TED精彩演講：為什么要在街頭,空中演奏

　　Recently, I flew over a crowd of thousands of people in Brazil playing music by George Frideric Handel. I also drove along the streets of Amsterdam, again playing music by this same composer. Let's take a look.

　　我最近在巴西飛越數(shù)千人的上空， 演奏喬治·佛德烈克·韓德?tīng)柕淖髌贰?我也搭車(chē)穿越阿姆斯特丹的街頭，表演這位作曲家的音樂(lè)。 我們來(lái)回顧一下。

　　(Music: George Frideric Handel, "Allegro." Performed by Daria van den Bercken.)

　　(音樂(lè)：韓德?tīng)柕摹犊彀濉罚?由達(dá)利雅·范德博肯演奏)

　　(Video) Daria van den Bercken: I live there on the third floor. (In Dutch) I live there on the corner. I actually live there, around the corner. and you'd be really welcome.

　　(影片)達(dá)利雅·范德博肯： 我就住那里的三樓。 (荷蘭語(yǔ))我住轉(zhuǎn)角那里。 其實(shí)就在轉(zhuǎn)角附近， 很歡迎你們過(guò)來(lái)。

　　Man: (In Dutch) Does that sound like fun? Child: (In Dutch) Yes!

　　(荷蘭語(yǔ))男子：聽(tīng)起來(lái)很好玩吧? 小孩：對(duì)呀!

　　[(In Dutch) "Handel house concert"]

　　[韓德?tīng)査郊已葑鄷?huì)]

　　Daria van den Bercken: All this was a real magical experience for hundreds of reasons.

　　達(dá)利雅·范德博肯：這些都是 非常魔幻的經(jīng)驗(yàn)，理由有上百種。

　　Now you may ask, why have I done these things? They're not really typical for a musician's day-to-day life. Well, I did it because I fell in love with the music and I wanted to share it with as many people as possible.

　　你可能會(huì)問(wèn)我為什么要這樣做， 因?yàn)檫@不是音樂(lè)家 日常會(huì)做的事。 我之所以這樣做，是因?yàn)槲覑?ài)上音樂(lè)，然后我想分享給更多人聽(tīng)， 越多人越好。

　　It started a couple of years ago. I was sitting at home on the couch with the flu and browsing the Internet a little, when I found out that Handel had written works for the keyboard. Well, I was surprised. I did not know this. So I downloaded the sheet music and started playing. And what happened next was that I entered this state of pure, unprejudiced amazement. It was an experience of being totally in awe of the music, and I had not felt that in a long time. It might be easier to relate to this when you hear it. The first piece that I played through started like this.

　　大概幾年前， 我感冒窩在家里的沙發(fā)上， 上網(wǎng)看了一下， 突然發(fā)現(xiàn)韓德?tīng)栍袑?xiě)過(guò) 鋼琴的琴譜。 我當(dāng)然很訝異，因?yàn)橄惹安恢�道�?所以我就下載了譜開(kāi)始彈。 接下來(lái)， 我進(jìn)入到很純粹的狀態(tài)， 完全是種很單純的訝異。 這種經(jīng)驗(yàn) 全然是對(duì)音樂(lè)的敬畏， 而我已經(jīng)好久沒(méi)有感受到了。 你們可能要聽(tīng)到才會(huì)比較好理解。我當(dāng)時(shí)彈的第一首曲子 一開(kāi)始是這樣的。

　　Well this sounds very melancholic, doesn't it? And I turned the page and what came next was this.

　　聽(tīng)起來(lái)很悲傷，對(duì)吧? 但當(dāng)我翻到下一頁(yè)， 就變成這樣。

　　Well, this sounds very energetic, doesn't it? So within a couple of minutes, and the piece isn't even finished yet, I experienced two very contrasting characters: beautiful melancholy and sheer energy. And I consider these two elements to be vital human expressions. And the purity of the music makes you hear it very effectively.

　　聽(tīng)起來(lái)很有活力不是嗎? 才幾分鐘的時(shí)間， 整首曲子都還沒(méi)完， 我就經(jīng)歷了兩種截然不同的情緒： 美麗的憂愁與十足的活力。 我認(rèn)為這兩種元素 是人類(lèi)情緒的命脈。 而音樂(lè)的純粹 讓你能快速直接地感受到。

　　I've given a lot of children's concerts for children of seven and eight years old, and whatever I play, whether it's Bach, Beethoven, even Stockhausen, or some jazzy music, they are open to hear it, really willing to listen, and they are comfortable doing so. And when classes come in with children who are just a few years older, 11, 12, I felt that I sometimes already had trouble in reaching them like that. The complexity of the music does become an issue, and actually the opinions of others — parents, friends, media — they start to count. But the young ones, they don't question their own opinion. They are in this constant state of wonder, and I do firmly believe that we can keep listening like these seven-year-old children, even when growing up. And that is why I have played not only in the concert hall but also on the street, online, in the air: to feel that state of wonder, to truly listen, and to listen without prejudice. And I would like to invite you to do so now. (Music: George Frideric Handel, "Chaconne in G Major." Performed by Daria van den Bercken.)

　　我去很多兒童演奏會(huì)表演過(guò)， 臺(tái)下小孩約七、八歲， 不管我彈什么，巴哈、貝多芬， 甚至是史托克豪森，或是爵士樂(lè)也好， 他們都敞開(kāi)心胸聆聽(tīng)， 真的很愿意聽(tīng)， 也覺(jué)得這么做很自在。 但換成另一組小朋友的時(shí)候， 他們的年紀(jì)大一點(diǎn)， 大約十一、十二歲， 要讓他們達(dá)到剛剛那種境界 就比較困難了。 音樂(lè)的復(fù)雜性變成問(wèn)題。 其實(shí)，他人的意見(jiàn)， 來(lái)自父母、朋友、媒體的意見(jiàn) 也開(kāi)始造成影響。 但年紀(jì)比較小的孩子，他們不會(huì)質(zhì)疑自己的想法。 他們還處在對(duì)每件事都好奇的階段， 而我堅(jiān)信，我們可以繼續(xù) 用這些七歲孩童的方式聆聽(tīng)， 不管我們幾歲。 這就是為什么 我不只在演奏廳里表演， 也會(huì)在街上、網(wǎng)路上或空中表演：去感受那種好奇的心境、 真正地聆聽(tīng)， 以不帶偏見(jiàn)的方式聆聽(tīng)。 我想邀請(qǐng)各位 現(xiàn)在也跟我一塊感受看看。(音樂(lè)：韓德?tīng)枴禛大調(diào)夏康舞曲》， 由達(dá)利雅·范德博肯演奏)

　　Thank you.

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