TED2008
Benjamin Zander: The transformative power of classical music
Benjamin Zander om musik og lidenskab
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Benjamin Zander har to smittende lidenskaber: Klassisk musik og at hjælpe os alle til at realisere vores ubrugte kærlighed til den - og derigennem vores ubrugte kærlighed til alle nye muligheder, nye oplevelser, nye forbindelser.
Benjamin Zander - Conductor
A leading interpreter of Mahler and Beethoven, Benjamin Zander is known for his charisma and unyielding energy -- and for his brilliant pre-concert talks. Full bio
A leading interpreter of Mahler and Beethoven, Benjamin Zander is known for his charisma and unyielding energy -- and for his brilliant pre-concert talks. Full bio
Double-click the English transcript below to play the video.
00:12
Probably a lot of you know the story of the two salesmen
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Der er sikkert mange af jer, som kender historien om de to sælgere
00:15
who went down to Africa in the 1900s.
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der tog til Afrika i 1900-tallet.
00:18
They were sent down to find if there was any opportunity
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De blev sendt afsted for at undersøge mulighederne
00:20
for selling shoes,
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for at sælge sko.
00:22
and they wrote telegrams back to Manchester.
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Og de skrev telegrammer tilbage til Manchester.
00:25
And one of them wrote, "Situation hopeless. Stop.
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En af dem skrev: "Situation håbløs. Stop.
00:29
They don't wear shoes."
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De går ikke med sko."
00:30
And the other one wrote, "Glorious opportunity.
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Og den anden skrev: "Oplagt mulighed.
00:33
They don't have any shoes yet."
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De har ingen sko endnu."
00:35
(Laughter)
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(Latter)
00:36
Now, there's a similar situation in the classical music world,
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Indenfor klassisk musik har vi en lignende situation
00:40
because there are some people who think
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fordi nogle folk mener
00:41
that classical music is dying.
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at klassisk musik er ved at dø.
00:45
And there are some of us who think you ain't seen nothing yet.
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Og nogle af os siger: "I kan bare vente jer!"
00:48
And rather than go into statistics and trends,
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I stedet for at fortælle om statistikker og tendenser
00:52
and tell you about all the orchestras that are closing,
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og fortælle jer om alle de orkestre, som er ved at lukke
00:54
and the record companies that are folding,
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og de pladeselskaber, der giver op
00:57
I thought we should do an experiment tonight -- an experiment.
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syntes jeg, vi skulle lave et eksperiment her til aften.
01:01
Actually, it's not really an experiment, because I know the outcome.
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Faktisk er det ikke et rigtigt eksperiment, fordi jeg kender udfaldet.
01:06
But it's like an experiment. Now, before we --
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Men det minder om et eksperiment. Okay, før vi -
01:08
(Laughter)
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(Latter)
01:12
-- before we start, I need to do two things.
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- før vi starter, må jeg bede jer om to ting:
01:14
One is I want to remind you of what a seven-year-old child
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For det første vil jeg bede jer huske på, hvordan en syv-årig
01:19
sounds like when he plays the piano.
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lyder, når han spiller klaver.
01:20
Maybe you have this child at home.
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Måske har I sådan et barn derhjemme.
01:23
He sounds something like this.
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Han lyder cirka sådan her:
01:24
(Piano)
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(Klaver)
01:44
I see some of you recognize this child.
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Jeg kan se, nogen af jer genkender barnet.
01:46
Now, if he practices for a year and takes lessons, he's now eight
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Hvis han nu øver sig i et år og får undervisning, er han nu otte
01:51
and he sounds like this.
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og lyder sådan her:
01:52
(Piano)
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(Klaver)
01:59
Then he practices for another year and takes lessons -- now he's nine.
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Så øver han sig i endnu et år og får undervisning; han er nu ni:
02:02
(Piano)
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(Klaver)
02:08
Then he practices for another and takes lessons -- now he's 10.
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Så øver han sig igen et år og får undervisning; han er nu ti:
02:11
(Piano)
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02:18
At that point, they usually give up.
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På dette tidspunkt giver de som regel op.
02:19
(Laughter)
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(Latter)
02:21
(Applause)
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(Bifald)
02:23
Now, if you'd waited, if you'd waited for one more year,
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Hvis I havde ventet et år mere
02:26
you would have heard this.
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ville I have hørt dette:
02:27
(Piano)
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02:36
Now, what happened was not maybe what you thought,
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Det, som skete, var ikke, hvad I måske tror
02:39
which is, he suddenly became passionate, engaged,
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nemlig, at han pludselig blev lidenskabelig, engageret
02:42
involved, got a new teacher, he hit puberty, or whatever it is.
