojavi na naslovnoj strani CD-a --

(Smeh)

(Laughter)

But the conductor doesn't make a sound.

-- ali dirigent ne proizvodi nijedan zvuk.

He depends, for his power,

Njegova snaga zavisi od njegove sposobnosti da druge osobe učini moćnim.

on his ability to make other people powerful.

I to mi je sve promenilo. Bila je to potpuna promena života.

And that changed everything for me.

It was totally life-changing.

People in my orchestra said,

Osobe u mom orkestru su mi došle i rekle,

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

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

Shvatio sam da je moj posao da probudim sposobnosti u drugim ljudima.

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

I naravno, hteo sam da saznam da li to radim.

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

I znate kako to da saznate? Pogledajte im u oči.

How do you find out?

You look at their eyes.

Ako im se oči sjaje, znajte da uspeva.

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

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

Možete da osvetlite selo sa očima ovog čoveka.

(Smeh)

(Laughter)

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

Dakle, ako oči sjaje, znajte da vam uspeva.

Ako oči ne sjaje, morate da sebi postavite pitanje.

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

A pitanje je:

And this is the question:

Ko sam ja sada da oči mojih svirača ne sjaje?

who am I being

that my players' eyes are not shining?

We can do that with our children, too.

To možemo primeniti i na našu decu.

Who am I being,

Ko sam ja sada da oči moje dece ne sjaje?

that my children's eyes are not shining?

That's a totally different world.

To je potpuno drugačiji svet.

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

Pri kraju smo ove čarobne nedelje na planini

we're going back into the world.

i vraćamo se nazad u svet.

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

I kažem vam, odgovara da se zapitamo:

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

Ko smo mi dok se vraćamo u svet?

And you know, I have a definition of success.

Znajte, imam definiciju uspeha.

For me, it's very simple.

Za mene je vrlo jednostavno. Ne radi se o bogatstvu i slavi i moći.

It's not about wealth and fame and power.

Već o tome koliko sjajnih očiju imam oko sebe.

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

So now, I have one last thought,

Imam poslednju misao, koja glasi

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

ono što govorimo stvarno pravi razliku.

Reči koje izlaze iz naših usta.

the words that come out of our mouth.

Naučio sam to od žene koja je preživela Aušvic,

I learned this from a woman who survived Auschwitz,

one of the rare survivors.

jedna od retkih preživelih.

She went to Auschwitz when she was 15 years old.

Odvedena je u Aušvic kada joj je bilo 15 godina,

And ...

njenom bratu 8, a roditelji su nestali.

And her brother was eight,

and the parents were lost.

And she told me this, she said,

I ovo mi je ispričala,

"We were in the train going to Auschwitz,

"Bili smo u vozu koji je išao u Aušvic, pogledala sam

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

i videla da moj brat nema cipele.

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

I rekla sam mu, "Kako si tako glup, zar ne možeš da se brineš o svojim stvarima,

for goodness' sake?'"

Gospode bože?" -- na način na koji starija sestra

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

razgovara sa mlađim bratom.

Nažalost, to su bile poslednje reči koje mu je ikada rekla

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

jer ga nikada više nije videla. Nije preživeo.

because she never saw him again.

He did not survive.

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

Kad je izašla iz Aušvica, zavetovala se.

She told me this.

Poverila mi se. Rekla je, "Izašla sam iz Aušvica u život

She said, "I walked out of Auschwitz into life

i zavetovala se. Zavet je bio, nikad neću reći ništa

and I made a vow.

And the vow was,

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

što ne bi mogle biti poslednje reči koje ću ikada reći."

E sad, da li je to izvodljivo? Ne. I postali bi smo loši

Now, can we do that? No.

And we'll make ourselves wrong and others wrong.

i drugi takođe. Ali to je mogućnost da proživimo. Hvala vam.

But it is a possibility to live into.

Thank you.

(Applause)

(Aplauz)

Shining eyes.

Sjajne oči, sjajne oči.

(Applause)

Shining eyes.

(Applause)

Thank you, thank you.

Hvala vam, hvala.

(Muzika)