The transformative power of classical music | Benjamin Zander | TED

Translator: Nafissa Yakubova Reviewer: Gulnoza Yakubova

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

Ko'pchiligingiz bu ikki savdogar haqidagi hikoyani bilsangiz kerak

who went down to Africa in the 1900s.

ular 1900 chi yillarda Afrikaga borishadi.

They were sent down to find if there was any opportunity

Ularning maqsadi u yerda oyoq kiyim sotish uchun

imkoniyat bor yoki yo'qligini aniqlash edi.

for selling shoes,

and they wrote telegrams back to Manchester.

Va ular Manchesterga javob telegramma yuboradi.

And one of them wrote,

Ularning biri shunday yozadi: " Bu yerda umid yo'q. Nuqta.

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

Bular oyoq kiyim kiymas ekan."

And the other one wrote,

Va ikkinchisi esa shunday yozadi: " Juda zo'r imkoniyat.

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

Bularda hali oyoq kiyim yo'q ekan."

(Laughter)

(Kulgi)

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

Hozirda mumtoz musiqa dunyosida shunga o'xhshash holat,

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

chunki ba'zi odamlar mumtoz musiqa

yo'qolib borayapti deb o'ylaydi.

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

Va oramizda ba'zilarimiz siz hali hech narsa ko'rmagansiz deb o'ylaymiz.

And rather than go into statistics and trends,

Hisobotlar va qaysi yo'nalishda ketayotganimiz,

and tell you about all the orchestras that are closing,

orkestrlar yopilishi, va musiqa kompaniyalarining

and the record companies that are folding,

qisqarishi haqida gapirgandan ko'ra,

I thought we should do an experiment tonight.

men bugun bir tajriba o'tkazsak deyman- tajriba.

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

Aslida, bu haqiqiy tajriba emas, chunki men natijasini bilaman.

(Laughter)

But it's like an experiment.

Lekin bu huddi tajribaday. Endi, boshlashdan oldin-

Now, before we start --

(Kulgi)

(Laughter)

Before we start, I need to do two things.

-avvalambor ikkita narsadan boshlashimiz kerak.

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

Birinchisi, men sizga yetti yashar bola

sounds like when he plays the piano.

pianinoni qanday o'ynashini eslatmoqchiman.

Maybe you have this child at home.

Balki uyingizda shunday bola bordir.

He sounds something like this.

U bunday o'ynaydi.

(Music)

(Pianino)

(Music ends)

I see some of you recognize this child.

Ba'zi birlaringizga bu tanish.

Agar u yana bir yil mashq qilsa, sakkiz yoshda endi

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

and he sounds like this.

(Music)

u bunday o'ynaydi.

(Pianino)

(Music ends)

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

U yana bir yil darslar olib mashq qiladi, va endi u to'qqiz yoshda.

(Music)

(Pianino)

(Music ends)

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

Keyin u yana bir yil mashq qiladi, u endi o'n yoshda.

( Pianino)

(Music)

(Music ends)

At that point, they usually give up.

Mana shu paytda ular odatda musiqa chalishni to'xtatadi.

(Laughter)

(Kulgi)

(Applause)

(Qarsaklar)

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

Agar siz yana bir yil kutganingizda,

mana buni tinglagan bo'lar edingiz:

(Music)

(Pianino)

(Music ends)

Now, what happened was not maybe what you thought,

Bu siz o'ylganingiz emas, unda birdan ishtiyoq

which is, he suddenly became passionate, engaged,

va qiziqish paydo bo'lgani yo'q, yoki yangi

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

o'qtuvchi olgani yo'q, yoki ulg'ayib qolgani va boshqa sabablar ham emas.

Aslida o'zgarish shundaki uning impluslari, yani urg'u berishi kamaydi

What actually happened was the impulses were reduced.

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

Birinch marta o'ynaganida

u har bir notaga urg'u berib chalgandi.

