Barenboims Reith Lectures

< http://www.bbc.co.uk/radio4/reith2006/lecturer.shtml > Lecture 1: In the Beginning was Sound St John said, "In the beginning was the word", while Goethe claimed that, "In the beginning was the deed". But in these lectures Daniel Barenboim's contention is that: In the beginning was sound. Lecture 1: In the e!innin! was "ound # $%&I' $(I)* L(#)+$(" 2006 ,In the e!innin! was "ound, Lecture b- &aniel arenboim at #ado!an *all. London "+( L%/L(0: *ello and welcome to the #ado!an *all in /est London. where 1or the 1irst time in the 1i1t-2ei!ht -ear histor- o1 this e3ent our $eith lecturer is a conductor. *e be!an his musical career as a pianist. )his is how he sounded when he was makin! his debut here in London e4actl- hal1 a centur- a!o. &%5I(L %$(5 'I6 7%" % #*IL&8: I !a3e a concert at the $o-al 9esti3al on )uesda-. I5)($:I(/($: %nd what did -ou pla- then; &%5I(L %$(5 'I6: 6o<art #oncerto in % 6a=or. I5)($:I(/($: %nd then ha3e -ou done an-thin! else while -ou,3e been here; &%5I(L %$(5 'I6: 0es I !a3e also a recital at the /i!more *all. I5)($:I(/($: /ell there -ou are. here,s a -oun! man o1 thirteen who,s come o3er. and we thou!ht -ou,d like to meet him toni!ht. /hat are -ou !oin! to pla- toni!ht 1or us; 0ou,re !oin! to pla- some #hopin; &%5I(L %$(5 'I6: >>>> #hopin. I5)($:I(/($: "o here is #hopin now. here is &aniel arenboim. 7 $I(9 (?)$%#) 9$'6 $(#I)%L8

"+( L%/L(0: )hirteen2-ear2old &aniel arenboim pla-in! #hopin in London in 1@A6. *e,d !i3en his 1irst concert in uenos %ires at the a!e o1 se3en. and at the a!e o1 ele3en he,d been declared a phenomenon b- the le!endar- conductor /ilhelm 9Brtwan!ler. *is li1e has been and continues to be saturated with music. % 3irtuoso at the piano. he later became a supreme master o1 the podium. #urrentl- he,s 6usic &irector o1 both the #hica!o "-mphon- 'rchestra and the erlin "tate 'pera. In these lectures he,ll be drawin! on a li1etime o1 musical e4perience to demonstrate that music. as he puts it. is a wa- to make sense o1 the world 2 our politics. our histor-. our 1uture. and our 3er- essence. &aniel arenboim doesn,t sh- 1rom contro3ers-. *e,s shown himsel1 willin! to take coura!eous public stands. "i4 -ears a!o he 1ounded. a!ainst the odds. an orchestra made up o1 eCual numbers o1 %rab and Israeli -oun! members. the /est2(astern &i3an 'rchestra. not least to demonstrate that it,s possible throu!h music 1or people 1rom warrin! 1actions to 1ind peace1ul co2e4istence. )oda- he,ll deli3er the 1irst in his series o1 lectures which. o3er the course o3er the ne4t 1i3e weeks. will take us 1rom here in London to #hica!o. erlin. $amallah. and Derusalem. Ladies and !entlemen. please will -ou welcome the #,s $eith Lecturer 2006 2 &aniel arenboim. 7%EEL%+"(8 &%5I(L %$(5 'I6: )hank -ou 3er- much. Ladies and !entlemen. I,m per1ectl- aware o1 the !reat honour to be asked to deli3er the $eith Lectures. It is with some sli!ht trepidation that I do that. because I 1irml- belie3e that it is reall- impossible to speak reall- deepl- about music. %ll we can do then is speak about our own reaction to the music. "o ma-be the honour is dubious. or ma-be the # thou!ht it would be 3er- short. 7L%+F*)($8 In an- case. the impossible has alwa-s attracted me more than the di11icult. )he impossible. i1 there is some sense behind it. has not onl- a 1eelin! o1 ad3enture. but a 1eelin! o1 acti3it- which I do admit I en=o- 3er- much. I will there1ore attempt the impossible and ma-be tr- and draw some connection between the ine4pressible content o1 music and. ma-be. the ine4pressible content o1 li1e. In #hica!o I will tr- to disco3er wh- it is that we are ne!lectin! our ears so much. and wh- we ha3e become such a 3isual societ-. and wh- it is that the e-e seems to ha3e so much more power than the ear. In erlin I will tr-. alwa-s with connection to music ob3iousl-. to e4plain wh- I think that it is so di11icult in toda-,s world to !row up when we don,t reall- !i3e our children real education. but at best in1ormation. and that this is wh- words ha3e lost their meanin! and words that are 1ull o1 content ha3e become pe=orati3e. )his leads us 3ero1ten to create or de3elop a societ- in which we don,t dare make =ud!ement and make a point o1 3iew 2 ha3e a point o1 3iew 2 contradiction in terms when I,3e =ust said that the ear is more important than the e-e. and here am I speakin! about a point o1 3iew. ut the mental point o1 3iew is no di11erent 1rom the point o1 3iew o1 the 1ilm director.

In $amallah I will speak about the abilit- o1 music to inte!rate. and how it is that a musician is b- the sheer nature o1 his pro1ession in man- wa-s. an inte!ratin! 1i!ure. I1 a musician is unable to inte!rate rh-thm. melod-. harmon-. 3olume. speed. he cannot make music. %nd to end in Derusalem. I will tr- to e4plain what to me is a 3er- ma=or di11erence between power and stren!th 2 somethin! which I learned 3er- precisel- 1rom music. that i1 -ou attack a chord with more power than -ou are !oin! to sustain it. it has no stren!th. "o there we are at the 1irst. i1 -ou want. connection between the ine4pressible content o1 music and in man- wa-s the ine4pressible content o1 li1e. )here ha3e been mande1initions o1 music which to m- mind ha3e onl- described a sub=ecti3e reaction to it. )he onl- reall- precise one to me is the one b- 9erruccio usoni. the !reat Italian pianist and composer. who said that music is sonorous air. It sa-s e3er-thin! and it sa-s nothin!. '1 course. appropriate moment to Cuote 5eits<che. who said that li1e without music would be a mistake. 7L%+F*)($8 %nd now we come to the 1irst Cuestion 2 wh-; /h- is music so important; /h- is music somethin! more than somethin! 3er- a!reeable or e4citin! to listen to; "omethin! that. throu!h its sheer power. and eloCuence. !i3es us 1ormidable weapons to 1or!et our e4istence and the chores o1 dail- li1e. 6- contention is that this is o1 course possible. and is practised b- millions o1 people who like to come home a1ter a lon! daat the o11ice. put their 1eet up. i1 possible ha3e the lu4ur- o1 somebod- !i3in! them a drink while the- do that. and put on the record and 1or!et all the problems o1 the da-. ut m- contention is that music has another weapon that it deli3ers to us. i1 we want to take it. and that is one throu!h which we can learn a lot about oursel3es. about our societ-. about the human bein!. about politics. about societ-. about an-thin! that -ou choose to do. I can onl- speak 1rom that point o1 3iew in a 3er- personal wa-. because I learn more about li3in! 1rom music than about how to make a li3in! out o1 music. %nd so I propose to -ou. be1ore we embark on this =ourne-. that we look at the moment at this ph-sical phenomenon. that is the onl- wa- throu!h which music e4presses itsel1. and that is sound. 5ow. when people speak about sound. the- speak 3er- o1ten in terms o1 colours. )his is a bri!ht sound. this is a dark sound. )his is 3er- sub=ecti3e 2 what is dark 1or one is li!ht 1or the other and 3ice 3ersa. ut there are some elements o1 sound which are not sub=ecti3e. and I think that i1 -ou allow me to I would like to spend a 1ew minutes on that. I1 sound is a ph-sical phenomenon. which it ob3iousl- is. then one should be able to obser3e it as such in a 3er- discernin! and in a 3er- rational wa-. )he 1irst thin! we notice about sound o1 course is that it doesn,t li3e in this world. /hate3er concert took place in this hall earlier toda- or -esterda-. the sounds ha3e e3aporated. the- are ephemeral. "o althou!h sound is a 3er- ph-sical phenomenon. it has some ine4plicable metaph-sical hidden power. )he ph-sical aspect that we notice 1irst is that sound does not e4ist b- itsel1. but has a permanent constant and una3oidable relation with silence. %nd there1ore the music does not start 1rom the 1irst note and !oes onto the second note.

etc.. etc.. but the 1irst note alread- determines the music itsel1. because it comes out o1 the silence that precedes it. %dded to that. some instruments. percussion instruments primaril- 2 and the piano is one o1 them 2 ha3e a real li1e duration. In other words... 7EL%0" '5( 5')( 9'LL'/(& 0 "*'$) "IL(5#(8 and it,s o3er. 'ther instruments. like the 3iolin. or the oboe. or a brass instrument. non2 percussi3e instruments. one can. and one does. mana!e to sustain them lon!er than the real li1e duration o1 the sound as compared to a percussion instrument. %nd there1ore the be!innin!. the 1irst sound. is alread- in relation to the silence that precedes it. 0ou must 1or!et 1or a moment. please. that there are such thin!s as technolo!icallde3eloped de3ices which permit to maintain this sound arti1iciall- so. and this is no un!rate1ulness to the radio. to the recordin!s. to the #&s and all other means that we ha3e to preser3e the unpreser3able. but the 1act remains that when -ou. e3en in the old da-s when -ou had a !ramophone recordin! and -ou put the needle on the record. the sound was suddenl- there. 7I6I)%)(" "'+5&8 %nd then there was a sound. 5ow we !o directl- into the sound. but it !i3es us no idea whatsoe3er about how this is produced. %nd this is wh- man- -oun! conductors todathink the- can learn a score 1rom listenin! to records. 9antastic li1tin! o1 the arms. brin! them down. and the per1ect # ma=or chord with bla<in! trumpets and inaudible strin!s is heard. 7L%+F*)($8 ut let,s look at the di11erent possibilities there1ore. o1 the 1irst note. I1 we achie3e a total silence. and we start a piece o1 music that becomes rather than is there 2 it,s not about bein!. but about becomin!. It,s ob3iousl- a di11erent case 1rom startin! somethin! loud and bla<in!l-. )he prelude to )ristan and Isolde is an ob3ious case. 7EL%0" 2 5')("8 In other words the music is not 1rom the % to the 9. but 1rom the silence to the % 1irst o1 all. and this is o1 course the main di11icult-. )here are man- wa-s 2 it doesn,t ha3e to be slow music. )here,s also eetho3en,s sonata opus 10@ 7EL%0" 9(/ 5')("8 but suddenl- the pianist has to create the 1eelin! that the music has alread- been here. it,s alread- !oin!. and now much as -ou step on a train that is alread- in motion. -ou =oin it. and -ou cannot start 7EL%0" 9(/ 5')("8 with an accent on the 1irst note. because b- de1inition the 1irst note will be an accent because it interrupt the silence.

)he ne4t obser3ation about sound is i1 it has a relation with silence. what kind o1 relation is it; &oes it dominate silence. and silence stop the sound when it wants; #an the sound !o o3er the silences; Is that all a realistic possibilit-; %nd I think i1 we obser3e that clearl- we notice that sound reacts to silence much like the law o1 !ra3ittells us. that i1 -ou li1t an ob=ect 1rom the !round -ou ha3e to use a certain amount o1 ener!- to keep it at the hei!ht to which -ou ha3e brou!ht it up to. 0ou ha3e to pro3ide additional ener!-. otherwise the ob=ect will 1all back to the law o1 !ra3itation on the !round. ut this is e4actl- what sound does with silence. I pla- a!ain the same note. I pla- it. I !i3e a certain amount o1 ener!-. and i1 I do nothin! more to it. it will die. 7EL%0" '5( 5')( EL+" $I(9 "IL(5#(8 )his is the len!th o1 the duration o1 the li1e o1 this # sharp produced b- m- 1in!er on this piano. 5ow. there ma- be other 1in!ers that can do it lon!er or shorter and other pianos that will do that. but basicall- this is it. %nd there we are at the 1irst clear e4pression o1 content in music. the contact with silence. with !ra3itation. /hat did I sa=ust now; )he note dies. %nd this is the be!innin! o1 the tra!ic element in music. 1or me. 0ou understand that all o1 what I,m tellin! -ou now is what I ha3e learned to 1eel. and hope to ha3e learned throu!h all these -ears o1. o1 makin! music. I,m in no wapretendin! to !i3e -ou a 1undamentalist theor- that pro3ides all the answers. e3en 1or those thin!s where there are no Cuestions about. 7L%+F*)($8 ut 1or me this relation between sound and silence is imperati3e to understand. because it does produce the 1irst tra!ic element o1 e4pression in music. I pondered 1or a 3er- lon! time on this sub=ect. and I will not bore -ou with all the details. but it is ob3ious that i1 a sound has a be!innin!. we ha3e alread- seen it also has a duration. and it has an end. whether it does. or whether the ne4t note comes. %nd then -ou !et one more other means o1 e4pression. o1 content i1 -ou want. o1 music. and that is that the notes in music cannot be allowed to de3elop their natural e!os. so that thehide the precedin! one. but the e4pression in music comes 1rom the linka!e. what we call in Italian le!ato 2 bound. /hen we pla- 1i3e notes that are bound. each note 1i!hts a!ainst the power o1 silence that wants to make it die. and is there1ore in relation to the precedin! note and to the note that comes a1ter that. "o when -ou pla- 1i3e notes. 7EL%0" A 5')("8 i1 each note had a bi! e!o it would want to be louder than the note be1ore. %nd there1ore I learned 1rom this 3er- simple 1act. that no matter how !reat an indi3idual -ou are. music teaches -ou that the creati3it- onl- work in !roups. and the e4pression o1 the !roup is 3er- o1ten lar!er than the sum o1 the parts. %nd -ou can draw whate3er conclusions -ou want 1rom this. but I think that this is a not unimportant 1actor. %nd ma-be in a stran!e wa- I,3e 1ound some answers to all this. not in music but in philosoph-. especiall- 1rom readin! re!ularl- and 1or man- -ears the ethics o1 "pino<a. "pino<a was a reli!ious scholar. a political architect. a philosopher. who aspired to !eometric demonstration o1 the uni3erse and the human bein! in it. and he was a biolo!ical thinker who ad3anced the science o1 emotion. %nd there lies o1 course one o1