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involverede sig, fik en ny lærer, kom i puberteten eller hvad det nu er.
02:45
What actually happened was the impulses were reduced.
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Der skete faktisk det, at impulserne blev reducerede.
02:50
You see, the first time, he was playing
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Ser I, første gang spillede han
02:51
with an impulse on every note.
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med en impuls på hver tone.
02:54
(Piano)
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(Klaver)
02:56
And the second, with an impulse every other note.
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Og anden gang med en impuls på hveranden tone.
02:59
(Piano)
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(Klaver)
03:01
You can see it by looking at my head.
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I kan se det ved at kigge på mit hoved.
03:03
(Laughter)
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(Latter)
03:04
The nine-year-old
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Den ni-årige
03:06
put an impulse on every four notes.
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lagde en impuls på hver fjerde tone.
03:07
(Piano)
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(Klaver)
03:10
And the 10-year-old, on every eight notes.
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Og den ti-årige på hver ottende tone.
03:11
(Piano)
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(Klaver)
03:14
And the 11-year-old, one impulse on the whole phrase.
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Og den 11-årige en impuls for hele frasen.
03:16
(Piano)
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(Klaver)
03:20
I know -- I don't know how we got into this position.
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Jeg ved ikke rigtig, hvordan jeg endte i denne position.
03:22
(Laughter)
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(Latter)
03:25
I didn't say, "I'm going to move my shoulder over, move my body."
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Jeg sagde ikke, at jeg ville flytte min skulder, flytte min krop.
03:27
No, the music pushed me over,
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Nej, musikken skubbede til mig,
03:29
which is why I call it one-buttock playing.
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jeg kalder det for en-balle musik.
03:31
(Piano)
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(Klaver)
03:33
It can be the other buttock.
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Det kan være den anden balle.
03:34
(Piano)
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(Klaver)
03:38
You know, a gentleman was once watching a presentation I was doing,
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En herre overværede engang en præsentation, jeg lavede
03:41
when I was working with a young pianist.
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hvor jeg arbejde med en ung pianist.
03:43
He was the president of a corporation in Ohio.
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Han var direktør for en virksomhed i Ohio.
03:45
And I was working with this young pianist
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Jeg arbejdede med den unge pianist
03:48
and I said, "The trouble with you is you're a two-buttock player.
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og sagde: "Dit problem er, at du er en to-balle musiker.
03:50
You should be a one-buttock player."
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Du burde være en en-balle musiker."
03:52
And I moved his body like that, while he was playing.
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Jeg bevægede hans krop sådan her, mens han spillede.
03:54
And suddenly, the music took off. It took flight.
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Og pludselig løftede musikken sig. Den fik vinger.
03:57
There was a gasp in the audience when they heard the difference.
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Der gik et suk igennem tilhørerne, da de hørte forskellen.
03:59
And then I got a letter from this gentleman.
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Bagefter fik jeg et brev fra denne herre.
04:01
He said, "I was so moved.
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Han skrev: "Jeg blev dybt berørt.
04:02
I went back and I transformed my entire company
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Jeg tog tilbage og forandrede hele mit firma
04:05
into a one-buttock company."
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til et en-balle firma."
04:06
(Laughter)
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(Latter)
04:10
Now, the other thing I wanted to do is to tell you about you.
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Den anden ting jeg ville fortælle om, handler om jer.
04:12
There are 1,600 people, I believe.
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Der er cirka 1600 mennesker.
04:15
My estimation is that probably 45 of you
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Jeg vil tro, at omkring 45 af jer
04:18
are absolutely passionate about classical music.
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er meget lidenskabelige omkring klassisk musik.
04:21
You adore classical music. Your FM is always on that classical dial.
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I elsker klassisk musik. Radioen står altid på klassisk.
04:26
And you have CDs in your car, and you go to the symphony.
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I har CD'er i bilen og I går til koncerter.
04:29
And your children are playing instruments.
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Jeres børn spiller et instrument.
04:30
You can't imagine your life without classical music.
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I kan ikke forestille jer et liv uden klassisk musik.
04:33
That's the first group; it's quite a small group.
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Det er den første gruppe - en ret lille gruppe.
04:35
Then there's another group, bigger group.
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Så er der en anden, større gruppe:
04:37
These are the people who don't mind classical music.
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Det er de folk, som ikke har noget imod klassisk musik
04:39
(Laughter)
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(Latter)
04:40
You know, you've come home from a long day,
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I kommer hjem efter en lang dag
04:42
and you take a glass of wine, and you put your feet up.
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tager jer et glas vin og smækker benene op.
04:45
A little Vivaldi in the background doesn't do any harm.