(Music)

(Pianino)

And the second, with an impulse every other note.

Ikkinchi martasida esa har ikki notaga bir urg'u beradi.

(Music)

(Pianino)

You can see it by looking at my head.

Buni mening boshimga qarab bilasiz.

(Laughter)

(Kulgi)

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

To'qqiz yashar, to'qqiz yashar esa

urg'uni har to'rtta notaga bir beradi.

(Pianino)

(Music)

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

Va o'n yashar esa har sakkiz notaga bir urg'u beradi.

(Pianino)

(Music)

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

Va 11-yashar esa butun qismni bir urg'u bilan o'ynaydi.

(Pianino)

(Music)

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

Men tanam bunday holatga qanday kelib qolganini bilmayman

(Laughter)

(Kulgi)

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

Men, birnichi, yelkamni keyin tanamni bir tomonga yonbo'stiraman deganim yo'q.

Yo'q, bu musiqa meni siljitdi,

No, the music pushed me over,

which is why I call it one-buttock playing.

men buni bir bo'ksada o'ynash deyman.

(Music)

(Pianino)

It can be the other buttock.

yoki boshqa tomonga yonboshlasa bo'ladi.

(Pianino)

(Music)

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

Bir kuni men yosh pianinochi bilan ishlab

ko'rsatayotgan taqdimotimni bir kishi kuzatib turgandi.

when I was working with a young pianist.

U Ohayo shtatidagi bir korporatsiyaning prezidenti edi.

He was the president of a corporation in Ohio.

Va men yosh pianinochiga shunday dedim

I was working with this young pianist, and said,

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

" sening muammong shundaki sen ikkala bo'ksang bilan o'ynayapsan.

Sen bir bo'ksada o'ynashing kerak"

You should be a one-buttock player."

I moved his body while he was playing.

Va u chalayotgan paytda men uning tanasini bir tomonga yonboshlatib siljitdim.

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

Va birdaniga musiqa yuksalib ketdi.Go'yo qanot chiqarganday.

The audience gasped when they heard the difference.

Tomoshobinlar farqni eshitgan zahoti hayajondan oh urishdi.

Then I got a letter from this gentleman.

Va keyin men o'sha kuzatib turgan kishidan xat oldim.

He said, "I was so moved.

U shunday deb yozdi: " Men shunchalik ta'sirlanib ketdimki,

men qaytgach butun kompaniyamni bir bo'ksali

I went back and I transformed my entire company

into a one-buttock company."

kompaniyaga o'zgartirdim."

(Laughter)

(Kulgi)

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

Men sizga aytmoqchi bo'lgan yana bir narsa bu Siz haqingizdadir.

menimcha bu yerda 1600 odam bor.

There are 1,600 people, I believe.

My estimation is that probably 45 of you

Menimcha orangizda 45 tangiz

are absolutely passionate about classical music.

mumtoz musiqani juda katta ishtiyoq bilan yoqtiradi.

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

Siz uni judayam yaxshi ko'rasiz. Radiongizni har doim mumtoz musiqa kanaliga buraysiz.

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

Va mashinangizda Disklar bor, va siz simfoniya konsertlariga borasiz.

your children are playing instruments.

Va sizning bolalaringiz ham musiqa asboblarini chaladi.

Siz hayotingizni mumtoz musiqasiz tasavvur qilolmaysiz.

You can't imagine your life without classical music.

That's the first group, quite small.

Bu birinchi guruh; juda kichik guruh.

Then there's another bigger group.

Keyin sal kattaroq guruh bor.

The people who don't mind classical music.

Bu odamlarga mumtoz musiqa xalaqit bermaydi.

(Laughter)

(Kulgi)

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

siz uzun kun tugab uyga kelgach,

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

vino ichib, oyog'ingizni ko'tarib o'tirganda

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

Vivaldi musiqasi o'ynab tursa hech narsa qilmaydi.

(Kulgi)

That's the second group.