the !reat di11iculties o1 makin! music. the science o1 emotion. *ow do -ou pla- with passion and with discipline; *a3in! realised all o1 this. I saw that there was a need 1or knowled!e. and these much abused words ,*e is so musical, was absolutel- senseless because talent is certainl- not enou!h. I1 music is sound with thou!ht. then talent is a 3er- poor weapon to ha3e at one,s disposal. %ll this has brou!ht me to the conclusion that I am 3er- unhapp-. and 1or a lon! time. about the place o1 music in societ-. )his is the part that I will tr- to e4plore 1urther in the ne4t lectures. 6usic can and 1rom m- indi3idual point o1 3iew should become somethin! that is used not onl- to escape 1rom the world but rather to understand it. )hank -ou 3er- much. 7%EEL%+"(8 "+( L%/L(0: &aniel arenboim thank -ou 3er- much indeed. 5ow it,s Cuestion time. and here in the #ado!an *all we ha3e an ei!ht hundred or so stron! audience make up o1 artistes. scientists. politicians and others. some o1 them music lo3ers. some o1 them ma-be not 2 who knows; &o the- accept what -ou,re sa-in!. that music is a metaphor 1or li1e. that throu!h music we can arri3e at a better understandin! o1 the human condition; /ell let,s um ha3e some Cuestion 1rom them to test -ou on that. "o can I ha3e some Cuestions please; Fentleman here; &%:I& 6(LL'$: (r 6aestro arenboim. &a3id 6ellor. I had the pleasure o1 inter3iewin! -ou in erlin when -ou started with the (ast /est &i3an7;8 orchestra. +m. er music helps us to understand and interpret the world. but o1 course I think -ou see music as a wa- o1 chan!in! the world do -ou not; %nd also -ou,3e spent a lot o1 time that -ou probabldon,t ha3e 1oundin! an orchestra o1 -oun! Iraelis and -oun! %rabs as a wa- o1 showin! that people can not onl- co2e4ist to!ether in a rather !rud!in! wa-. the- can actuallmake music. the- can do somethin! enthusiasticall- to!ether. "o music -ou ob3iouslsee as somethin! that can brin! about political chan!e. *ow is that !oin!. and how do -ou think we can measure the success or otherwise o1 this reall- rather e4traordinar3enture that -ou,3e embarked upon; &%5I(L %$(5 'I6: /ell I hope we ha3e time at least until tomorrow mornin! ... 7L%+F*)($8 ... because -ou ha3e raised at least ten Cuestions in that one seemin!l- innocent Cuestion. 9irst o1 all I thank -ou 1or -our compliments. and it,s 3er- 1latterin!. but I,m a1raid I ha3e to disappoint -ou. that this pro=ect is not a pro=ect 1or peace. )he /est2 (astern &i3an answers one 3er- important Cuestion. and that is that there is a tremendous amount o1 i!norance on both sides. and that there is 3er- little that can be done to inte!rate the people 1rom the di11erent countries. because the initial condition 1or dialo!ue is not there 2 namel- eCualit-. )he /est2(astern &i3an is a 1orum which came out o1 the musical idea. because what do we do when we make music; /e e4press oursel3es. but we also listen. I1 we don,t listen to the other 3oices. whether theare sub3ersi3e. as sometimes in ach 1u!ues. when the sub=ect comes a second point and the counterpoint has a completel- di11erent character. It,s sub3ersi3e. +nless we do

that we cannot make music. %nd there1ore in our +topian republic. as I like to think o1 it. as the /est2(astern &i3an. we ha3e learned and we !i3e e3er-bod- the opportunitto e4press himsel1. hersel1. to the enem-. and also to hear the 3ersion o1 the enem-. to listen and to hear it. %nd there1ore not necessaril- to a!ree with it. but to understand the other narrati3e. %nd there1ore there is automaticall- a common terrain on the music. because in 1ront o1 the eetho3en s-mphon- the- are all eCuals. In real li1e the- are not. )he work with the /est2(astern &i3an is not to !i3e each other com1ort. but to understand how music is structured and how music can onl- e4ist when all the di11erent elements. whether the- are rh-thm. melod-. harmon- 2 let,s stop at those three 2 are connected. %nd nothin! in music is independent. "+( L%/L(0: ut -ou want them to take the metaphor 1rom that 1or li1e. is that what -ou,re sa-in!; &%5I(L %$(5 'I6: 0es. so that the- ha3e to listen to the other. It,s nothin! to do with com1ort. it,s to tr- to understand the other. "+( L%/L(0: 'ka-. I,m !oin! to take a Cuestion here. ")(:( 6%$)L%5&: "te3e "te3e 6atrtland 2 I,m a composer. I wondered what -ou thou!ht the role o1 li3in! composers was in terms o1 what -ou,re su!!estin!. /hat can composers contribute; &%5I(L %$(5 'I6: /ell composers can contribute b- writin! !ood music. 7L%+F*)($8 ob3iousl-. 'b3iousl-. I mean. I make no distinctions. I,m not talkin! about the music o1 the ei!hteenth centur-. 0ou know I am pla-in! tomorrow the second book o1 )he /ell )empered Gla3ier in London. Let me tell -ou somethin!. I ha3e pla-ed it -esterdae3enin! in Earis. and I had the 1eelin! when I 1inished it that all music that was written since then is actuall- unnecessar-. 7L%+F*)($ H %EEL%+"(8 ec ... 5o. no no I,m not. I,m not bein! 1unn- 2 because e3er-thin! is alread- there in embr-o. /hen -ou think that -ou write with the same twel3e notes. that e3er- piece o1 music that was written be1ore ach alread-. includin! the Le3itas. includin! "chonber!. Euccini. and all other unlikel- bedmates. all this was written with the same twel3e notes. %nd there1ore the Cuestion. the power o1 music has nothin! to do with bein! contemporar- or not bein! contemporar-. )he task o1 the composer toda- is made so much more di11icult than it was be1ore because 3er- 1ew people practise music. %nd the- think that i1 the- lo3e music and the- !o home and pla- a record. that this is music appreciation. ut I. I maintain that i1 I sat down. as I will. and pla-ed the 1irst three bars o1 "chonber! 'pus 11. nobod- here will ha3e a 1eelin!. oh this is modern music. -ou know. %nd "chonber! is alread- a hundred -ears a!o. but when -ou put them in the

concert. these pieces. people ha3e di11icult- !oin! to it. )his is the be!innin! o1 "chonber! 'pus 11. 7EL%0" 9(/ %$"8 &on,t tell me that this purel- an intellectual e4ercise. )he relation between the harmonies 2 I didn,t !et to that. I will do that in the ne4t lecture in erlin probabl-. "+( L%/L(0: 'ka-. I,m !oin! to take a Cuestion here. D+LI%5 LL'0& /( ($: Dulian Llo-d /ebber. cellist. 6aestro. 1rom all the recent work -ou,3e been doin! it seems ob3ious that -ou belie3e. as I do. that music is 1or all people. whate3er their race. reli!ion or colour. &o -ou think there,s a dan!er o1 some educationalists assumin! that because children are 1rom certain ethnic back!rounds 2 and I,m thinkin! particularlhere o1 our inner cit- schools 2 that somehow classical music is not 1or these children; &%5I(L %$(5 'I6: I think nothin! could be 1urther awa- 1rom the truth. %nd in 1act we ha3e seen that. we ha3e started um music education pro!ramme in $amallah which has now spread to other cities er in the /est ank. in a societ- which is not known 1or its practice o1 classical music. %nd -et in a 3er- short time the music education pro!ramme has !i3en them a. er a wonder1ul abilit- to e4press themsel3es. and has !i3en them a di!nitwhich the- were unable to !et onl- throu!h words. /hen one is able to share a passion with somebod- else. a bond is created which is 3er- 3er- stron!. "+( L%/L(0: )here,s a 3er- 1amous 3oice sittin! =ust in 1ront o1 -ou sir 2 /illard /hite I see there. /illard. would -ou like to put a point; /ILL%$& /*I)(: 7L%+F*"8 /ell I,m a sin!er m-sel1. and um m- li1e has been trans1ormed b- music. and I reco!nise the importance and si!ni1icance o1 music in. in li1e. ut sometimes I think that. -ou know people ha3e asked me wh- is it that more black people aren,t in classical per1ormances 1or e4ample. and I think what ri!ht ha3e we to push music on them; )here is this 1ree will um that we ha3e. '1 course music education should be um. could be enhanced. but um it,s like> -ou know -ou talk about the sub3ersi3e Cualit- music 2 there is a sub3ersion in the reluctance ma-be o1 some people to =oin in music makin!. &%5I(L %$(5 'I6: 0es but I think er. /illard 1irst o1 all I,m 3er- !lad that -ou are here. and I know -ou are speakin! the truth because I had the pleasure to make music with -ou so I know how much it means to -ou too. *a3in! said that. I don,t think that it has to do with 1ree will. It has to do with a necessit- to accept that music is an essential part o1 education. or not. I1 it is that. and -ou !et the education. then out o1 -our 1ree will -ou choose not. not to

e4ercise it. but i!norance has not -et 1or me acCuired the cate!or- er o1 1ree will decision. 9irst -ou ha3e to know about it. 7%EEL%+"(8 /ILL%$& /*I)( 7&+$I5F %EEL%+"(8: 0es. "+( L%/L(0: I,m !oin! to take> )hank -ou. thank -ou 3er- much /illard /hite 1or that. I,m !oin! to take a Cuestion up there. %LI5G% F$(%"L(0: *i. m- name,s %linka Freasle- and I,m researchin! e3er-dauses o1 music. er with %le4 Lamont and Dohn "loboda at Geele +ni3ersit-. %nd mCuestion relates to somethin! -ou said sort o1 earlier on in -our lecture. 6- research shows that people talk about 3er- ordinar- e3er-da- music listenin! e4periences as ha3in! !reat personal si!ni1icance 1or them. 9or e4ample one woman described an epiphan- e4perience while sittin! in her loun!e listenin! to a. a pop !roup. *anson. %nd m- Cuestion to -ou is. how 1ar down do -ou 1eel musical 3alue e4tends; &%5I(L %$(5 'I6: I think this is not onl- related to music. it,s related to knowled!e. "ome people belie3e that i1 the- ha3e knowled!e about a thin! the- will lose the 1reshness o1 their approach to it. I belie3e that i1 -ou ha3e knowled!e about somethin! -ou ha3e a better chance to. not onl- to understand it but to li3e it. and there1ore to en=o- it. It is ob3ious that i1 -ou listen to a pop !roup. or e3en let,s take one sta!e inbetween. i1 -ou listen to er a "trauss walt<. um ... 7L%+F*)($8 ... er on the 1st Danuar-. beauti1ull- pla-ed. er. -ou do need less shall we sa- knowled!e 2 -es. knowled!e o1 what is this power o1 music. what comes out o1 music in the sense o1 structurin!. emotions and 1eelin! 1orwards with emotion. and doin! all those thin!s 2 than i1 -ou are er listenin! to the "uite 'pus 2I o1 "chonber!. 0ou ob3iousl- need more knowled!e. "+( L%/L(0: 7':($L%E8 ut do -ou. do> &o -ou accept then. &aniel arenboim. that. that. that pop music can ha3e that same transcendental power that -ou were describin! that /estern classical music has; 7L%+F*)($8 &%5I(L %$(5 'I6: I1 -ou 1eel it. how wonder1ul 1or -ouJ 7L%+F*)($ H %EEL%+"(8 "+( L%/L(0:

)here must. there must. must be some =a<< musicians here. %n-. an- =a<< lo3ers; /hat about the ... ; Da<< lo3er here. D+LI%5 D'"(E*: (r. -es er I,m Dulian Doseph. =a<< musician. and er m- Cuestion that um I a!ree with -ou about learnin! about li1e 1rom music. and the wa- that relationships between harmon- and unit- and workin! with di11erent musicians and bein! open and. and all o1 those aspects. and m- Cuestion to -ou is =ust um where do -ou see impro3isation in that um whole area o1 learnin! 1rom music; &%5I(L %$(5 'I6: 7':($L%E8 Impro3isation is the hi!hest 1orm o1 art 1or me. because when -ou see a score 1or the 1irst time. and -ou don,t know it and there1ore -ou don,t understand it. -ou ha3e onl- a !ut reaction to it. )he 1irst reaction is !ut. instinct. 5' matter how talented -ou are. the most talented person in the world will not at 1irst si!ht be able to anal-se. "o this is -our 1irst reaction. )hen we take the music and we anal-se it and we work it and we think about it and we turn it upside down and e3er-thin!. and we acCuire a lot more knowled!e than we had at the 1irst encounter. %nd at that sta!e o1 the proceedin!s we ha3e lost a lot o1 the 1reshness. /e ha3e 1or!otten the !ut completel-. and we,re onlthinkin!. and here the sub=ect comes twice as 1ast and this is 1ast as slow. and the modulation comes here. etc.. etc.. etc.. etc. ut i1 we pla- it like this we are not doin! an- art. /e onl- !et to this possible sta!e o1 makin! music 2 possible 2 the moment we ha3e di!ested all that and we achie3e a kind o1 conscious nai3ete which allows us to impro3ise it. which allows us to pla- it at that moment as i1 it is on the spur o1 the moment. %nd 3er- o1ten. 3er- o1ten. when -ou ha3e worked in. in depth. and -ou then pla- it at the spur o1 the moment. somethin!. somethin! tells -ou and makes -ou !o in a direction that -ou didn,t !o in the two hundred times that -ou pla-ed it at home. and -ou worked at it. but it will not ha3e been possible without the two hundred times. %nd this is wh- impro3isation. that means the state o1 =ust sittin! at the piano and suddenl- in a completel- unpremeditated wa- -our 1in!ers. -our heart. -our brain. -our !ut. e3er-thin!. pushes -ou in a direction that -ou impro3ise. and -ou literall- then create music. It,s a 3er- blessed er state in the li1e o1 a human bein!. "+( L%/L(0: I,m !oin! to take a 1ew di11erent points 1rom the audience and ask -ou &aniel 1or a compendium answer. Let,s take the lad- there. 0es; L("L(0 F%$$()): 6- name,s Lesle- Farrett. I,m a sin!er. /hen I was a child> &%5I(L %$(5 'I6: /ell I know -ouJ 7L%+F*)($8 L("L(0 F%$$()):

*ello &anielJ /hen er. when I was a child I understood immediatel- that throu!h music and throu!h sin!in! could I e4press how I 1elt. and onl- throu!h music and throu!h sin!in!. 6- concern is. and m- Cuestion to -ou is. that societ- seems now to be much more concerned with the 3isual. m- children are now constantl- bombarded with ima!er- 1rom tele3ision. 1rom &:&. 1rom computers. 1rom electric !ames and so 1orth. *ow do we. 1irst o1 all how do we teach our children to listen in the wa- that it seemed to be e11ortless 1or me; %nd then i1 there isn,t this possibilit- 1or our children to. to listen and to understand this connection. which I belie3e is 3isceral and common to all o1 us. between what we hear and the innermost 1eelin!s and the e4pression o1 these 1eelin!s. how then are we !oin! to look a1ter our children,s emotions> &%5I(L %$(5 'I6: /ell I come> L("L(0 F%$$()): >when the- become older; &%5I(L %$(5 'I6: 0eah. I think Lesle- that er the situation is e3en worse than -ou describe it. because not onl- has the e-e taken o3er. but we ha3e anaesthetised the ears throu!h all the mu<ak that we hear all the time. L("L(0 F%$$()): 0es. &%5I(L %$(5 'I6: 0ou know I ha3e been 1or the last I don,t know how man- -ears. er. in. in #hica!o. and I sta- in the hotel in #hica!o. and e3er- da- and I !o in the li1t and I hear bits o1 the rahms 3iolin concerto. 7L%+F*)($8 or the 6o<art "-mphonia #oncertante. and I. not onl- I hate it but I know that e3erone o1 the people that !oes in that li1t and comes in the e3enin! to the concert. and Fod 1orbid we should be pla-in! the 6en ... the rahms 3iolin concerto. 7L%+F*)($8 he will not hear it. because he will not listen. %nd in (n!lish -ou ha3e this wonder1ul di11erence between listenin! and hearin!. and that -ou can hear without listenin!. and -ou can listen and not hear. 5ot e3er- lan!ua!e has that. %nd I think that we ha3e done e3er-thin! to anaesthetise the ear. %nd this is wh- the e-e has so much importance. %nd in 1act the ear ... %ctuall- I don,t want to talk too much about that because it,s suppose ... I. I,3e made up m- mind to talk about it in another lecture. ut ma-be> L("L(0 F%$$()): /ell in the> &%5I(L %$(5 'I6: 6a-be -ou,d like to come with us to #hica!o where I,ll talk about that.

L("L(0 F%$$()): 0eah I,d be deli!htedJ "+( L%/L(0: Let me !et -ou a> &%5I(L %$(5 'I6: I,ll talk about that in #hica!o. ut it is. it is reall- true. and the e-e. the e-e is an imperati3e necessit-. /hen a child learns to cross the street 1or the 1irst time the parents sa- look to the ri!ht 2 e4cuse me. in (n!land look to the le1t. 7L%+F*)($8 2 look to the ri!ht. to make sure that a car doesn,t come. In other words in order to sur3i3e -ou need -our e-es. L("L(0 F%$$()): Eerhaps -ou mi!ht a!ree that opera is perhaps the ultimate art 1orm as it,s the per1ect> 7L%+F*)($8

&%5I(L %$(5 'I6: 5onsense. in opera people don,t look and don,t listenJ 7L%+F*)($. %EEL%+"( H #*(($"8 &%5I(L %$(5 'I6: )he- onl- watch the conductor. *e,s sittin! ri!ht there. )he- onl- watch the conductorJ 7L%+F*)($8 "+( L%/L(0: Let. let me !et this o11 this. because somewhere in this hall we ha3e a neuro2scientist I think who,s tested what it does to the brain. )here he is. Fi3e us -our name and tell us what -ou,3e done. and does music !oin! into the brain harm it or e4cite it. E$'9(""'$ E%$"'5": *i. I,m er Ero1essor Lawrence Earsons. and I. I,m a brain scientist. and what we do is we put musicians in brain scanners and monitor the blood 1low in the brain while theper1orm on an electric piano 1or e4ample 2 or sin!ers in other cases 2 but on an electric piano. %nd two o1 the thin!s we noticed are that the brain areas that would normall- be e4cited and represent the emotional responses to music are not acti3e 1or the musicians who,s per1ormin!. relati3e to pla-in! scales 1or e4ample. %nd we also noticed that lar!e other re!ions o1 the brain are also de2acti3ated. the-,re not en!a!ed. and those are re!ions that allow -ou to plan the 1uture. to think about what,s !oin! on in the en3ironment. and 1or salient e3ents. "o m- two 1indin!s about brains o1 musicians who

are per1ormin! su!!ests that the per1ormance o1 the music allows us to !et to some sort o1 inner peace1ul place in which our emotional worries and our attention to the world are detached. %nd -ou re1er to this. as man- o1 us do. as heart and brain. but as a brain scientist it all happens in the brain. "+( L%/L(0: 0ou didn,t sa- what> -ou didn,t sa- what sort o1 music -ou were pla-in! to this >>>>>> E$'9(""'$ E%$"'5": )his was ach. "+( L%/L(0: ach; 'ka-. E$'9(""'$ E%$"'5": ach. "o one thin! I mi!ht ask -ou is whether -our own intuitions. as -ou pla- )he /ell )empered Gla3ier 1or e4ample. 1it this scienti1ic 3iew o1 what,s happenin! in the brain o1 a musician like -oursel1. &%5I(L %$(5 'I6: 0ou know I won,t be able to pla- tomorrowJ 7L%+F*)($ H %EEL%+"(8 5o no. 5o. I know. I think I know what. I know what er -ou are talkin! about. 0ou know. when -ou pla- music. -ou !et this peace1ul Cualit- I belie3e also because -ou are in control o1 somethin!. or at least -ou are attemptin! to control somethin! that -ou cannot do in the real world. 0ou can control li1e and death o1 the sound. and i1 -ou imbue e3er- note with a human Cualit-. when that note dies it is e4actl- that. it is a 1eelin! o1 death. %nd there1ore throu!h that e4perience -ou transcend an- emotions that -ou can ha3e in their li1e. and in a wa- -ou control time. I mean. we all know that when we are born. two minutes seem like two hours. %nd when we,re interested. two hours are two seconds. ut when -ou do that 2 and I,m especiall- conscious o1 that now because I,m been pla-in! the. both books o1 )he /ell )empered Gla3ier on se3eral occasions in the last er 1ew weeks. er in (urope 2 -ou ha3e a 1eelin! o1 a. o1 a =ournethrou!h. throu!h histor-. In other words a =ourne- that is much lon!er than the li1e o1 a human bein!. /hen I 1inish pla-in! one o1 the books o1 ,)he /ell )empered Gla3ier, I ha3e a 1eelin! that this is actuall- much lon!er than m- real li1e. E$'9(""'$ E%$"'5": I think what -ou sa- 1its with what the sub=ects in m- e4periments. -eah. told me. "+( L%/L(0: )he artiste and the scientist are at one. I,m !oin! to lea3e -ou there at one and take a Cuestion o3er here. thank -ou. D%6(" 6c6ILL%5: *ello m- name is Dames 6c6illan. I,m another composer. $ecentl- the (n!lish musicolo!ist Dulian Dohnson produced a 1ascinatin! book called /ho 5eeds #lassical 6usic; *e implies that serious music has su11ered in the 1ace o1

the apparent triumph o1 the 3isual and the 3erbal. but also o1 what he would sa- as the banal and e3en the populist. %nd there1ore m- Cuestion is this 2 what is it about serious music that ba11les and indeed in some cases o11ends the ad3ocates o1 an e3er increasin!l- ubiCuitous. narrow. some mi!ht sa- debased popular culture; Is it its 3erabilit- to rise 1rom the mundane; Is it the su!!estion that there ma- be such a thin! as a secret inner li1e which cannot be reduced to a ri!orousl- en1orced commonalit-. that there ma- be no such thin! indeed as a closed uni3erse; &%5I(L %$(5 'I6: /owJ 7L%+F*)($8 /ell. I think I mi!ht be the wron! person ... 7L%+F*)($8 ... 1or -ou to talk to. because I don,t belie3e in all these thin!s. I belie3e that thin!s. creations. ob=ects. are neither moral nor immoral. It,s when the human bein! makes use o1 it that he. this is the 1ree will. he decides whether it is moral or whether it is immoral. /hat is a kni1e; Is that an instrument with which -ou can murder someone. there1ore an instrument o1 3iolence. or is it somethin! with which -ou cut the bread and 1eed -our nei!hbour; )he kni1e in itsel1 is per1ectl- innocent. )he music is innocent 2 it is what the human bein! makes o1 it. 'nl- the human bein! is not coura!eous b- nature. and the human bein! alwa-s likes to blame somethin! else 2 somebod- else or somethin! else 2 and there1ore it sa-s classical music is elitist. classical music is transcendent. I,m sorr-. classical is none o1 that. classical music is nothin! until it comes into contact with a human bein!. I can plead e4actl- the opposite o1 that. I can tell -ou that makin! music and pla-in! it in an orchestra is the best wa- to understand democrac-. (litist; /hat do -ou mean. elitist; )he oboe pla-s the most wonder1ul tune in a slow mo3ement o1 a rahms s-mphon-. and the whole orchestra. all ninet- or ninet-21i3e o1 them. and the conductor with the bi! e!o. is 1ollowin! him. 7L%+F*)($8 (3er-bod-,s 1ollowin! him. e3er-bod- supportin! him. ad=ustin! e3er-thin! 1or him to be able to e4press this thin!. *e,s the kin! o1 the world 2 and that lasts 1or ei!ht barsJ 7L%+F*)($ H %EEL%+"(8 I,ll =ust 1inish that. I,ll =ust 1inish that. %nd then. on the ninth bar. he hold> !oes back in the societ-. in the collecti3e. and he has to do what ninet-21i3e people ha3e been doin! 1or him 1or ei!ht-21i3e bars. he has to do ma-be 1or the double basses or 1or the clarinet or whate3er the case ma- be. I,m sorr-. music is not democratic. music is not elitist. music is not transcendental. it is what the human bein! does with it that it becomes moral. immoral. amoral. transcendental. or sheer nonsense. 7%EEL%+"(8 "+( L%/L(0:

I,m !oin! to take some Cuick points i1 I can. )he lad- up there 2 Cuick points i1 -ou will. &$ %LI"'5 L(:I5(: &r %lison Le3ine. I,m a music therapist and I work with people who ha3e no technical skill in music. ha3e no perhaps abilit- to actuall- appreciate music in the traditional sense o1 the word. but we are all musical bein!s. there,s somethin! musical about us all. %nd I wondered i1 -ou had an- thou!hts about that reall- earl- state o1 how we are in music. that our musical bein!s are born 3er- earl- in. in the broadest sense o1 the word. &%5I(L %$(5 'I6: 0es. 0ou know I was a child prodi!-. so. so to speak 2 I mean there is so such a thin! a child prodi!-. "omebod- asked me not lon! a!o: ,"ince -ou became an adult ha3e -ou met a child prodi!-;, I said. ,5o ne3er. but man- parents, -ou know. 7L%+F*)($8 I mean. what I,m. what> the reason I,m tellin! -ou this is because I think that children 1ind it. and I would 1ind it much more 1un i1 I were able to three -ears old a!ain. er to learn about discipline 1rom rh-thm. than 1rom m- mother tellin! me. and don,t do that. and now is the time to eat. and -ou eat and don,t do that. and -ou will learn one da- this kind o1 discipline. ut -ou can reall- learn that in the kinder!arten throu!h rh-thms. and -ou know that -ou cannot mess around with them. that there is a certain order to it. )hen I think -ou learn about li1e throu!h the music at a 3er- earl- a!e. %nd then -ou !row a little bit older and -ou come into the pubert-. and -ou ha3e -our 1irst er. er associations with sensualit- and passion and all that. and er i1 -ou remember -our e4periences in music at three -ears old and -ou ha3e a connection with music -ou will know that in order to make music -ou ha3e to somehow combine passion and discipline. ut I,m sorr- I don,t know about -ou but this is alwa-s a bit o1 a sub=ect that I,3e had to battle with all m- li1e. and I think e3er- human bein! does that. &$ %LI"'5 L(:I5(: ut i1 -ou want. as -ou,3e said. us to put music in a. in a. er !i3e it a !reater precedence in our li3es. then we ha3e to make music more and not =ust recei3e it. &%5I(L %$(5 'I6: '1 course. we ha3e to make music and we ha3e to teach our children 1rom the be!innin! the connection between music and real li1e. I ha3e learned a lot o1 thin!s. I said it earlier onl- hal1 in =est that I learn more 1rom music about li3in! than -ou know about makin! a li3in! in music. I did. I reall-. I reall- did. I learned man- thin!s. I remember I> 2 in 1act i1 -ou want I can demonstrate it. it,s. it,s rather sill- but I will do that. 5o. I> I remember. I remember m- !reat and. and admired 1riend (dward "aid and I ha3in! 3er- passionate discussions at the time o1 the be!innin! o1 the 'slo process. and he bein! 1rom the 3er- 1irst moment absolutel- a!ainst it. and I still hopin! that somehow some thin!s will happen. %nd then as time went b- I said to him 2 and we had reall- 3er-. I wouldn,t sa- disa!reeable but 3er- he1t- ar!uments about that. until one da- I said to him. I said. ,0ou know (dward, I said. ,it doesn,t reall- matter i1 'slo is ri!ht or wron!. it will ne3er work because the relation between content and time is erroneous., I said. ,)his I ha3e learned 1rom music., %nd he looked at me and said. ,/hat are -ou talkin! about;, %nd I said to him. ,)he preparation 1or the be!innin! o1 the 'slo discussions was practicall- non2e4istent. much too Cuick., %nd the process itsel1. once

the discussion started. was 3er- slow. and then it was interrupted. and then the- said the- would meet ne4t )uesda-. and then it was cancelled on 6onda-. and then the- met a!ain a month later. and e3er-thin!. It had no chance. %nd I sat down at the piano and I showed to him what I meant. which I will do 1or -ou now. I,m sure man- o1 -ou know the EathetiCue sonata o1 eetho3en. which has a 3er- ma=estic. slow introduction. 7EL%0" 9(/ %$" '9 "'5%)%8 (tc. %nd this introduction !oes on 1or whate3er number o1 bars it does. and then there is the main mo3ement 2 %lle!ro. 7EL%0" 9(/ %$" '9 %LL(F$'8 (tc. %nd I said to him. ,'slo. the eCui3alent o1 'slo would be i1 I would pla- the introduction 3er- 1ast and without an- preparation o1 an-thin!, 2 in other words. 7EL%0" 9(/ %$" :($0 9%")8 0ou would not understand an-thin! what I am doin!. %nd then I would !et to the main alle!ro and I will pla-. 7EL%0" '5( 5')(8 7L%+F*)($8 7EL%0" 9(/ 6'$( 5')(" 2 9(/ %) % )I6( /I)* E%+"("8 7%EEL%+"(8 &%5I(L %$(5 'I6: %nd our discussion stopped 1rom that moment on about 'slo because we both a!reed it wouldn,t work. 7L%+F*)($8 1or di11erent reasons. ut it,s true. In other words it,s a permanent relation between content and time. "+( L%/L(0: Kuestion here. then we must wrap up. "+"%5 L%#G6'$(: "usan lackmore. I,m a ps-cholo!ist 1rom ristol. +m "ue Lawle- ou!ht to ask this reall-. not me. but suppose -ou onl- had one minute le1t to li3e. what would -ou pla-. and would -ou pla- it 1or us now; 7L%+F*)($8 &%5I(L %$(5 'I6: /ould I pla- what;

7%EEL%+"(8 "+( L%/L(0: /hat would -ou pla- i1 -ou had one minute le1t to li3e and would -ou pla- it 1or us now; &%5I(L %$(5 'I6: 0ou onl- want me to ha3e one minute le1t; "+( L%/L(0: 'ne minute. 7L%+F*)($8 "+( L%/L(0: I ha3e to tell -ou be1ore we be!an that &aniel arenboim that someone would ask him to pla-. so> &%5I(L %$(5 'I6: )his is wh- I re1use to sit at the piano to answer the Cuestions. 5o I don,t reall- 1eel ... ut I ne3 ... I don,t know. -ou know I don,t. I ne3er think in those er terms. )he most wonder1ul thin!. the most wonder1ul thin! about pla-in! music 2 two most wonder1ul thin!s about pla-in! music 2 is that no matter how much -ou learn. and how much -ou open -our brain and !et addit> additional knowled!e. with understandin!. since -ou deal with sound. the ne4t mornin! -ou start 1rom scratch. %nd -ou !et a wonder1ul combination o1 more knowled!e and nothin! materiall- there to show 1or it. 'nl- the abilit- to 1ind the coura!e in itsel1 to start a!ain 1rom scratch with more knowled!e than the da- be1ore. I think this is a 3er- positi3e thin! in that people pla- music. that,s whI. one o1 the reasons wh- I think people would be happier pla-in! music. %nd I don,t want to think about the last er minute o1 m- li1e to pla-. because I am rather happ-. I would sa- almost proud o1 the 1act that I attempt 2 I don,t achie3e 2 attempt to plae3er- concert as i1 it was both the 1irst and the last. "+( L%/L(0: )hat,s it. 7%EEL%+"( H #*(($"8 "+( L%/L(0: 5e4t week he,ll be in #hica!o. where 1or the past se3enteen -ears &aniel arenboim has been 6usic &irector o1 the cit-,s !reat s-mphon- orchestra. as he closes the piano lid behind him. ut he,s unlikel- to be constrained b- the 1amiliarit- o1 these surroundin!s. 'n the contrar- he,s !oin! to be railin! a!ainst the nation that he ar!ues has rele!ated music to aural 2 as in % + $ % L 2 wallpaper. 6u<ak is more dan!erous to health than smokin!. sa-s the maestro 2 there,ll be more o1 that. )hat,s &aniel arenboim. the $eith lecturer. ne4t week. same time. di11erent place. 9or now. 6r arenboim. thank -ou 3er- much indeed. 7%EEL%+"( H #*(($"8 7(5& '9 L(#)+$(8

Lecture 2: The Neglected Sense In #hica!o &aniel arenboim will be tr-in! to rescue Lthe ne!lected senseL 2 the ear 2 and launch a campai!n a!ainst mu<ak. Lecture 2: )he 5e!lected "ense Lecture b- &aniel arenboim at "-mphon- #enter. #hica!o "+( L%/L(0: *ello and welcome to #hica!o 1or the second in &aniel arenboim,s series o1 $eith lectures. 9or the past se3enteen -ears he,s been 6usic &irector o1 this cit-,s !reat orchestra. the #hica!o "-mphon-. a =ob which he said. when inheritin! it 1rom Feor! "olti. was La dream I had ne3er dared to dreamL. In 1act his link with this cit- !oes back much 1urther. to the 1@A0s. when he 1irst appeared here as a si4teen2-ear2old pianist. #hica!o has alwa-s been 1aith1ul to &aniel arenboim so it,s 1ittin! that he should deli3er one o1 his 1i3e $eith lectures here in its "-mphon- #enter. *istor- howe3er does not mean that he onl- has praise 1or this place and his pla-ers. #hica!o is one o1 the most strikin!l- 3isual cities in the world. it was home to the !reat architects 9rank Llo-d /ri!ht and 6ies 3an der $ohe. I1 architecture. as Foethe said. is 1ro<en music. then #hica!o is a natural place 1or a lecture which addresses the nature and power o1 musical sound. ut e3en here. in this cit- that has worked hard to look ri!ht. much happens. ar!ues &aniel arenboim. that pre3ents it 1rom soundin! ri!ht. /ell some o1 #hica!o,s current leadin! architects are with us in the audience toda-. as are =a<<. blues and classical musicians. 1ilm makers. writers. students. and philosophers. )he-,ll be e4plorin! the sub=ect matter o1 the lecture later throu!h their Cuestions. Its title is )he 5e!lected "ense. Its author. &aniel arenboim. 7%EEL%+"(8 &%5I(L %$(5 'I6: )hank -ou 3er- much ladies and !entlemen. I1 "t Dohn said ,In the be!innin! there was the word,. and Foethe sa-s ,In the be!innin! there was the deed,. I would like to e4amine this is a little bit. sa-in!. ,In the be!innin! there was sound,. %nd 1or that o1 course it is important to dwell on the 3er- simple 1act that sound is percei3ed b- the ear. )he ear is probabl- the most intelli!ent or!an the bod- has. It is not 1or nothin! that %ristotle said that the e-es are the or!ans o1 temptation. and the ears are the or!ans o1 instruction. because the ear does not onl- take sound or noise in. but sendin! it directlto the brain 2 and we will talk about that in a. in a 1ew minutes 2 it sets into motion the whole creati3e process o1 thou!ht that the human bein! is capable o1. )he 1irst Cualitthat comes to m- mind as to the intelli!ence o1 the ear is that the ear helps us tremendousl- to remember and to recollect. and the ear is there1ore the basis 1or all the aspects that ha3e to do with music2makin!. both 1or the per1ormer and 1or the listener. In London the other da- I pla-ed the be!innin! o1 the Erelude to ,)ristan and Isolde, to demonstrate how the sound starts out o1 nothin! and then !rows. I,m sure most o1 -ou

are 1amiliar with that. I will tr- and pla- it a!ain now. with a di11erent 3iew in mind. I1 -ou remember. o1 course -ou ha3e to ima!ine the sound o1 cellos startin! this out o1 nothin!. but this is how the piece starts. 7EL%0" 'E(5I5F 9(/ %$" '9 E$(L+&(8 /hat is the 1irst thin! that comes to m- mind in the conte4t o1 what we are 3iewin! toda- is that it is a repetition. the accumulation that makes the tension !row. esides the 1act o1 course that a1ter hearin! somethin! which e3en to the not initiated ear is a dissonant. 7EL%0" '5( #*'$&8 it,s repeats. 7EL%0" 9(/ 5')("8 )hat means > that,s what I meant earlier. the ear remembers. the ear recollects. and that shows -ou one o1 the most important elements o1 e4pression in music. one o1 repetition and accumulation. %nd this !oes into man- man- areas. and composers ha3e achie3ed !reat master- o1 all the repeatin!. sometimes short parts o1 a theme. or o1 a moti1. and creatin! di11erent kind o1 accumulation. In an- case. the ear has this incredible memor-. ut the ear. let us not 1or!et. starts operatin! on the 1ort-21i1th da- o1 the pre!nanc- o1 a woman. )hat means the 1oetus that is in the womb o1 a pre!nant lad- be!ins to use his ear on the 1ort-21i1th da- o1 the pre!nanc-. which means it has se3en and a hal1 months ad3ance o3er the e-e. 7L%+F*)($8 %nd there1ore the Cuestion is. what do we in our societ-. in our ci3ilisation. do to continue this process and this wonder1ul 1act that we ha3e se3en and a hal1 months, ad3ance. In an- case. whilst on the sub=ect o1 /a!ner. let us not 1or!et that /a!ner understood the phenomenon o1 sound and the phenomenolo!- o1 sound so well that he created a theatre. 1estspielhaus in a-reuth. which as -ou know where the pit is co3ered. 5ow at 1irst si!ht most people think /a!ner wrote so lar!e 1or the orchestra. i1 -ou co3er the pit then the sin!ers will be heard. 7L%+F*)($8 ut I think this is 3er- basic. and e3ident. )he m-ster- o1 a-reuth is especialle3idenced when the opera starts so1tl-. 0ou don,t know when the sound is !oin! to start. nor where does it come 1rom. %nd there1ore the ear is doubl- alert. and the e-e has to wait until the curtain !oes up. whereas the ear has alread- prepared -ou 1or the whole drama. )his o1 course is linked to /a!ner,s whole idea about opera. %1ter all o3ertures to operas be1ore /a!ner 3er- o1ten were =ust brilliant pieces that were meant to make the public sit and be read-. )he ,6arria!e o1 9i!aro, o3erture has actuall- nothin! to do with the piece. and I wonder i1 one could not pla- the o3erture to ,#osi 9an )utte, instead. 7L%+F*)($8