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Lidt Vivaldi i baggrunden gør ikke nogen skade.
04:47
(Laughter)
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(Latter)
04:48
That's the second group.
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Det er den anden gruppe.
04:49
Now comes the third group.
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Så kommer vi til den tredie gruppe.
04:50
These are the people who never listen to classical music.
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Det er de folk, som aldrig lytter til klassisk musik.
04:52
It's just simply not part of your life.
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Det er simpelthen ikke en del af jeres liv.
04:55
You might hear it like second-hand smoke at the airport, but --
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I hører det måske ligesom passiv rygning i lufthavnen, men -
04:57
(Laughter)
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(Latter)
04:59
-- and maybe a little bit of a march from "Aida"
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- og måske et lille smule af en march fra Aida
05:00
when you come into the hall. But otherwise, you never hear it.
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når I kommer til indgangshallen. Men ellers hører I det aldrig.
05:04
That's probably the largest group of all.
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Det er sikkert den største gruppe.
05:05
And then there's a very small group.
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Og så er der en meget lille gruppe.
05:07
These are the people who think they're tone-deaf.
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Det er de mennesker, der tror, de er tonedøve.
05:10
Amazing number of people think they're tone-deaf.
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Et utroligt antal mennesker tror, de er tonedøve.
05:13
Actually, I hear a lot, "My husband is tone-deaf."
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Faktisk hører jeg tit: "Min mand er tonedøv."
05:15
(Laughter)
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(Latter)
05:16
Actually, you cannot be tone-deaf. Nobody is tone-deaf.
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Faktisk kan du ikke være tonedøv. Ingen er tonedøve.
05:19
If you were tone-deaf, you couldn't change the gears
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Hvis du var tonedøv, kunne du ikke skifte gear
05:22
on your car, in a stick shift car.
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i bilen - med manuelt gearskifte.
05:24
You couldn't tell the difference between
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Du kunne ikke kende forskel mellem
05:26
somebody from Texas and somebody from Rome.
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en fra Texas og en der kommer fra Rom.
05:28
And the telephone. The telephone. If your mother calls
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Og telefonen - hvis din mor ringer dig op
05:33
on the miserable telephone, she calls and says, "Hello,"
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på den forfærdelige telefon og siger: "Hallo"
05:35
you not only know who it is, you know what mood she's in.
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ved du ikke blot, hvem det er. Du ved også hvilket humør, hun er i.
05:39
You have a fantastic ear. Everybody has a fantastic ear.
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Du har et fantastisk øre. Alle har et fantastisk øre.
05:42
So nobody is tone-deaf.
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Så ingen er tonedøve.
05:44
But I tell you what. It doesn't work for me to go on with this thing,
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Men det virker ikke for mig at gå videre med dette
05:48
with such a wide gulf between those who understand,
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med så stort et gab mellem de, der forstår
05:52
love and [are] passionate about classical music,
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elsker og er lidenskabelige omkring klassisk musik
05:54
and those who have no relationship to it at all.
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og de som overhovedet ikke har noget forhold til det.
05:57
The tone-deaf people, they're no longer here.
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De tonedøve mennesker er her ikke længere.
05:59
But even between those three categories, it's too wide a gulf.
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Men selv mellem disse tre kategorier er det for stort et gab.
06:03
So I'm not going to go on until every single person in this room,
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Så jeg går ikke videre, før hver eneste person i salen
06:07
downstairs and in Aspen, and everybody else looking,
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nedenunder og i Aspen, og alle der kigger med
06:13
will come to love and understand classical music.
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har lært at elske og forstå klassisk musik.
06:16
So that's what we're going to do.
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Det skal vi så til nu.
06:19
Now, you notice that there is not the slightest doubt in my mind
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I bemærker, at jeg ikke er den mindste smule i tvivl om
06:24
that this is going to work if you look at my face, right?
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at det kommer til at virke, når I ser på mit ansigt, ikke?
06:27
It's one of the characteristics of a leader that he not doubt
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Det er et af kendetegnene ved en leder, at han ikke tvivler
06:31
for one moment the capacity of the people he's leading
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et sekund på evnerne hos de folk, han leder
06:35
to realize whatever he's dreaming.
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til realisere, hvad han end drømmer.
06:37
Imagine if Martin Luther King had said, "I have a dream.
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Forestil jer, at Martin Luther King havde sagt: "Jeg har en drøm.
06:40
Of course, I'm not sure they'll be up to it."
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Men jeg er selvfølgelig ikke sikker på, de kan klare det."
06:42
(Laughter)
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(Latter)
06:46
All right. So I'm going to take a piece of Chopin.
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Okay. Jeg tager et af Chopins stykker.