Bu ikkinchi guruh.

Now comes the third group:

Yana uchinchi guruh bor.

people who never listen to classical music.

Bu odamlar hech qachon mumtoz musiqa tinglamaydi.

Unga sizning hayotingizda umuman o'rin yo'q.

It's just simply not part of your life.

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

siz uni aeroportlarda eshitishingiz mumkin, xuddi chekuvchilar yonida turib sigaret hidini hidlaganday- lekin

(Kulgi)

(Laughter)

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

balki atrofda chalinib turgan Aida marshidan

biroz tinglarsiz. Lekin undan tashqari siz hech qachon uni tinglamaysiz.

when you come into the hall.

But otherwise, you never hear it.

That's probably the largest group.

Bu balkim eng ko'pchlikdir.

Va yana bir kichik guruh bor.

And then there's a very small group.

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

Bu odamlar o'zlarida ohang yo'q deb o'ylaydi.

Juda ajablanarli ko'pchilik o'zlarini ohangga moyil emas deb o'ylaydi.

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

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

Aslida, men buni ko'p eshitaman: " Mening erimda musiqiy ohanglik yo'q" deyishadi.

(Laughter)

(Kulgi)

Actually, you cannot be tone-deaf.

Aslida sizda ohang bo'lmasligi mumkin emas. Heck him ohangsiz emas.

Nobody is tone-deaf.

Agar siz ohang farqiga bormaganingizda, mashinangizda

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

on your car, in a stick shift car.

qo'l bilan boshqarishni eplayolmagan bo'lardingiz.

You couldn't tell the difference between

Siz Texaslik va Rimlik odamlarni gapirishidan

somebody from Texas and somebody from Rome.

farqini aytib berolmagan bo'lardingiz.

Va telefonda, onangiz telefon qilsa

And the telephone. The telephone.

If your mother calls

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

va sizga "salom" desa, siz nafaqat uning kimligini bilasiz,

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

balki uning kayfiyatini ham sezasiz.

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

Sizning quloqlaringiz juda ajoyib. Hammaning quloqlari ajoyib.

So nobody is tone-deaf.

Shunday ekan, hammada ohangrabolik bor.

But I tell you what.

Lekin sizga shuni aytay. Meni bu mumtoz musiqani

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

with such a wide gulf between those who understand,

yaxshi ko'radigan va unga umuman

love and are passionate about classical music,

qiziqmaydigan odamlar soni orasidagi

katta farq meni tinch qo'ymaydi

and those who have no relationship to it at all.

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

va menda musiqiy ohangli quloq yo'q deydiganlar endi bu yerda yo'q.

Baribir bu uchta guruh orasidagi farq juda katta.

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,

Shuning uchun men bu xonadagi har bir odamni

uzoq yaqindagi, Aspenda turib bizni tomosha qilayotganlar

downstairs and in Aspen, and everybody else looking,

will come to love and understand classical music.

va hamma hammani mumtoz musiqani sevadigan qilaman.

Hozir mana shuning ustida ishlaymiz.

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

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

Agar e'tibor bergan bo'lsangiz, mening hayolimda umuman shubha yo'q

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

yuzimda bundan darak yo'q, to'g'rimi?

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

Mana shu liderning ya'ni boshlovchi odamning belgisidir.

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

ya'ni o'z orzusini odamlar amalga oshira olishiga bir zum ham

to realize whatever he's dreaming.

shubhalanmaslikdir.

Tasavvur qiling-a, Martin Luther King " Mening orzuim shuki.

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

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

Va albatta , odamlarning bunga tayyorligiga shubham bor" desa

( Kulgi)

(Laughter)

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

Xo'sh, endi Chopin yozgan musiqani chalay.

This is a beautiful prelude by Chopin.

Bu kompozitor Chopinning juda chiroyli musiqasi. Ba'zilaringiz bilarsiz.

Some of you will know it.