)his is o1 course no criticism o1 either. I,m =ust sa-in! that there is 3er- little connection about > e4cept that the- both are there to make people er sit up and listen. /a!ner. who was more s-stematic. more. shall we sa-. )eutonic in his thinkin!. 7L%+F*)($8 in the same as he was about e3er-thin! includin! his anti2"emitism. he thou!ht that the ear hears the o3erture. and it not onl- puts -ou in the mood but tells part o1 the stor-. )he audience is ine4tricabl- linked to the 3er- essence o1 the drama. %nd there1ore the ear pla-s the role o1 the !uide in the museum in the concert I,m talkin! now. /e don,t ha3e an oral !uide. we ha3e to pro3ide it oursel3es. 'ne reason wh- acti3e listenin! is absolutel- essential. ut there are some thin!s about the ear which we know. which ma- be not be out o1 place to remind oursel3es here. 'ne is that it depicts ph-sical 3ibrations and con3erts them into si!nals which become sound sensations. or auditor- ima!es in the brain. and that the space occupied b- the auditor- s-stem in the brain is smaller than the space occupied b- the 3isual s-stem. and that the e-e detects patterns o1 li!ht and con3erts them into si!nals which become 3isual ima!es in the brain. %ll this is common knowled!e. ut the well known neuro2biolo!ist and neuro2scientist who is sittin! ri!ht here. %ntonio &e 6arcio. has tau!ht us man- thin!s about human emotion. about the human brain. and also about the human ear. and he sa-s that the auditor- s-stem is ph-sicall- much closer inside the brain to the parts o1 the brain which re!ulate li1e. which means that the- are the basis 1or the sense o1 pain. pleasure. moti3ation 2 in other words basic emotions. %nd he also sa-s that the ph-sical 3ibrations which result in sound sensations are a 3ariation on touchin!. the- chan!e our own bodies directl- and deepl-. more so than the patterns o1 li!ht that lead to 3ision. because the patterns o1 li!ht that lead to 3ision allow us to see ob=ects sometimes 3er- 1ar awa- pro3ided there is li!ht. ut the sound penetrates our bod-. )here is no penetration. i1 -ou want. ph-sical penetration. with the e-e. but there is with the ear. 5ow. when the bab- is born. in man- cases 2 in 1act in most cases 2 the ear is totallne!lected. (3er-thin! is centred on the e-e. )he 1act that we li3e in a primaril- 3isual societ- comes much later. %lread- in in1anc- the child is more o1ten than not made more and more aware o1 what he sees and not about what he hears. %nd it is also. let,s 1ace it. a means o1 sur3i3al. /hen -ou take a small child to teach him how to cross the street. what do -ou sa-; Look to the ri!ht. look to the le1t. see that no cars are comin! otherwise -ou will be run o3er. )here1ore -ou depend on -our e-es 1or sur3i3al. %nd the ear is 3er- o1ten ne!lected. and I 1ind much that is to m- ears insensiti3e or disturbin! !oes totall- unnoticed b- societ-. startin! with the cou!hin! in the concert 2 as m- 1riend and collea!ue %l1red rendel has o1ten remarked in !reat detail 2 to manman- other noises to which we are totall- insensiti3e. )he eCui3alent o1 that to the e-e would be enou!h reason I think to 1ind it so o11ensi3e that people could e3en be accused o1 disturbin! societ-. Dust think o1 the most despicable aspect o1 porno!raph- and how o11ensi3e that is. )he- are man- thin!s which are =ust as disturbin! 1or the ear which are not reall- taken into consideration. %nd not onl- we ne!lect the ear but we o1ten repress it. and we 1ind more and more in our societ-. not onl- in the +nited "tates. althou!h the +nited "tates I think was 3er- acti3e in startin! this process. o1 creatin! opportunities to

hear music without listenin! to it 2 what is commonl- known as mu<ak. I ha3e spent man- 3er- happ- -ears here. but I ha3e su11ered tremendousl-. In the hotel where I stathe- think that it is 3er- culturall- minded to pla- classical music in the ele3ator. or in the 1o-ers o1 concert halls be1ore the concert. 7L%+F*)($8 %nd I ha3e been on more than one occasion sub=ect to ha3in! to hear. because I cannot shut m- ears. the rahms 3iolin concerto in the li1t. ha3in! to conduct it in the e3enin!. 7L%+F*)($8 %nd I ask m-sel1. wh-; )his is not !oin! to brin! one more person into the concert hall. and it is not onl- counter2producti3e but I think i1 we are allowed an old term to speak o1 musical ethics. it is absolutel- o11ensi3e. %nd the most e4traordinar- e4ample o1 o11ensi3e usa!e o1 music. because it underlines some kind o1 association which I 1ail to reco!nise. was shown to me one da- when watchin! the tele3ision in #hica!o and seein! a commercial o1 a compan- called %merican "tandard. %nd it showed a plumber runnin! 3er- 3er- 1ast in !reat a!itation. openin! the door to a toilet and showin! whthis compan- actuall- cleans the toilet better than other companies. %nd -ou know what music was pla-ed to that; 79(/ %$" '9 % $(#'$&I5F EL%0(&8 )he Lachr-mose 1rom 6o<art,s $eCuiem. 5ow ladies and !entlemen. I,m sorr-. I,m probabl- immodest enou!h to think I ha3e a sense o1 humour but I can,t lau!h at this. %nd I lau!h e3en less when I read some. a document which I,3e brou!ht here to read to -ou in its entiret-. It was published. I,m a1raid I don,t know in what newspaper. but it is the (ditor,s note. )he 1ollowin! is a letter sent in b- #hristine "tatmuller o1 askin! $id!e. it is in re1erence to her pre3ious letter which ran in the %pril issue o1 )he #atholic "pirit. ,)hanks 1or printin! m- letter in which I ob=ected to the use o1 music 1rom 6o<art,s $eCuiem b- %merican "tandard to ad3ertise their new champion toilet. %s -ou can see 1rom the enclosed letter below. it achie3ed results. thanks to the letters 1rom other incensed readers., %nd the letter is as 1ollows:2 ,)hank -ou 1or contactin! %merican "tandard with -our concerns about the back!round music in the current tele3ision commercial 1or our champion toilet. /e appreciate that -ou ha3e taken the time to communicate with us. and share -our 1eelin!s on a matter that clearl- is 3erimportant to -ou., 7L%+F*)($8 ,/hen we 1irst selected 6o<art,s $eCuiem. we didn,t know o1 its reli!ious si!ni1icance., 7L%+F*)($8 ,/e actuall- learned about it 1rom a small number o1 customers like -ou. who also contacted us. %lthou!h there is ample precedent 1or commercial use o1 spirituall- theme music. we ha3e decided to chan!e to a passa!e 1rom /a!ner,s )annhauser '3erture., 7L%+F*)($8

,which music e4perts ha3e assured us does not ha3e reli!ious importance., 7L%+F*)($8 ,)he new music will be!in airin! in Dune., 7L%+F*)($8 I think that sa-s it allJ 7L%+F*)($ H %EEL%+"(8 5ow I reall-> I don,t know whether -ou belie3e me or not but it doesn,t matter. I didn,t read it to !et a lau!h. I 1ind it absolutel- abominable. %nd now we ha3e the whole association 1or descripti3e marketin! in the +nited "tates. which is how use descripti3e marketin!. how to use music as description and how to market it that wa- 2 in other words what the- are sa-in! to the public is -ou don,t ha3e to concentrate. -ou don,t ha3e to listen. -ou don,t ha3e to know an-thin! about it. =ust come and -ou will 1ind some association. and we will show -ou so man- thin!s that ha3e nothin! to do with the music and this wa- -ou will !o into the music. %nd I ask -ou. ladies and !entlemen. is that the answer to the so2called crisis in classical music; %ccessibilit- does not come throu!h populism. accessibilit- comes throu!h more interest and more knowled!e. and not tellin! people don,t worr- -ou,ll be all ri!ht. =ust sit there. bu- -our ticket. sit there. shut -our ears. and -ou will think o1 somethin!. )hat is in 1act what we are tellin! them. %nd this is criminal. %nd this is somethin! which has bothered me more and more and more o3er the -ears. 6usic in itsel1 has nothin! to do with a societ- that in a wa- re=ects what I would call publicl- accepted standards o1 li1e. and o1 intelli!ence. and o1 human e4istence. and takes the eas- wa- out with a kind o1 political correctness which does onl- a 1ew thin!s. all o1 them in m- 3iew ne!ati3e. 9irst o1 all it shows -ou how to hide -our real 1eelin!s. it shows -ou how to cope with the 1act that -ou are not allowed to show dislike o1 an-thin!. and I wonder how lon! it takes be1ore the not showin! o1 dislike also !oes on to the showin! o1 like. %nd that the societ- that has accepted so man- rules. so man- re!ulations. and so man- procedures. which ha3e the !reat ad3anta!e o1 a3oidin! situations o1 con1lict. %nd this o1 course 3er- positi3e. 3er- use1ul. and 3er- necessar-M howe3er when taken be-ond the human le3el it brin!s us to the point where there is o1 course no more con1lict. but there is also no more contact. %nd this is in a wa- what I wanted to share with -ou toda-. that music teaches us e4actl- this. #on1lict. di11erence o1 opinion. is the 3er- essence o1 music. in the balance. in the d-namic. in the wa- that the music is written. 0ou see that in a ach 1u!ue. -ou see that in 6o<art concertos and operas. the sub3ersi3eness sometimes o1 the accompaniment. 6usic teaches us that it is precisel- our capacit- to brin! all the di11erent elements to!ether in a sense o1 proportion so that the- lead to a sense o1 a whole. and this is what I 1eel in m- own sub=ecti3e wa- one o1 the main lessons that I ha3e learned 1rom music 1or li1e. because ha3in! started 3er- -oun! I was put in contact 3er- earl- on with the Cuestion. how does a child o1 twel3e or 1ourteen without li1e e4perience. how can he e4press the mature thou!hts o1 a eetho3en. %nd o1 course he can,t. %nd there,s a lot o1 thin!s that I ha3e learned 1rom m- e4periences in li1e since

then that I 1eel I tr- e3er- da- to put into the music. but there is a lot more. % lot more that I ha3e learned 1rom obser3in! music. not as a specialised phenomenon o1 sound. not onl- as a specialisation or pro1ession but as somethin! which can teach us manthin!s about oursel3es and about li1e. )hank -ou 3er- much. 7%EEL%+"(8 "+( L%/L(0: &aniel arenboim. thank -ou 3er- much indeed. /ell there,s a. there,s a. a !auntlet or three thrown down. all o1 which I,m sure our audience here in #hica!o would be onltoo willin! to pick up. so let,s ha3e -our Cuestions please i1 we ma-. I wonder i1 we shouldn,t in 1act come to Ero1essor %ntonio &amasio. who,s sittin! on the 1ront row. whom &aniel mentioned durin! the course o1 his lecture. %nd &aniel was tellin! us. Ero1essor. about music penetratin! our bod-. I mean is that ri!ht; Is> I,m sure it is ri!ht because he said so and presumabl- -ou told him 7L%+F*)($8 but er I mean is it> &%5I(L %$(5 'I6: )rue> "+( L%/L(0: >is it the case> &%5I(L %$(5 'I6: 6r &e 6arcio doesn,t ask Cuestions. he !i3es answersJ 7L%+F*)($8