06:48
This is a beautiful prelude by Chopin. Some of you will know it.
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Det er et smukt præludie af Chopin, som nogle af jer måske kender.
06:54
(Music)
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07:22
Do you know what I think probably happened in this room?
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Ved I, hvad jeg tror skete her i salen?
07:25
When I started, you thought, "How beautiful that sounds."
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Da jeg startede, tænkte I: "Det lyder smukt."
07:27
(Music)
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(Musik)
07:41
"I don't think we should go to the same place
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"Jeg tror ikke, vi skal tage det samme sted hen
07:42
for our summer holidays next year."
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på sommerferie til næste år."
07:44
(Laughter)
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(Latter)
07:47
It's funny, isn't it? It's funny how those thoughts
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Det er sjovt, ikke? Det er sjovt, hvordan de tanker
07:50
kind of waft into your head.
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ligesom driver ind i dit hoved.
07:53
And of course --
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Og selvfølgelig -
07:54
(Applause)
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(Bifald)
07:57
-- and of course, if the piece is long and you've had a long day,
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- hvis stykket er langt og du har haft en lang dag
08:00
you might actually drift off.
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falder du måske ligefrem i søvn.
08:01
Then your companion will dig you in the ribs
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Så skubber din sidemand dig i siden
08:03
and say, "Wake up! It's culture!" And then you feel even worse.
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og siger: "Vågn op! Det er kultur!" Og så har du det endnu værre.
08:07
But has it ever occurred to you that the reason you feel sleepy
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Men er det nogensinde faldet dig ind, at grunden til du føler dig søvnig
08:11
in classical music is not because of you, but because of us?
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ved klassisk musik er ikke på grund af dig, men på grund af os?
08:13
Did anybody think while I was playing,
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Var der nogen, mens jeg spillede, som tænkte:
08:15
"Why is he using so many impulses?"
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"Hvorfor bruger han så mange impulser?"
08:17
If I'd done this with my head you certainly would have thought it.
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Hvis jeg havde gjort sådan her med hovedet, ville I helt sikkert.
08:21
(Music)
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(Musik)
08:26
And for the rest of your life, every time you hear classical music,
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I resten af dit liv - hver gang du hører klassisk musik
08:30
you'll always be able to know if you hear those impulses.
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- vil du vide, om du hører de impulser.
08:34
So let's see what's really going on here.
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Lad os se på, hvad der virkelig foregår.
08:36
We have a B. This is a B. The next note is a C.
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Vi har et B. Det her er et B. Den næste tone er C.
08:41
And the job of the C is to make the B sad. And it does, doesn't it?
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Og C'ets opgave er at gøre B'et trist. Det gør det faktisk, ikke?
08:44
(Laughter)
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(Latter)
08:47
Composers know that. If they want sad music,
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Det ved komponister. Hvis de vil have trist musik
08:49
they just play those two notes.
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spiller de bare de to toner.
08:50
(Music)
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(Musik)
08:55
But basically, it's just a B, with four sads.
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I bund og grund er det bare et B med fire trister.
08:57
(Laughter)
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(Latter)
09:00
Now, it goes down to A. Now to G. And then to F.
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Nu går det ned til A. Nu til G og så til F.
09:05
So we have B, A, G, F. And if we have B, A, G, F,
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Så vi har B, A, G, F. Og når vi har B, A, G, F
09:10
what do we expect next? Oh, that might have been a fluke.
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hvad forventer vi så kommer? Åh, det var vist bare held.
09:16
Let's try it again. Ooh, the TED choir.
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Lad os prøve igen. Åhh - TED koret.
09:22
(Laughter)
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(Latter)
09:25
And you notice nobody is tone-deaf, right? Nobody is.
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Læg mærke til, at ingen er tonedøve, ikke? Ingen.
09:29
You know, every village in Bangladesh
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Ser I, hver landsby i Bangladesh
09:31
and every hamlet in China -- everybody knows:
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og hver lille flække i Kina. Alle ved at:
09:37
da, da, da, da -- da. Everybody knows, who's expecting that E.
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da, da, da, da - da. Alle ved, at de kan forvente det E.
09:40
Now, Chopin didn't want to reach the E there,
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Men Chopin ønskede ikke at ramme E'et der
09:44
because what will have happened? It will be over, like Hamlet.
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for hvad ville der så være sket? Det ville være slut. Ligesom Hamlet.
09:46
Do you remember Hamlet? Act one, scene three,
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Kan I huske Hamlet? 1. akt, 3. scene:
09:49
he finds out that his uncle killed his father.
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Han finder ud af, at hans onkel dræbte hans far.