(Music)

( Musiqa)

Men sizga aytaymi bu yerda hozir nima bo'ldi?

Do you know what I think probably happened here?

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

Men chalish boshlaganda, siz " bu naqadar go'zal" deb o'yladingiz

( Musiqa)

(Music)

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

" Kelasi yil yozgi ta'tilda biz o'tgan

yilgi joyga bormasak yaxshi bo'lardi"

for our summer holidays next year."

( Kulgi)

(Laughter)

It's funny, isn't it?

Bu juda qiziq, shundaymi? Hayol qay tomonga

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

boshlab ketishini qarang.

Va albatta-

And of course --

( qarsaklar)

(Applause)

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

va albatta, agar musiqa uzun bo'lsa va siz kun bo'yi charchagan

you might actually drift off.

bo'lsangiz, aslida bu sizni uyquga eltishi mumkin.

Then your companion will dig you in the ribs

Va sherigingiz sizni turtib

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

" Uyg'onsangchi axir, bu madaniyat!" desa, siz o'zingizni undan ham yomon his qilasiz.

(Laughter)

Hech o'ylaganmisiz, siz mumtoz musiqa tinglaganda

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?

mizg'ib ketishingizga sabab sizda emas, balki bizda bo'lsachi?

Did anybody think while I was playing,

Men chalganimda, hech biringiz "u nega

"Why is he using so many impulses?"

shuncha ko'p urg'u berib o'ynayaptimi "deb o'yladingizmi?

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

Agar men buni boshim bilan ko'rsatganda, albatta e'tibor bergan bo'lardingiz.

(Music)

(Musiqa)

(Music ends)

Va endi umringiz oxirigacha, har safar mumtoz musiqa tinglaganda

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

siz bu umpuls, urg'ularni seza oladigan bo'lasiz.

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

Keling yaqindan ko'rib chiqaylik.

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

Bizda B (bi) ohangi bor, Bu Bi, keyingi nota C (si).

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.

Sining vazifasi Bini homush qilishdir. Qarang-a!

And it does, doesn't it?

(Kulgi)

(Laughter)

Composers know that.

Kompozitorlar buni biladi. Agar homush musiqa kerak bo'lsa

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

mana shu ikki notani o'ynashadi.

(musiqa)

(Music)

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

Aslida bu faqat Bi, 4 ta homush nota bilan.

(Laughter)

(Kulgi)

Now, it goes down to A.

Endi A (Ei) ga o'tamiz.Keyin G ( Dji) va keyin F (ef).

Now to G.

And then to F.

So we have B, A, G, F.

Endi bizda, Bi, Ei, Dji, Ef, va yana bu B,A,G, F bo'lsa

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

what do we expect next?

keyingisi nima bo'ladi? Oh, qaytadan harakat qilingchi.

(Music)

That might have been a fluke.

Let's try it again.

Qani TED Xori, Ooh.

(Music)

Oh, the TED choir.

(Laughter)

(Kulgi)

Ko'rdingizmi? hammada ohangrabolik bor.

And you notice nobody is tone-deaf, right?

Nobody is.

Bangladeshning har bir qishlog'idan tortib

You know, every village in Bangladesh

Xitoyning har bir burchagidagi odamlar- hamma hamma buni biladi:

and every hamlet in China -- everybody knows:

da, da, da, da -- da.

ta-ta-ta-ta.. Hamma keyin E ( i) kelishini biladi.

Everybody knows, who's expecting that E.

Endi Chopin E ( I) ga birdan yetib borgisi kelmaydi,

Chopin didn't want to reach the E there,

because what will have happened?

chunki aks holda u tugab qoladi. Huddi Gamletga o'xshab.

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

Gamletni eslaysizmi. 1 chi qism, 3 chi ko'rinishi:

Act One, scene three,

he finds out his uncle killed his father.

U tog'asi otasini o'ldirganini bilib qoladi.