"+( L%/L(0: I,d =ust lo3e him to answer it 2 is it the case that music can reach the parts o1 us that other arts can,t 2 the 3isual arts. or e3en the spoken word cannot; 6usic has a direct line to our emotions 2 is that ri!ht; %5)'5I' &%6%"I': I. I think that,s actuall- a 3er- !ood wa- o1 puttin! it. it,s a direct line which comes out o1 the 1act that there,s a 3er- important closeness o1 the auditor- s-stem. especiall- that the point that it enters the central ner3ous s-stem. what we !enerall- call our brain. and the parts o1 the brain that are related to emotion. and as &aniel said the- are related to moti3ations and to our 3er- deep sense o1 pain and pleasure 1or e4ample. "o that that

closeness is certainl- not there 1or the 3isual s-stem. It enters also the 1act that this connection between 3ibration and the sense o1 the bod-. -ou know we. -ou do ha3e er the. the 3ibration that ends up bein! sound and its process 1rom the inner ear into the brain is in itsel1 3er- 3er- close to other senses o1 the bod-. like 1or e4ample touch. and e3en our sense o1 3ibration in !eneral outside o1 3ibration that ends up 1ormin! musical sound. "o there are man- wa-s in which music !oes 3er- deep because o1 its closeness to sound. and sound !oes 3er- deep because o1 its closeness to emotion. "+( L%/L(0: %nd does it matter what kind o1 sound it is. is reall- the Cuestion. &oes it. does it ha3e to be harmonious sound; %5)'5I' &%6%"I': /ell sound in !eneral has that capacit- to er> In 1act ,penetrate, is not a bad word. and o1 course it can do !ood and do harm. 9or e4ample i1 -ou listen to the strin!s in the. the score o1 ernard *ermann 1or %l1red *itchcock,s ,Es-cho, there,s the 1amous bathroom scene where Danet Lei!h is stabbed. and in 1act what -ou are hearin! is not screams. like most people ima!ine. what -ou are hearin! is strin!s that were 3er- nicel- pla-ed in the score and that !i3e -ou the su!!estion o1 screamin!. ut in 1act the- are recei3ed b- the listener as somethin! horrible. as somethin! in 1act 1ri!htenin!. %nd so sound can produce 1ri!ht. can produce 1ear. can produce man- other emotions. so the- can be !ood or bad. and> "+( L%/L(0: ut. but do -ou ob=ect. &aniel. to music bein! used to manipulate us in terms o1 the 3isual. in terms o1 1ilms; I mean and the ,Es-cho, e4ample is a 3er- !ood one. &%5I(L %$(5 'I6: 5o. 5o o1 course not. I,m =ust sa-in! the nature o1 music. er the ,Es-cho, I mean that -ou,re talkin! about. ,Es-cho,. I mean i1 -ou want to know the power o1 music =ust ima!ine the 1amous er shower scene to which %ntonio &amasio is re1errin! now. and instead o1 this absolutel- e4cruciatin! music comin! there,s somebod- pla-in! somethin! stupid like> 7EL%0" 9(/ 5')("8 7L%+F*)($8 I want to know what kind o1 sense o1 1ear the 3iewer will ha3eJ 7L%+F*)($8 "hows -ou how power1ul music is. "+( L%/L(0:

7L%+F*"8 8 Lad- there; #%$'L $'""2 %$5(0: I,m #arol $oss2 arne- and I,m an architect here in #hica!o. I,m one o1 the people that made the 1ro<en music. I think um the idea that -ou put 1orward about mu<ak is reallsomethin! that I encounter all the time. thinkin! about it as clutter. because i1 -ou look at architecture toda- I think we 1ace the same issue. but it,s not =ust sound clutter. it,s 3isual clutter. and it,s. it,s all o3er. %nd um m- Cuestion is. do -ou think that -our theor- about education and structure reall- needs to e4tend to all the arts; )hat it reall-. that we,re ne!lectin! those thin!s and what,s. what it,s costin! is in the en3ironment to make um our spiritual and emotional li3es !row. &%5I(L %$(5 'I6: I don,t know. I,m. I am er e3en care1ul to articulate what I 1eel about the music -ou know because I,3e spent so much time with it. I would not consider m-sel1 in a position to make comments about this. but I would think so too. I think art. whether it is a 3isual art or the music. art onl- has sense 1or me i1 it reall- penetrates -our innermost bein! as a human bein!. not when it is =ust an ob=ect to either hear or look at without it ha3in! an- e11ect on -ou. "o -ou tell people -ou don,t ha3e to think. -ou =ust think o1 somethin! else and then -ou will be oka-. 'n the contrar-. -ou ha3e to. er -ou will !et more out o1 the music i1 -ou are able to reall- acti3el- listen. to acti3el- put in there. e3en i1 it is completel- di11erent 1or me or an-bod- else. I1 I think a piece o1 music has in that particular place an incredible mathematical construction. and -ou are totallobli3ious to it. it,s no problem at all so lon! as -ou ha3e somethin! instead o1 that. I1 -ou =ust listen to it mechanicall- and don,t let it touch -ou. then I ha3e a problem with -ou. %nd the political correctness allows us not to ha3e a point o1 3iew. "+( L%/L(0: #an I =ust. while we,re on the sub=ect o1 architecture and music. =ust be the de3il,s ad3ocate 1or one second. um because um I think -ou mentioned that it was clutter 2 architectural clutter. musical clutter. Isn,t that the nature o1 the twent-21irst centur-; /hat are -ou reall- su!!estin!. &aniel. that we should do; )hat we should walk around in silent buildin!s all da- and preser3e our ears 1or the concert hall that e3enin! and ne3er take a telephone call and ne3er listen to an iEod; 7L%+F*)($8

&%5I(L %$(5 'I6: /ell there,s no need to be that radical -ou knowJ 7L%+F*)($8

0ou don,t ha3e to be. -ou don,t ha3e to become a 1undamentalist o1 silenceJ 7L%+F*)($ H %EEL%+"(8 "+( L%/L(0: I. I thou!ht that,s what -ou were ad3ocatin!. &%5I(L %$(5 'I6: 5o. no. we >>>>> 1or the silence o1 1undamentalism but not o1> 7L%+F*)($8 ut I think that when -ou !o to a concert and -ou are absolutel- una3oidabl- put in a situation where -ou hear music and sometimes the same piece -ou hear. it is counter2 producti3e. "%5&$% )$(*+ : I,m "andra )rehub. I,m an e4perimental ps-cholo!ist at the +ni3ersit- o1 )oronto. and most o1 m- work is with in1ants and -oun! children. %nd I would ar!ue contrar- to what -ou,3e been sa-in!. I would sa- that in1ants are intensel- en!a!ed b- music. and when their mothers. -ou know mothers all o3er the world. in1ormall- sin! to them. and the- sin! e4pressi3el-. -ou know. o1ten without trainin! and so on but the e4pressi3eness and sincerit- o1 those per1ormances is absolutel- capti3atin! 1or in1ants. %nd what -ou see reall- is that as children enter whate3er -ou want to call it. the public music machine or the music lesson industr-. some o1 that starts 1adin! awa-. ut -ou ha3e intense passion 1or music earl- in li1e... &%5I(L %$(5 'I6: 0es o1 course. -eah but... "%5&$% )$(*+ : ...that,s uneCualled later on. &%5I(L %$(5 'I6: ut o1 course. I mean er. er -ou are er preachin! to the con3erted. 7L%+F*)($8 I a!ree with -ou a hundred and 1i1t- per cent. ut what is happenin! is the s-stem in the schools. this dimension what -ou are describin! which is the human dimension. the e4pression o1 music bein! the human dimension. this is le1t aside because it is treated as a specialised er i3or- tower pro1ession that has nothin! to do with an-thin! else. "%5&$% )$(*+ :

/ell. but I mean in the course o1 trainin! there,s a bi! 1ocus on. -ou know. sel12 discipline as -ou sa-. and a lot o1 repetition and drill and so on. /hen -ou ha3e moti3ation. terri1ic moti3ation. whether it,s 1or someone to !et baskets on the basketball court or the- adore music... &%5I(L %$(5 'I6: 0eah I know. "%5&$% )$(*+ : ...so -oun! children will do thin!s o3er and o3er and o3er a!ain when the- lo3e it... &%5I(L %$(5 'I6: ut I think it is our... "%5&$% )$(*+ : ...1or >>>>> &%5I(L %$(5 'I6: It is our dut- as educators to teach children that there is not contradiction between lo3e and discipline. I1 we don,t do that we will !et nowhere. "+( L%/L(0: %nd look we,3e !ot some um -oun! children o3er here. I think -ou,re> %re -ou musical students or an-thin!; I mean do -ou an- o1 -ou ha3e a 3iew on what -ou,re hearin!; % bo- there; &'6I5I# 5((L0: *i. m- name is &ominic 5eel- and I,m a student at er 6erit "chool o1 6usic. I,m a 3ocal musician. and um I 1eel that the music toda- seems to be chan!in! a lot because I,m reall- into classical music 2 I think it,s cool the wa- all the di11erent sounds and piano and 3iolin come to!ether to make one sound that,s beauti1ul at one time. %nd it seems that e3er-thin! seems to be chan!in! into rap or hip hop. which I,m not a!ainst but -ou know the- pla- it so much that it starts to !et rather anno-in! actuall-. 7L%+F*)($8 "o. and um. and it seems that in m- school and man- di11erent schools that the- seem to be pushin! actual =ust music in !eneral out o1 the school. It,s more academicall- based and I need like an ounce o1 music a da- so... 7L%+F*)($ H %EEL%+"(8

"+( L%/L(0: Is it. is there> Is there an ad3ocate o1 rap or hip hop here who,d like to de1e> )here. here we are. on the back row 2 =ust in case the- think we,3e !ot a whole audience who are classical music 1ans here. there is one person. &%:I& G(LL0: *i. I,m. m- name is er &a3id Gell-. I !o b- the name #apital &. I,m a hip hop musician. but actuall- had a. had a Cuestion with respect to um. !i3en a connection between emotion and music. um do -ou see that> "+( L%/L(0: 'h -ou,re not !oin! to de1end hip hop; &%:I& G(LL0: 5o I,m not !oin! to de. de1end hip hop. it doesn,t need to be de1ended. "+( L%/L(0: Is it inde1ensible; 7L%+F*)($8

&%:I& G(LL0: % lot o1 what -ou hear is inde1ensible but not all o1 hip hop. "+( L%/L(0: 'ka-. !o on. put -our case. &%:I& G(LL0: +m but. but !i3en the. the connection between emotion and music. do -ou belie3e that the disrespect o1 music inside o1 this societ- is ine3itable !i3en the down!radin! o1 emotions inside o1 this societ-. and this concept is true intelli!ence is somehow di3orced 1rom emotions; &%5I(L %$(5 'I6: /ell I don,t belie3e that true intelli!ence should be di3orced 1rom true emotion. and true emotion should be not be di3orced 1rom true intelli!ence. )his is wh- music in a wa- seems that wa- 2 and this is what brin!s us back to the children 2 that music is not a

pro1ession. it has to be a wa- o1 li1e so that it is no di11erence between what -ou think and 1eel in music and what -ou do in other wa-s. ' FD($&I5F(5: $obert F=erdin!en (r ob F=erdin!en. er 5orth /estern +ni3ersit-. (r 6aestro the. the noble houses o1 (urope o1ten had a plat1orm abo3e a !reat room. where musicians would pla- behind a screen. and was this not er mu<ak 1or monarchs; %nd er was> 7"+( L%/L(0 L%+F*"8 >was (li<abeth I,s pri3ate er lute pla-er in her er. in her bedchambers. not a human iEod; (r and so has technolo!- =ust trans1erred the deli!hts and entertainments o1 er. o1 the rich to the masses; &%5I(L %$(5 'I6: 0es. but I think that the rich at that time controlled when and how the- wanted to do that. I,d. I would. I ha3e. ha3e absolutel- nothin! a!ainst that. I,m per1ectl- happ- to come home one da- at the end o1 a lon! da- and put m- 1eet up and ha3e a !ood drink and ma-be listen to whate3er music it ma- be. ut I resent the 1act that I ha3e to !o on the plane. where I ha3e to !o to a concert. and on the wa- into the concert. in the 1o-er. I,m 1orced to hear music. I ob=ect to that. "+( L%/L(0: )hat,s not to den- that 6o<art wrote mu<ak 1or the rich and pri3ile!ed; &%5I(L %$(5 'I6: 5o but the ones who were not rich and pri3ile!ed had no access to music. 5ow we are 1ortunate that we ha3e access to it. but we don,t know how to reall- educate people in that. "+( L%/L(0: *ere,s another music student. :($5'5 D%#G"'5: *i m- name is :ernon Dackson and I pla- the piano. +m m- Cuestion is. do -ou think !rowin! up and wantin! to be a musician and pursue a career as a musician is a !ood =ob choice; 7L%+F*)($8 &%5I(L %$(5 'I6: /ell...