09:50
You remember, he keeps on going up to his uncle
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I husker nok, at han bliver ved med at gå hen til sin onkel
09:52
and almost killing him. And then he backs away,
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og næsten dræbe ham. Så trækker han sig tilbage
09:53
and he goes up to him again and almost kills him.
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og han går hen til ham igen og slår ham næsten ihjel.
09:56
And the critics, all of whom are sitting in the back row there,
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Alle kritikerne, der sidder nede på bageste række
09:58
they have to have an opinion, so they say, "Hamlet is a procrastinator."
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er nødt til at have en mening, og de siger: "Hamlet kan ikke tage sig sammen."
10:01
(Laughter)
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(Latter)
10:02
Or they say, "Hamlet has an Oedipus complex."
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Eller de siger: "Hamlet har et Ødipus-kompleks."
10:05
No, otherwise the play would be over, stupid.
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Nej, dit fjols - ellers ville stykket jo være slut.
10:08
That's why Shakespeare puts all that stuff in Hamlet --
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Det er derfor Shakespeare skriver alt det i Hamlet.
10:11
you know, Ophelia going mad and the play within the play,
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Ofelia der bliver vanvittig, skuespillet inde i skuespillet
10:13
and Yorick's skull, and the gravediggers.
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og Yoricks kranium og graverne.
10:15
That's in order to delay -- until act five, he can kill him.
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Det er for at forsinke - indtil 5. akt hvor han kan dræbe ham.
10:18
It's the same with the Chopin. He's just about to reach the E,
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Det er det samme med Chopin. Han er lige ved at nå E'et
10:23
and he says, "Oops, better go back up and do it again."
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og så siger han: "Hov, jeg må hellere lige gå op og gøre det igen."
10:25
So he does it again.
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Så gør han det igen.
10:29
Now, he gets excited. (Piano) That's excitement,
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Nu bliver han ophidset - det her er ophidselse
10:32
you don't have to worry about it.
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det behøver I ikke bekymre jer om.
10:34
Now, he gets to F-sharp, and finally he goes down to E,
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Nu kommer han til Fis og endelig ned til E
10:36
but it's the wrong chord -- because the chord he's looking for
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men det er den forkerte akkord. Fordi akkorden han søger
10:40
is this one, (Piano) and instead he does ...
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er denne her og i stedet gør han...
10:43
(Piano) Now, we call that a deceptive cadence, because it deceives us.
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Det kalder vi en skuffende kadence, fordi den bedrager os.
10:48
I always tell my students, "If you have a deceptive cadence,
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Jeg siger altid til mine elever: "Hvis du har en skuffende kadence
10:50
be sure to raise your eyebrows. Then everybody will know."
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så husk at hæve øjenbrynet, så alle kan se det."
10:52
(Laughter)
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(Latter)
10:55
(Applause)
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(Bifald)
10:59
Right. So, he gets to E, but it's the wrong chord.
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Okay. Så han kommer til E, men det er den forkerte akkord.
11:01
Now, he tries E again. That chord doesn't work.
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Han prøver E igen. Den akkord duer ikke.
11:04
Now, he tries the E again. That chord doesn't work.
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Han prøver E'et igen. Den akkord duer ikke.
11:07
Now, he tries E again, and that doesn't work.
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Han prøver E igen og det virker ikke.
11:10
And then finally ... (Piano)
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Og til sidst...
11:13
There was a gentleman in the front row who went, "Mmm."
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Der var en herre på forreste række, som sagde: "Mmm..."
11:18
It's the same gesture he makes when he comes home
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Det er den samme bevægelse, som når han kommer hjem
11:20
after a long day, turns off the key in his car and says,
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efter en lang dag - slukker for bilen og siger:
11:24
"Aah, I'm home." Because we all know where home is.
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"Ahh, jeg er hjemme." Fordi vi ved, hvor hjem er.
11:27
So this is a piece which goes from away to home.
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Det her er altså et stykke, som tager hjemmefra.
11:30
And I'm going to play it all the way through
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Og jeg spiller det hele igennem
11:32
and you're going to follow. B, C, B, C, B, C, B --
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og I følger det. B, C, B, C, B, C, B -
11:35
down to A, down to G, down to F.
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ned til A, ned til G, ned til F.
11:37
Almost goes to E, but otherwise the play would be over.
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Går næsten til E, men så ville stykket være forbi.
11:40
He goes back up to B. He gets very excited. Goes to F-sharp. Goes to E.
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Han går tilbage til B. Han bliver meget ophidset. Går til Fis. Går til E.
11:42
It's the wrong chord. It's the wrong chord. It's the wrong chord.
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Det er den forkerte akkord. Den forkerte akkord. Den forkerte akkord.