Eslasangiz u borib tog'asini o'ldirmoqchi bo'ladi

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

yaqinlashadiyu, lekin yana orqaga qaytadi

va u yana yaqinlashib, uni o'ldirmoqchi bo'ladi, lekin yana qaytadi.

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

Va orqa qatorda o'tirgan tanqidchilar

The critics sitting in the back row there,

fikr bildirish kerak bo'lganda " Gamlet ishni orqaga qoldiradiganlardan" degan bo'lardi.

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

(Kulgi)

Yoki ular " Gamlet Edipus kasaliga uchragan" deydi.

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

No, otherwise the play would be over, stupid.

Yo'q, aks holda spektakl oxiriga yetgan bo'lardi.

(Laughter)

Shuning uchun Shekspir Gamlet spektakliga bu narsalarni qo'shgan.

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

Ophelia going mad, the play within the play,

Yani Ofelianing aqldan ozishi, spektakl ichida spektakl

and Yorick's skull, and the gravediggers.

Yorikning kallasi, go'r qazuvchilar,

That's in order to delay --

bularning bari o'ldirish sahnasini biroz ortga surib turish uchundir.

until Act Five, he can kill him.

Chopin ham shunday qiladi. Yani E notasiga yetay deganda

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."

u " qani bunga bir aylanib qaytib kelaychi " deydi

shuning uchun u yana takrorlaydi.

So he does it again.

Now, he gets excited.

(Music)

Endi u hayajonlanib ketadi- bu hayajon,

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

bu haqida qayg'urmay qo'ya qoling.

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

Endi u keskin Ef (F) notaga o'tadi, va oxiri E -i notasiga yeta boshlaydi,

lekin bu noto'g'ri nota, chunki u izlayotgani

but it's the wrong chord --

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

mana bu, va uning o'rniga u shuni chaladi...

and instead he does ...

biz buni aldovchi qadam deymiz, chunki u bizni aldaydi.

Now, we call that a deceptive cadence,

because it deceives us.

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

Men har doim talabalarimga shunday deyman: " Agar sizda aldovchi qadam bo'lsa,

qoshalringizni bir ko'tarib qo'ying, shunda hamma biladi "

raise your eyebrows, and everybody will know."

(Kulgi)

(Laughter)

(Applause)

(Qarsaklar)

Right.

Endi u E (i) notasiga keladi, lekin bu noto'g'ri nota.

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

Va u yana E ni chalib ko'radi. Lekin davomiylik yo'q.

Now, he tries E again.

That chord doesn't work.

U yana E ni chaladi. U yana to'g'ri kelmaydi.

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

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

Endi u yana E (i) notasini chalib ko'radi, yana to'g'ri kelmaydi.

And then finally ...

va oxiri..

mana bu birinchi qatordagi kishi " mmm..." deyishini ko'ring.

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

(Laughter)

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

U uzun kundan keyin uyiga kelib, mashinadan tushganida

huddi shunday yengil tortadi.

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

"Aah, I'm home."

" Ahh..Men uydaman". Chunki biz hammamiz uy nimaligi bilamiz.

Because we all know where home is.

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

Va mana bu yerda uzoqdan uyiga keladi.

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

Va men boshidan boshlab chalaman

va siz men bilan birga kuzating. B, Si, B, Si, B, Si, B-

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

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

dan A gacha, va G (Dji) va F (ef) gacha.

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

E ga boray boray deydi, lekin bormaydi, aks holda musiqa tugagan bo'lardi.

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

Va u yana B (Bi) ga qaytadi. Va hayajonlanadi, keyin keskin F (ef) ga buriladi. Keyin E ( i) ga boradi.

Goes to F-sharp. Goes to E.

Bu noto'g'ri nota. Noto'g'ri nota. Noto'g'ri nota.

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

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

va oxiri u E (i) ga keladi, huddi uyga kelganday.

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

Va siz hozir bir bo'ksada yonboshlab chalishimga guvoh bo'lasiz.