7L%+F*)($8 Let me start 1rom the be!innin!J 7L%+F*)($8 I1 -ou want to pla- music because -ou think it,s a !ood =ob. I think -ou will 1ind easier wa-s o1 makin! a li3in!. I1 -ou lo3e it. and -ou want to spend -our li1e in it and with it. -ou ha3e a !ood chance o1 makin! a 3er- !ood li3in!. 7%EEL%+"(8 "+( L%/L(0: 0ou would> -ou wouldn,t like to hear him pla- a1terwards 6aestro; 7L%+F*)($8

6%$G F((L*'(&: *ello I,m 6ark Feelhoed 1rom )ime 'ut #hica!o and I ha3e a Cuestion er related to all the :ernon Dacksons o1 the world. %nd I,3e talked to man- pro1essors at %merican #onser3atories and I asked them. -ou know. the- are turnin! out so man- students toda-. there,s ob3iousl- not !ain1ul emplo-ment !oin! to be a3ailable 1or all o1 them. the- all aren,t !oin! to be able to win er =obs at the #hica!o "-mphon-. and what> so wh- do the- keep on teachin! all o1 these students; %nd the answer that I,3e alwa-s !otten is that the dili!ence and work ethic that the- hope1ull- ha3e instilled in them will ser3e them well i1 the- decide to be a doctor. a law-er. a teacher. whate3er. &o -ou see this as s-mptomatic o1 the cheapenin! o1 er classical music in this societ-. that it could be used as a tool to help somebod- do somethin! else; &%5I(L %$(5 'I6: /ell -ou know. 6o<art didn,t consider himsel1 a pro1essional. neither does Eierre oule<. 6usic has to use pro1essionalism in the sense o1 the discipline that is reCuired. 'rchestras all o3er the world. not onl- in the +nited "tates. all o3er the world. spend the ma4imum number o1 minutes in e3er- hour. the ma4imum number o1 hours in e3erda- and the ma4imum numbers o1 da- in e3er- week etc. etc. etc. discussin! e3er-thin! that has to do with the pro1essionalism aspect o1 music. and not about the music in itsel1. because the arch enem- o1 music is routine. is not lack o1 pro1essionalism. Lack o1 pro1essionalism is 3er- bad. but routine is the arch enem-. )hat means -ou make sure -ou make no mistakes and -ou make sure -ou pla- e4actl- the same wa- so that -ou don,t make an- mistake. 6%$G F((L*'(&: "o. so is there an- lesson that -ou would ha3e 1or all o1 the uni3ersit- er 1acult- who are I see in here toda-. 1or them to er !i3e to their students;

&%5I(L %$(5 'I6: I think that it is 3er- important to see music as part o1 the human bein!. whether it is music that is written toda-. or whether it is music that was written two hundred -ears a!o. /h- does a child like him 2 what is -our name; :($5'5 D%#G"'5: :ernon Dackson. &%5I(L %$(5 'I6: 0eah. wh- does a child like him. wh- does he thinkin! about music; )here must be somethin! in him. *e doesn,t> he asks whether I think it,s a !ood idea 1or him to make a !ood =ob out o1 it. I don,t think he knows in the end e4actl- what that means. but i1 he asks himsel1 the Cuestion it means there is somethin! in his heart that speaks about what the music sa-s to him. %nd what the music sa-s to him means that it is an obli!ation. the responsibilit- o1 all teachers. to make sure that with that 1eelin! comes the necessarstep. which is knowled!e. because the human bein! has ne3er achie3ed an-thin! throu!h i!norance. %nd it,s no !ood to sa- oh don,t bother with that. -ou. -ou =ust 1eel it. 5onsense. 0ou will be much 1reer i1 -ou pla- music i1 -ou know more about it. )he more -ou know. the 1reer -ou are. %nd there are people who are so superstitious. who think no I don,t want to know about that because i1 I. i1 I know too much about it I won,t be able to pla- it 1reel-. /ell I,m sorr-. the more -ou know -ou should be able to plamore 1reel- and not less 1reel-. "+( L%/L(0: ut &aniel do -ou impl- that that kind o1 disciplined and reall- what -ou were su!!estin! was a mechanical approach to learnin! music. is true the world o3er. or is it worse in some countries than others as an approach; &%5I(L %$(5 'I6: /ell I mean the mechanical repetition 3er- o1ten is used 1or insecurit-. not 1or the thin! itsel1 but insecurit- o1 the 1eelin!. 0ou know -ou ha3e to repeat until -ou 1eel -ou know e3er-thin! that -ou can know about it. /hen -ou !et to the point where -ou,re either too tired or unable to do it. there,s no point in repeatin!. because e3er- repetition then becomes counter2producti3e. I think that man- musicians. pro1essional and student. could !et a lot more out o1 music than the- do now. I think that in the end a lot o1 what made them start with music is 1or!otten. and it becomes a. er a. a pattern o1 li1e instead o1 a wa- o1 li1e. "+( L%/L(0: /e ha3e to draw to a close but er we can,t reall- do so without. without m- askin! the other !reat musician in the room i1 he has an-thin! he,d care to share with us. ha3in! listened. %l1red rendel. to e3er-thin! -ou,3e heard this mornin!. /ould -ou like to comment.

%L9$(& $(5&(L: I,m comin! back to what -ou said about seein! and listenin! and hearin!. I had to think o1 a remark that I heard -esterda-. somebod- came and said LI saw -our concertL. 7L%+F*)($8 #an we chan!e the usa!e o1. o1 this phrase please; %nd I hope that some o1 the people in our concert toni!ht will listen and e3en hear what we are doin!J &%5I(L %$(5 'I6:

7L%+F*"8 7%EEL%+"(8

"+( L%/L(0: )hank -ou. )hank -ou 3er- much 1or that. +m ne4t week we tra3el to erlin where &aniel arenboim is 6usic &irector o1 the "tate 'pera. and there he,ll be askin! wh- it is that cultured people talk 1reel- about books and 1ilms and the 3isual arts but when it comes to music o1ten lack a 3iew. Eerhaps we =ust don,t know enou!h about it. and who,s 1ault is that; /ell 6r arenboim. as -ou will ha3e !athered b- now. has stron! opinions on the matter. )hat,s the third $eith Lecture. same time ne4t week. 9or now m- thanks to our audience here in #hica!o. and o1 course all o1 our thanks to the #,s $eith lecturer 2006. &aniel arenboim. br /> 7%EEL%+"(8 7(5& '9 L(#)+$(8 Lecture 3: The Magic o Music In erlin &aniel arenboim ar!ues that we ha3e lost the abilit- to make 3alue =ud!ements about public standards 2 all because o1 political correctness and bad education. Lecture I: )he 6a!ic o1 6usic # $%&I' $(I)* L(#)+$(" 2006 "+( L%/L(0: *ello and welcome to the third in this -ear,s $eith lectures. )oda- we,re in another o1 our lecturer,s homes. the erlin "tate 'pera. where &aniel arenboim has been 6usic &irector since shortl- a1ter the /all came down. )he 'pera. here on +nter den Linten

is older than 6o<art. It was created b- 9rederick the Freat. a man as much at home in the concert hall 2 he was a 1lautist 2 as he was on the battle1ield. - contrast its present &irector is a man o1 peace. &aniel arenboim has seen it as his task. here in erlin. to lead the "taatsoper out o1 the shackled world o1 its recent #ommunist past. *e,s used his talent here as he has in the 6iddle (ast. to make music a !reat reconciler. and a uni1-in! 1orce. In his 1irst $eith lecture he e4plained how he belie3ed music was a metaphor 1or li1e. In the second. he talked about how in the modern world the ear is either abused or ne!lected in 1a3our o1 the e-e. the 3isual. 9or his third lecture. his sub=ect is what he,s termed the ma!ic o1 music. *e,ll ar!ue that classical music is decidedl- not an e4clusi3e lan!ua!e. understood onl- b- the musical elite. !i3en the ri!ht attitude it,s accessible to us all. Ladies and !entlemen. will -ou please welcome this -ear,s $eith lecturer. &aniel arenboim. 7%EEL%+"(8 &%5I(L %$(5 'I6: )hank -ou 3er- much. )hank -ou 3er- much. In London. I spoke and we discussed in detail mostl- the Cuestion o1 the phenomenon. or the phenomenolo!-. o1 sound. i1 -ou want. o1 the 1act that when people 3er- o1ten talk about sound the- talk about somethin! to do with colour. whether it,s a bri!ht or whether it,s a dark sound. %nd I maintain that this is much too sub=ecti3e to be o1 !reat interest to us. because what is dark 1or one is bri!ht 1or somebod- else. or e3en 1or the same person in di11erent moods. but there are certain elements o1 sound which are ob=ecti3e. and those we should e4amine 3ercare1ull-. and that is o1 course the wei!ht and there1ore the duration o1 sound. I also mean that 1or me there is a permanent relation between sound and silence. because sound !ets drawn to ..;.. the law o1 !ra3it- which pulls the ob=ects to the !round. In #hica!o I then went on to speak. not onl- about the 1act that we ne!lect the ear. the 1oetus in a pre!nant mother be!ins to hear on the 1ort-21i1th da- o1 the pre!nanc-. and there1ore has se3en and a hal1 months, ad3anta!e o3er the e-e. and when the bab- is born. basicall- what we do is onl- care about his e-e and use e3er- means we can to e4plain the 1act that e3en his own sur3i3al is actuall- dependent on his e-es. /hen we teach a child how to cross the street. we sa- look to the le1t or look to the ri!ht. so that -ou,re not run o3er b- the car. /hereas the ear is ne!lected in toda-,s world. what with mu<ak. and all sorts o1 noises. and hotel li1ts. and aeroplanes. and all that. music actuall- 1orces us to close our ears. )he 1irst musical e4ample I !a3e in London. then #hica!o. and I would like to do toda- too. was the be!innin! o1 the prelude to )ristan and Isolde. ..;.. in London. 1rom the point o1 3iew o1 silence becomin! sound. )he be!innin! o1 the )ristan prelude that starts out o1 nothin!. and unless the nothin! is there the 1irst note has a completel- di11erent si!ni1icance. In #hica!o. I used this to describe the accumulati3e e11ect o1 music. the accumulation. in other words repetition. so that the ear remembers what it has alread- heard. %nd b- the wa-. I,m sure -ou all know what an important 1unction ear pla-s 1or memor-. to remember e3en dail- chores. to remember telephone numbers. to remember all sorts o1 thin!s. )he ear is a 3er- 3erintelli!ent or!an. %n-wa-. /a!ner was ob3iousl- a !reat composer 2 we know that... 7L%+F*)($8

/a!ner was a hi!hl-. hi!hl- intelli!ent human bein! in so man- areas. and wrote what to me remains one o1 the most interestin! books about music. on conductin!. where he describes man- o1 the bad habits o1 the orchestras o1 his da-. which I must sa- are not that di11erent 1rom the bad habits o1 the orchestras toda-. and that is the di11icult- to maintain this ine4tricable relation between sound and silence 2 how we start a sound. how we hold it. and what happens to the ne4t note. /hen /a!ner starts the prelude o1 )ristan. 1irst o1 all what does he do; *e starts the music out o1 nothin!. on one note. 7EL%0" '5( 5')(8 "o. I1 we listen care1ull-. and intelli!entl-. we can ima!ine a thousand possibilities. /e can ima!ine that as part o1 that. part o1 that. part o1 that. part o1 whate3er chord where the % is in there. 7EL%0(& #*'$&" &+$I5F L%") "(5)(5#(8 %nd then -ou ha3e the 9 7EL%0" )/' 5')("8 so that,s ..;.. 7EL%0" )*$(( 5')("8 'b3iousl- not. "o what is it; )his 1eelin! o1 ambi!uit- and e4pectation is absolutelessential be1ore 7EL%0" '5( #*'$&8 the 1amous chord comes. I1 the bar be1ore that had been 1ull- written out. harmonicallbased bar. the dissonance would not ha3e the e11ect that it has. ut it is this creation o1 a situation o1 bein! in no man,s land. harmonicall-. melodicall-. and also 1rom the point o1 3iew o1 the sound. I1 we !o 1rom the silence... 7EL%0" )/' 5')("8 this is almost a modulation. a 1eelin! o1 modulation in there. 7EL%0" 9I:( 5')("8 "ilence. 5ow comes the repeat 1or the accumulation. 7EL%0" "(:(5 5')("8 "ilence. ut the most important conclusion in the end is that /a!ner 3er- cle3erl- does not resol3e. and he lea3es the chord in mid air. I ha3e tried to ima!ine how would a lesser composer. who. althou!h bein! a lesser composer. had the inspiration. 1or want o1 a better word. to ima!ine the )ristan chord. /hat I want to show -ou now. and I suppose this will make -ou lau!h. and which is not somethin! that -ou normallassociate with )ristan and Isolde. but how would he come out o1 this chord and not ha3e

the !enius o1 /a!ner o1 lea3in! it in mid air. creatin! a hal1 resolution. which is the tonalit- 1or the repeat o1 the mood. It,s the ne4t one alread- in the ke-. because i1 -ou remember. a1ter this. 7EL%0" 9'+$ 5')("8 i1 -ou keep the chord the ne4t one is in the ke7EL%0" "(:($%L 5')("8 /hat would a composer with less !enius and with less understandin! o1 this m-ster-. o1 music i1 -ou want. o1 the ma!ical Cualit- that brin!s all the instruments to!ether. he would think I ha3e created tension. I ha3e to resol3e it. 7EL%0" (IF*) 5')("8 7L%+F*)($8 $esol3ed. 5e4t one: 7EL%0" (IF*) 5')("8 7L%+F*)($8 %nd there1ore I,m onl- brin!in! this up because it is this tension o1 bein! le1t in mid air that allows him to create more and more tension as this !oes on. %nd the 1act that ambi!uit- in music. in real li1e ambi!uit- ma- be described as a doubt1ul Cualit-. somebod- who is ambi!uous. not knowin! e4actl- what he or she wants. how to react etc. ut in the world o1 sound. in this ma!ical world o1 sound. ambi!uit- means that there are man- man- possibilities. man- wa-s to !o. %nd the lon!er -ou hold back on the resolution. the more interestin! the whole thin! becomes. %nd. since we are here. ma-be it is not out o1 place to spend a 1ew minutes on the Cuestion o1 sound. on the Cuestion o1 this 1amous t-picall- dark Ferman sound. %nd should there be such a thin! as a Ferman sound. and does eetho3en or rahms. or /a!ner 1or that matter. do theneed a Ferman sound. whate3er that ma- be. or are other in1luences in our modern world permissible. positi3e or ne!ati3e; 9irst o1 all I think I can take a second to share with -ou a personal anecdote. i1 -ou want. which is o1 3er- little importance e4cept to me. and that is that m- 1amil- and I mo3ed to Israel when I was ten -ears old. in 1@A2. and the Israel Ehilharmonic then consisted I would sa- about ei!ht-21i3e or ninet- per cent o1 Dewish musicians who had emi!rated mostl- 1rom #entral (urope 2 man- o1 them 1rom Ferman-. but also 1rom *un!ar-. Eoland. #<echoslo3akia in those da-s. 6ost o1 them had come in the thirties. 1leein! 5a<ism. %nd that is the orchestra that I heard most o1 the !reat pieces o1 the repertoire 1or the 1irst time. %nd when I started tra3ellin! more and more. in the late 1i1ties and the si4ties. I heard 1or the 1irst time other kinds o1 sounds. all kinds o1 sounds. %nd 1inall-. ha3in! been in and out o1 Ferman- 1or man- -ears. I came here to this house. with the "taatsoper. in the late ei!hties. and had an absolutel- chillin! e4perience hearin! the "taatskapelle pla-in! 1or the 1irst time. because it was e4actl- the same sound that I had heard as a child in Israel. %nd there was somethin! in the sound that so completel- reminded me o1 that. and that o1 course was the moment that I 1ell in lo3e with that and I decided that I wanted to