11:45
And finally goes to E, and it's home.
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Og til sidst til E, og det er hjem.
11:47
And what you're going to see is one-buttock playing.
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I kommer til at se en-balle spillen.
11:50
(Laughter)
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(Latter)
11:53
Because for me, to join the B to the E,
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Fordi for at jeg kan forbinde B'et til E'et
11:56
I have to stop thinking about every single note along the way,
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bliver jeg nødt til at lade være med at tænke på hver enkelt tone
12:01
and start thinking about the long, long line from B to E.
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og begynde at tænke på den lange, lange linie fra B til E.
12:07
You know, we were just in South Africa, and you can't go to South Africa
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Vi har lige været i Sydafrika, og man kan ikke tage til Sydafrika
12:11
without thinking of Mandela in jail for 27 years.
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uden at tænke på Mandela i fængsel i 27 år.
12:15
What was he thinking about? Lunch?
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Hvad tænkte han på? Frokost?
12:17
No, he was thinking about the vision for South Africa
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Nej, han tænkte på sin vision for Sydafrika
12:21
and for human beings. That's what kept --
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og for menneskene. Det var det, der holdt -
12:22
this is about vision. This is about the long line.
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det her handler om visionen; det handler om den lange linie.
12:25
Like the bird who flies over the field
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Som fuglen der flyver over marken
12:27
and doesn't care about the fences underneath, all right?
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og er ligeglad med skellene under sig, ikke?
12:31
So now, you're going to follow the line all the way from B to E.
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Så nu følger I linien hele vejen fra B til E.
12:34
And I've one last request before I play this piece all the way through.
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Jeg har en sidste anmodning, inden jeg spiller stykket igennem:
12:38
Would you think of somebody who you adore, who's no longer there?
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Tænk venligst på en person du beundrer, som ikke er her længere.
12:43
A beloved grandmother, a lover --
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En elsket bedstemor, en elsker
12:47
somebody in your life who you love with all your heart,
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en person i dit liv, som du elsker med hele dit hjerte
12:50
but that person is no longer with you.
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men den person er ikke længere hos dig.
12:54
Bring that person into your mind, and at the same time
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Hold den person i tankerne samtidig med
12:57
follow the line all the way from B to E,
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at du følger linien hele vejen fra B til E
13:01
and you'll hear everything that Chopin had to say.
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og så vil du høre alt, Chopin havde at sige.
13:09
(Music)
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(Musik)
15:00
(Applause)
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(Bifald)
15:07
Now, you may be wondering,
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Det kan være I undrer jer over -
15:12
you may be wondering why I'm clapping.
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det kan være I undrer jer over, hvorfor jeg klapper.
15:18
Well, I did this at a school in Boston
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Altså, jeg lavede det her på en skole i Bostonn
15:20
with about 70 seventh graders, 12-year-olds.
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for cirka 70 7. klasses elever - 12-årige.
15:24
And I did exactly what I did with you, and I told them
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Jeg gjorde præcist som med jer og fortalte dem
15:26
and explained them and the whole thing.
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og forklarede dem det hele.
15:27
And at the end, they went crazy, clapping. They were clapping.
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Til allersidst klappede de som besatte. De klappede.
15:30
I was clapping. They were clapping.
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Jeg klappede. De klappede.
15:31
Finally, I said, "Why am I clapping?"
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Til sidst sagde jeg: "Hvorfor klapper jeg?"
15:33
And one of the little kids said, "Because we were listening."
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Og et af børnene svarede: "Fordi vi lyttede efter."
15:34
(Laughter)
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(Latter)
15:40
Think of it. 1,600 people, busy people,
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Tænk engang. 1600 mennesker, travle mennesker
15:42
involved in all sorts of different things,
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som arbejder med alt muligt forskelligt.
15:45
listening, understanding and being moved by a piece by Chopin.
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Som lytter, forstår og bliver bevæget af et stykke af Chopin.
15:51
Now that is something.
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Det er da noget.
15:52
Now, am I sure that every single person followed that,
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Er jeg nu sikker på, at hver enkelt person kunne følge det
15:55
understood it, was moved by it? Of course, I can't be sure.
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forstod det, blev bevæget af det? Selvfølgelig kan jeg ikke være sikker.
15:58
But I tell you what happened to me.
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Men jeg skal fortælle, hvad der skete for mig.
15:59
I was in Ireland during the Troubles, 10 years ago,
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Jeg var i Irland under urolighederne for 10 år siden
16:02
and I was working with some Catholic and Protestant kids
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og her arbejdede jeg med katolske og protestantiske børn
16:05
on conflict resolution. And I did this with them --
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på konflikthåndtering. Og jeg lavede det her med dem.