(Kulgi)

(Laughter)

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

Chunki men Bi va E notalarini birlashtirishim uchun

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

oradagi hamma notalar haqida alohida o'ylamasdan,

balki Bi dan E gacha bo'lgan uzun yo'lni o'ylashim kerak.

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

Bilasizmi, biz yaqinda Janubiy Afrikada bo'ldik, va Janubiy Afrikaga borganda

Mandela 27 yil qamoqda bo'lganini o'ylamay qo'ymaysiz.

without thinking of Mandela in jail for 27 years.

What was he thinking about? Lunch?

U nima haqida o'ylagan ekan shuncha payt? Tushlik haqidami?

No, he was thinking about the vision for South Africa

Yo'q, u Janubiy Afrikaning kelajagini orzu qilgan

and for human beings.

va odamzot hayotini yaxshilashni o'ylagan. Ana shu narsa-

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

uning orzulari va niyatlari uni maqsadiga yetkazdi. Bu o'sha uzun chiziqdir.

Like the bird who flies over the field

Huddi qushlar uzun dalalar ustidan uchganday

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

ular pastdagi devorlarga qaramaydi to'g'rimi?

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

Va siz hozir men bilan B dan E notasigacha davomiylikni kuzatasiz.

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

Boshlashimdan oldin , sizdan bir narsani so'rayman.

Would you think of somebody who you adore,

Siz juda yaxhshi ko'rgan, lekin endi orangizda bo'lmagan odam haqida o'ylang.

who's no longer there?

Sevimli buvingizmi, sevgan odamingizmi,

A beloved grandmother, a lover --

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

kimdir, siz butun qalbingiz bilan yaxshi ko'rgan inson

lekin u odam orangizda endi yo'q.

but that person is no longer with you.

Bring that person into your mind,

Ana shu insonni hayolingizga keltiring, va ayni paytda

and at the same time,

B dan E notasigacha bo'lgan chiziqni kuzating,

follow the line all the way from B to E,

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

va shunda siz Chopin aytgisi kelgan hamma narsani tinglay olasiz.

( Musiqa)

(Music)

(Music ends)

(Applause)

(Qarsaklar)

Siz balki hayron bo'lgandirsiz

Now, you may be wondering --

(Applause)

Nima uchun men qarsak chalayapman.

(Applause ends)

You may be wondering why I'm clapping.

Well, I did this at a school in Boston

Men Bostonda bir maktabda shunday qildim

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

taxminan 70 ta 12 yoshli yettinchi sinf o'quvchilariga.

I did exactly what I did with you,

Men ularga hozir siz bilan nima qilgan bo'lsam

and I explained the whole thing.

huddi shunday qildim, ularga aytdim, tushuntirdim.

Va oxiri ular hayajonlanib qarsak chalishdi.

At the end, they went crazy, clapping.

I was clapping. They were clapping.

Men ham qarsak chaldim. Ular ham qarsak chaldi.

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

Oxiri men aytdim: Men nima uchun qarsak chalayapman?"

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

Kickhina bolalarning biri esa : " Chunki biz sizni tingladik" deb javob berdi.

(Kulgi)

(Laughter)

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

O'ylab ko'ringa, 1600 odam, band odamlar

har hil ish bilan mashg'ul odamlar.

involved in all sorts of different things,

listening, understanding and being moved

Chopinning musiqasini, tinglab, uni tushinib ta'sirlandi.

by a piece by Chopin.

Now, that is something.

Bu e'tiborga sazovordir.

Am I sure that every single person followed that,

Har bir odam buni tushunib, ta'sirlanganiga

understood it, was moved by it?

ishonaman. Albatta men bunga aminman deb aytolmayman.

Of course, I can't be sure.

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

Lekin men sizga bir narsani aytaman.