16:10
a risky thing to do, because they were street kids.
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Lidt risikabelt at gøre, da de var gadebørn.
16:12
And one of them came to me the next morning and he said,
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En af dem kom hen til mig næste morgen og sagde:
16:16
"You know, I've never listened to classical music in my life,
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"Jeg har faktisk aldrig lyttet til klassisk musik før
16:19
but when you played that shopping piece ... "
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men da du spillede det dersens shopping stykke..."
16:20
(Laughter)
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(Latter)
16:23
He said, "My brother was shot last year and I didn't cry for him.
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Han sagde: "Da min bror blev skudt sidste år, græd jeg ikke over ham.
16:28
But last night, when you played that piece,
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Men da du spillede det stykke i går
16:29
he was the one I was thinking about.
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var det ham, jeg tænkte på.
16:32
And I felt the tears streaming down my face.
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Og jeg kunne mærke tårerne løbe ned ad kinderne.
16:34
And you know, it felt really good to cry for my brother."
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Ved du hvad? Det føltes rigtig godt at græde over min bror."
16:37
So I made up my mind at that moment
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I det øjeblik besluttede jeg mig for
16:39
that classical music is for everybody. Everybody.
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at klassisk musik er for alle. Alle.
16:47
Now, how would you walk -- because you know,
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Hvordan ville du gå - for ser I
16:49
my profession, the music profession doesn't see it that way.
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min profession, musik professionen ser det ikke på den måde.
16:53
They say three percent of the population likes classical music.
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De siger, at tre procent af befolkningen kan lide klassisk musik.
16:56
If only we could move it to four percent, our problems would be over.
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Hvis bare vi kunne komme på fire procent, ville vore problemer være ovre.
17:01
I say, "How would you walk? How would you talk? How would you be?
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Jeg siger: "Hvordan ville du gå? Hvordan ville du tale? Hvordan ville du være
17:04
If you thought, three percent of the population likes classical music,
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hvis du mente, at tre procent af befolkningen kan lide klassisk musik?
17:08
if only we could move it to four percent. How would you walk?
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Hvis bare vi kunne komme på fire procent. Hvordan ville du gå?
17:10
How would you talk? How would you be?
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Hvordan ville du tale? Hvordan ville du være
17:12
If you thought, everybody loves classical music --
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hvis du mente, at alle elsker klassisk musik -
17:14
they just haven't found out about it yet."
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de har bare ikke opdaget det endnu."
17:16
(Laughter)
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(Latter)
17:17
See, these are totally different worlds.
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Det er to vidt forskellige verdener.
17:20
Now, I had an amazing experience. I was 45 years old,
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Jeg havde en fantastisk oplevelse. Jeg var 45 år
17:23
I'd been conducting for 20 years, and I suddenly had a realization.
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jeg havde dirigeret i 20 år, og jeg indså pludselig at:
17:29
The conductor of an orchestra doesn't make a sound.
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Orkestrets dirigent laver ikke en eneste lyd.
17:32
My picture appears on the front of the CD --
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Det er mit billede på forsiden af CD'en -
17:34
(Laughter)
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(Latter)
17:37
-- but the conductor doesn't make a sound.
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- men dirigenten laver ikke en eneste lyd.
17:40
He depends, for his power, on his ability to make other people powerful.
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Han får sin kraft gennem sin evne til at gøre andre kraftfulde.
17:44
And that changed everything for me. It was totally life changing.
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Og det ændrede alt for mig. Det var en total ændring af mit liv.
17:49
People in my orchestra came up to me and said,
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Folk fra mit orkester kom hen til mig og sagde:
17:50
"Ben, what happened?" That's what happened.
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"Ben, hvad er der sket?" Det er det, der skete.
17:52
I realized my job was to awaken possibility in other people.
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Jeg indså, at min opgave var at vække mulighederne i andre mennesker.
17:57
And of course, I wanted to know whether I was doing that.
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Og selvfølgelig ville jeg gerne vide om det var det, jeg gjorde.
18:00
And you know how you find out? You look at their eyes.
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Ved I hvordan man finder ud af det? Man ser på deres øjne.
18:03
If their eyes are shining, you know you're doing it.
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Hvis deres øjne stråler, ved du, at du gør det.
18:08
You could light up a village with this guy's eyes.
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Du kunne oplyse en landsby med den her fyrs øjne.
18:09
(Laughter)
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(Latter)
18:11
Right. So if the eyes are shining, you know you're doing it.
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Okay. Så hvis øjnene stråler, ved du, at du gør det.
18:13
If the eyes are not shining, you get to ask a question.