Men Irlandiyada 10 yil oldin muammo paytlarida bo'lgandim

during the Troubles, 10 years ago,

and I was working with some Catholic and Protestant kids

va men Katolik va Protestant bolalari orasida

on conflict resolution.

qarama qarshilikni hal qilish ustida ishlayotgandim. Va men ham ular bilan huddi shunday qildim.

And I did this with them --

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

Bu xavfli, chunki ular ko'chada o'sgan bolalar.

Ertasiga bolarning biri menga kelib shunday dedi:

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,

" Bilasizmi, men hayotimda hech qachon mumtoz musiqa tinglamaganman,

but when you played that shopping piece ..."

lekin siz o'sha "shopping" ni chalganda... (shopping- bozor qilish degani. Bola Chopinni adashtirib Shopping deydi)

(Kulgi)

(Laughter)

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

u shunday dedi " mening akam o'tgan yili otib o'ldirilgan edi. Men u uchun hech yig'lamagandim

But last night, when you played that piece,

Lekin kecha siz o'sha musiqani chalganda

he was the one I was thinking about.

men u haqida o'ylayotgan edim.

And I felt the tears streaming down my face.

va men ko'z yoshlarimni to'xtata olmadim.

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

Bilasizmi, men akam uchun yig'lab, ancha yengil tortdim."

So I made up my mind at that moment

Va men shunda bir qarorga keldim

y'ani mumtoz musiqa hamma uchundir. Hamma uchun.

that classical music is for everybody.

Everybody.

Now, how would you walk --

Lekin qanday yashash mumkin, qanday yurish mumkin-

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

chunki mening musiqiy kasbim buni ko'rmaydi.

They say three percent of the population likes classical music.

Ular aytadiki, aholining 3 foizi mumtoz musiqani sevadi.

Agar biz ularning sonini 4 foizga ko'tarsak, muammolarimiz hal bo'lardi deyishadi.

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?

men esa aytaman, qanday qilib yurish mumkin, qanday qilib so'zlash mumkin,

agar aholining faqat 3 foizi mumtoz musiqani sevadi deb o'ylasangiz, qanday yashash mumkin?

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

if only we could move it to four percent."

Agar faqatgina 4 foizga ko'tarsak. Qanday qilib yurasiz?

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

Qanday qilib gapira olasiz? Agar hamma mumtoz musiqani

If you thought, "Everybody loves classical music --

sevadi, lekin ular o'zlari hali buni tushunib yetishgani yo'q

desangizchi, qanday qilib yashardingiz?

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

(Kulgi)

See, these are totally different worlds.

Qarang-a bu umuman boshqa dunyo.

Now, I had an amazing experience.

Men 45 yoshimda bir ajoyib narsa sodir bo'ldi.

I was 45 years old,

Men 20 yildan beri derejer bo'lgach, birdaniga shuni tushunib yetdim:

I'd been conducting for 20 years,

and I suddenly had a realization.

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

Orkestraning direjori umuman ovoz yoki musiqa chiqarmaydi.

My picture appears on the front of the CD --

Mening rasmim CD yuzida chiqadi-

(Kulgi)

(Laughter)

But the conductor doesn't make a sound.

-lekin dirijor umuman tovush chiqarmaydi.

He depends, for his power,

Uning bor kuchi boshqa odamlarni kuchlantirishdan iboratdir.

on his ability to make other people powerful.

Buni tushunib yetish mening hayotimni butunlay o'zgartirdi.

And that changed everything for me.

It was totally life-changing.

People in my orchestra said,

Mening orkestramdagi odamlar mendan

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

" Ben, senga nima bo'ldi?" deb so'rash boshladi. Menga ana shu narsa sodir bo'ldi.

Men shuni angladimki, mening ishim boshqa odamlarning qobiliyatlarini uyg'otishdan iborat.

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

Va albatta, men buni bajarayapmanmi yo'qmi bilgim keldi.

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

Buni qanday bilsa bo'ladi? Ularning ko'zlaridan.

How do you find out?

You look at their eyes.

Agar ularning ko'zlari porlab tursa, to'g'ri ish qilayotganingizni bilasiz.

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

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

Qarang, mana bu kishing ko'zlari bilan butun qishloqni yoritsa bo'ladi.

(Kulgi)

(Laughter)

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

Haqiqatdan, agar ko'zlari porlasa , demak siz to'g'ri ish qildingiz.

Agar ko'zlari charaqlamasa, o'zingizga savol bering.

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

Savol shuki:

And this is the question:

Men ularning ko'zlari charaqlamaydigan nima qilayapman?

who am I being

that my players' eyes are not shining?

We can do that with our children, too.

Va biz farzandlarimiz bilan ham shunday qilsak bo'ladi.

Who am I being,

mening farzandlarim ko'zlari porlamaydigan nima ish qilayapman?

that my children's eyes are not shining?

That's a totally different world.

Bu umuman boshqa dunyo.

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

Biz mana bir tog'dek ajoyib haftaning yakuniga kelayapmiz,

we're going back into the world.

va biz kundalik hayotlarimizga qaytamiz.

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

biz shuni so'rasak bo'ladi:

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

men kundalik hayotga qaytib, dunyoda kim bo'layapman?

And you know, I have a definition of success.

Bilasizmi, muvaffaqiyatni men qanday ta'riflayman.

For me, it's very simple.

Men uchun bu juda sodda. Bu boylik, mashhurlik yoki kuch emas.

It's not about wealth and fame and power.

Bu atrofimda porlab turgan ko'zlar sonidadir.

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

So now, I have one last thought,

Va mening oxirgi bir o'yim shuki,

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

biz aytgan so'zlarimiz ahamiyati katta.

Og'zimizdan chiqqan har bir so'z narsalarni o'zgartira oladi.

the words that come out of our mouth.

Men buni Osventsim (Aushvitz) fashist qamoq lageridan qutulib chiqqan

I learned this from a woman who survived Auschwitz,

one of the rare survivors.

tirik qolgan ozchilik odamlar orasidagi bir ayoldan o'rgandim.

She went to Auschwitz when she was 15 years old.

U 15 yoshida Aushvitzga boradi,

And ...

uning ukasi esa 8 yoshli edi, ota-onalari yo'qolgan edi.

And her brother was eight,

and the parents were lost.

And she told me this, she said,

Va u menga aytdiki, " Biz Aushvitzga poezdda

"We were in the train going to Auschwitz,

ketayotganda, ukamning oyoq kiyimi

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

yo'qligini ko'rib qoldim, va unga

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

"Shunchalik ham ahmoq bo'lasanmi, narsalaringa

for goodness' sake?'"

qarab yurolmaysanmi, voy-ey?" dedim,

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

huddi opa ukasiga gapiradiganday.

Afsuski, bu unga aytgan oxirgi so'zlari edi

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

chunki u ukasini qaytib hech ko'rmadi. Ukasi tirik qolmadi.

because she never saw him again.

He did not survive.

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

Va u Aushvitzdan qutulib chiqqanda, shunday ont ichdi.

She told me this.

U menga aytdi : Aushvitzdan hayotga qaytganda

She said, "I walked out of Auschwitz into life

men ont ichdim. Ont shuki, men hech qachon so'nggi

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."

so'z bo'lolmaydigan narsani aytmayman"

Biz shunday qila olamizmi? Yo'q. Biz o'zimizni va

Now, can we do that? No.

And we'll make ourselves wrong and others wrong.

boshqalarni ham noto'g'ri qilamiz. Lekin bu nazarda tutadigan ehtimol, imkoniyatdir. Rahmat.

But it is a possibility to live into.

Thank you.

(Applause)

(Qarsaklar)

Shining eyes.

Charaqlagan ko'zlar, porlagan ko'zlar.

(Applause)

Shining eyes.

(Applause)

Thank you, thank you.

Rahmat sizga, Rahmat.

( Musiqa)