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Hvis øjnene ikke stråler, får du lov at stille et spørgsmål.
18:16
And this is the question:
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Og her er spørgsmålet:
18:17
who am I being, that my players' eyes are not shining?
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"Hvem er jeg, siden mine spilleres øjne ikke stråler?"
18:24
We can do that with our children, too.
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Vi kan også gøre det med vore børn.
18:25
Who am I being, that my children's eyes are not shining?
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Hvem er jeg, siden mine børns øjne ikke stråler?
18:31
That's a totally different world.
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Det er en helt anden verden.
18:33
Now, we're all about to end this magical, on-the-mountain week,
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Vi skal nu til at afslutte denne magiske uge på bjerget
18:39
and we're going back into the world.
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og er på vej tilbage til verden.
18:40
And I say, it's appropriate for us to ask the question,
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Jeg vil mene, det er passende at stille os selv det spørgsmål:
18:44
who are we being as we go back out into the world?
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Hvem er vi, når vi går ud igen i verden?
18:49
And you know, I have a definition of success.
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Jeg har en definition på succes.
18:52
For me, it's very simple. It's not about wealth and fame and power.
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Det er meget enkelt for mig. Det handler ikke om rigdom, berømmelse og magt.
18:54
It's about how many shining eyes I have around me.
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Det handler om, hvor mange strålende øjne jeg har omkring mig,
18:58
So now, I have one last thought, which is
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Nu har jeg bare en sidste tanke, som handler om
19:01
that it really makes a difference what we say --
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at det gør en forskel, hvad vi siger.
19:04
the words that come out of our mouth.
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De ord der kommer ud af vores mund.
19:06
I learned this from a woman who survived Auschwitz,
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Jeg lærte det af en kvinde, som overlevede Auschwitz
19:10
one of the rare survivors.
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en af de få overlevende.
19:11
She went to Auschwitz when she was 15 years old,
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Hun kom til Auschwitz, da hun var 15 år gammel
19:16
and her brother was eight, and the parents were lost.
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og hendes bror var otte, og forældrene var forsvundet.
19:23
And she told me this, she said,
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Hun fortalte mig:
19:28
"We were in the train going to Auschwitz, and I looked down
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"Vi var i toget til Auschwitz og jeg så ned
19:31
and saw my brother's shoes were missing.
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og opdagede at min brors sko var væk.
19:34
And I said, 'Why are you so stupid, can't you keep your things together
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Og jeg sagde: "Hvorfor er du så dum, kan du for Guds skyld, ikke holde
19:37
for goodness' sake?' " The way an elder sister
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styr på dine ting?" - som nu en storesøster
19:38
might speak to a younger brother.
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kan tale til sin lillebror.
19:42
Unfortunately, it was the last thing she ever said to him,
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Desværre var det, det sidste hun nogensinde sagde til ham
19:45
because she never saw him again. He did not survive.
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for hun så ham aldrig igen. Han overlevede ikke.
19:49
And so when she came out of Auschwitz, she made a vow.
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Så da hun kom ud af Auschwitz, afgav hun et løfte.
19:52
She told me this. She said, "I walked out of Auschwitz into life
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Hun sagde: "Jeg gik ud af Auschwitz og ind i livet
19:56
and I made a vow. And the vow was, I will never say anything
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og jeg lovede mig selv, at jeg aldrig vil sige noget
20:02
that couldn't stand as the last thing I ever say."
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som ikke kunne være det sidste, jeg nogensinde sagde."
20:05
Now, can we do that? No. And we'll make ourselves wrong
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Kan vi gøre det? Nej. Vi ville gøre os selv forkerte
20:10
and others wrong. But it is a possibility to live into. Thank you.
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og andre forkerte. Men det en mulighed at stræbe efter. Tak.
20:17
(Applause)
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(Bifald)
20:23
Shining eyes, shining eyes.
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Strålende øjne. Strålende øjne.
20:34
Thank you, thank you.
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Tak skal I have. Tak skal I have.
20:38
(Music)
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(Musik)
ABOUT THE SPEAKER
Benjamin Zander - ConductorA leading interpreter of Mahler and Beethoven, Benjamin Zander is known for his charisma and unyielding energy -- and for his brilliant pre-concert talks.
Why you should listen
Since 1979, Benjamin Zander has been the conductor of the Boston Philharmonic. He is known around the world as both a guest conductor and a speaker on leadership -- and he's been known to do both in a single performance. He uses music to help people open their minds and create joyful harmonies that bring out the best in themselves and their colleagues.
His provocative ideas about leadership are rooted in a partnership with Rosamund Stone Zander, with whom he co-wrote The Art of Possibility.
Benjamin Zander | Speaker | TED.com