participate in the continuation o1 the li1e o1 this orchestra. %n-wa-. this is =ust on a personal note. )he sound. the Ferman. the so2called Ferman sound in man- wa-s is less harsh at the be!innin! o1 the note. Erobabl- 2 and this a!ain is 3er- sub=ecti3e 2 probabl- due also. not onl- but due also to the 1act that the Ferman lan!ua!e has such hea3- consonants. %nd on this particular sub=ect. on the sub=ect o1 the sound o1 orchestras and national characteristics. the Cuestion is o1ten asked nowada-s: but do we want all orchestras to sound the same; &o we want to lose the 3er- particular sound o1 the 9rench bassoon. i1 the- pla- on the Ferman instruments which are the accepted norm in the rest o1 the world. and o1 man- others. or do we want to ha3e national characteristics in e3er- orchestra; %nd then these national characteristics are adaptable i1 -ou want. or use1ul. onl- in a certain repertoire. in the repertoire o1 that countr-. It,s actuall- narrowin! the Cuestion. because I think i1 we ha3e the possibilit- to acCuire the knowled!e and the 3irtuosit- o1 pla-in! in man- di11erent st-les. I think it is the dut- o1 each !reat orchestra in the world to ha3e. i1 -ou want. a sound o1 its own which consists o1 understandin! the di11erent st-les o1 sound that it has to adopt and adapt when it pla-s di11erent kinds o1 music. In other words. this o1 course. the Cuestion is not. do I ha3e an orchestra which has a wonder1ul personal sound. immediatel-. unmistakablreco!nisable. and I distribute it !enerousl- to 6o<art. oule<. /a!ner. :erdi and )chaiko3sk- and 6essiaen. or do I 1ind a wa- to nurture this 3er- speci1ic sound. understandin! the di11erent st-listic necessities and adaptin! and chan!in! this sound so that it is at the ser3ice o1 the music that is bein! pla-ed. %merican musicians o1 course ha3e in that wa- much easier. because e3er-thin! 1or them is imported. I ha3e -et to 1ind a Ferman musician who 1eels the same de!ree o1 closeness to La 6er o1 &ebussas he does to the 1i1th s-mphon- o1 eetho3en. %nd in the opposite direction as well. 9or 1i1teen -ears I was conductor o1 the Earis orchestra. and belie3e me it was 3erdi11icult to !et the 9rench musicians to 1eel the kind o1. not onl- enthusiasm but ata3istic attachment to the 1i1th s-mphon- o1 eetho3en which the- did per1ectlnaturall- with La 6er. ut the Cuestion remains the same 2 do we all want to sound the same or do we want to de3elop in each and e3er- one o1 the !reat orchestras. (3erorchestra cannot do that. but in the !reat orchestras o1 the world. de3elop the capacit- to ha3e both an unmistakable personal sound and a sound that is 1le4ible enou!h to chan!e accordin! to the st-le that we are pla-in!. %ll these Cuestions are nothin! else but the musical eCui3alent to the Cuestions that we are askin! oursel3es in the world todaabout economic !lobalisation. about cosmopolitanism. /e don,t li3e an- more in a world that has accepted standards o1 =ud!ement. or taste. as was in the case in Freece. 9or me one o1 the !reatest enemies o1 humanit-. to be politicall- correct means o1 course means to be able to hide -our dislikes. It,s 1ine. I can li3e with that. but political correctness means o1 course also not to ha3e an- responsibilit- 1or an- =ud!ement. %nd I think this is where we are in toda-,s world 3er- o1ten that we onl- see the ri!hts that come with democrac- but we don,t reall- see the responsibilit-. %nd that shows itsel1 in the music makin! too. )he personal in3estment o1 each pla-er. be it when he pla-s alone or in chamber music or in an orchestra. the coura!e to ha3e a point o1 3iew. %nd then I ask m-sel1. wh- the coura!e o1 ha3in! a point o1 3iew; It,s absolutel- elemental. /h- pla- music i1 -ou don,t ha3e a point o1 3iew; /h-; In other words. the world that we li3e in. i1 -ou want. makes it ethicall- more and more di11icult to make music. because it is a world which !i3es us answers. e3en when there is no Cuestion. 6- point is that music. classical music as we know it. (uropean classical music that we ha3e toda-. will not sur3i3e unless we make a radical e11ort to chan!e our attitude to it and unless we take it awa- 1rom a specialised niche that it has become. unrelated to the rest o1 the world. and make it somethin! that is essential to our li3es. 5ot somethin!

ornamental. not onl- somethin! en=o-able. not onl- somethin! e4citin!. but somethin! essential. "ome o1 us are more 1anatic about music. more interested than others. but I think we should all ha3e the possibilit- to learn not onl- it but to learn 1rom it. It is per1ectl- acceptable throu!hout the world that -ou ha3e to ha3e acCuired a lot o1 li1e e4perience in order to then brin! it out in -our music makin!. but there,s so man- thin!s that -ou can learn 1rom the music towards understandin! the world. i1 -ou think o1 music as somethin! essential. I was 3er- luck-. I !rew up in a musical home. I !rew up in a. in a. in a small 1lat in uenos %ires where both m- parents tau!ht piano. so whene3er somebod- came to the house it was 1or a piano lesson 2 it was 1or me the most natural thin!. I learned to think in music. and I still do to this da-. %nd the 1irst thin! that I think o1. ha3in! li3ed all these -ears in this terrible con1lict that we li3e in the 6iddle (ast. because I !rew up there and I 1eel part o1 it. and to li3e dail- with so man- horrible thin!s that happen. I ha3e been alwa-s e3er- da- askin! m-sel1 since I was a 3er- small bo-. wh- is it that so much o1 the da- !oes b- and nothin! happens and then somethin! happens at a certain moment o1 the da- that in1luences not onl- e3er-thin! I think and 1eel a1ter the e3ent but e3er-thin! that I ha3e known and 1elt be1ore. %nd I,m sorr-. but I learned this in a much stron!er wa- 1rom the music. I ha3e here on musical e4ample which I would like to pla- 1or -ou. o1 e4actl- that. o1 the moment where there comes a 1antastic 3ertical pressure on the hori<ontal 1loor o1 the music. and that that moment -ou know that the music cannot continue an- more the wa- it was be1ore. such as the world was not the same a1ter the @th 5o3ember o1 1@IN. or the @th 5o3ember o1 1@N@. or the 11th "eptember o1 2001 2 e3ents that ha3e chan!ed e3er-thin! both towards the 1uture and towards the past. %nd I ha3e this one little e4cerpt 2 it is probabl-. -ou will. mi!ht 1ind it er not comparable to the incredible e4periences that an- o1 these e3ents ha3e been. 6- point is that I learned the 1act that there is a 3ertical pressure on the hori<ontal 1loor. that there is somethin! that shows at a certain moment that we ha3e to accept the ine3itabilit- o1 somethin! that has chan!ed our li1e both to the 1uture and to the end. %nd it is the moment in a passa!e in the last mo3ement o1 the ninth s-mphon- b- eetho3en where the te4t is: ,%nd the cherub stat 1or Fott. 1or Fott. 1or Fott,. 79(/ %$" '9 $(#'$&I5F '9 @)* "06E*'50 EL%0(&8 %nd there are o1 course man- other e4amples o1 this. 'ne o1 the Cuestions that preoccupies man- intellectuals toda- is wh- is the music o1 the past o1 such rele3ance to us toda-; %nd what about the music o1 toda-; %nd it,s e3ident that the music o1 toda- could not ha3e been created. and there1ore cannot e4ist. without the music o1 the past. %nd there is a necessit- to be able to pla- the music o1 toda- with a 1eelin! o1 1amiliarit- that seems to us per1ectl- natural when we pla- the music o1 the past. as it is necessar- 1or us to ha3e a sense o1 disco3er- 1rom the music o1 the past as i1 it is bein! written toda-. %nd I will !i3e -ou two 3er- small and 3ersimple e4amples o1 that. )here,s a wonder1ul sonata o1 eetho3en. 'pus N1a 2 Les %dieu4 2 which starts in a 3er- clear settled wa-. o1 two chords. slow mo3in!. in a 3erspeci1ic ke-. o1 ( 1lat. and on the third chord there is a modulation. 7EL%0" I #*'$&"8

"eems 3er- simple toda- a1ter all o1 the nineteenth centur-. but this is a... 7EL%0" I #*'$&"8 )he ear reall- e4pects this. %nd there1ore i1 the ear is as intelli!ent as I. I think it is. that,s what the ear e4pects. 7EL%0" I #*'$&" &+$I5F $(") '9 "(5)(5#(8 and the ear !ets a shock when there comes the modulation. )hat,s what I mean b- sense o1 disco3er-. %nd the be!innin! o1 the 1irst sonata o1 Eierre oule<. -ou know i1 -ou reall- pla-ed it as a collection o1 notes... 7EL%0" 9(/ 5')("8 ut i1 -ou had the connection 7EL%0" 9(/ 5')("8 -ou 1ind the elements o1 1amiliarit-. /hen I pla- those 1irst two notes in the oule< sonata I am sure. I am positi3el- sure he did not think o1 that as part o1 a harmonic. 7EL%0" 9(/ 5')("8 *e didn,t hear that in his. in his ear when he wrote that. ut it is m- dut-. when I plasomethin! new. somethin! that is not 1amiliar. to pla- it with understandin! it as i1 it had been here 1or man- man- -ears and 1or man- man- centuries in the same that it is necessar- 1or me to 1ind a sense o1 disco3er- in the music o1 the past. %nd this is o1 course 2 and this brin!s me to the end o1 this lecture 2 this is o1 course the most important point. '1 all the di11erent thin!s that I belie3e we can learn 1rom music. and each and e3er- one o1 us ob3iousl- learns di11erent thin!s. the most clearl- de1inable is the 1act that music teaches us as human bein!s that e3er-thin!. without an e4ception. has a past. a present. and a 1uture. :er- simple to sa-. but we all know how di11icult it is to li3e. /hen we ha3e a pleasant present. we want it to last. we think it will last 1ore3er. but in 1act the 1luidit- o1 li1e is 1or me best e4pressed in music. #omin! out o1 nothin!. the past. the present o1 the 1irst note. which is nothin! but a transition. %nd what I ha3e learned 1rom music. and ha3e o1 course not been able to appl- to m- dail- li1e. is acceptin! the 1luidit- o1 li1e and the 1act that nothin!. absolutel- nothin!. is completelindependent and solid. but e3er-thin! that I think and 1eel is dependent on this 1luidito1 li1e. )hank -ou 3er- much. 7%EEL%+"(8 &%5I(L %$(5 'I6: Elease ask !ood CuestionsJ 7L%+F*)($8 "+( L%/L(0:

&aniel arenboim. thank -ou 3er- much indeed. /e,re comin! to Cuestion time. and ob3iousl- we want to know i1 -ou 1eel -ou ha3e access to that ma!ical world o1 sound that,s been described. or we hope -ou,re not hidebound b- political correctness. )he woman here; D'0#( *%#G()): I,m Do-ce *ackett. I,m a no3elist here at the %merican %cadem-. 6uch o1 what -ou seem to be talkin! about toda- is that we li3e in an era that,s kind o1... in which we,re addicted to resolution. 0our comments about the )ristan prelude talked about how much more interestin! it was that /a!ner did not resol3e. and -ou could look at mu<ak as a kind o1 music that e4cessi3el- resol3es all the time. %nd I =ust wonder. um. i1 -ou ha3e an- thou!hts on wh- we,re li3in! in an era that seems to be almost aller!ic to m-ster- and aller!ic to ambi!uit-. &o -ou think it,s a result o1 secularisation. or... &%5I(L %$(5 'I6: 5o. D'0#( *%#G()): ...whether it,s =ust because o1 societ- mo3es 1aster; &%5I(L %$(5 'I6: I think it,s a. it,s a result o1 the 1act that technolo!- has ad3anced so much. and that we ha3e... we and our ancestors ha3e not done enou!h to make sure that the thinkin! capacit- de3elops at the same speed. and is 3er- much easier in technolo!- or in sports to de1ine pro!ress. "omebod- who runs a hundred metres toda- Cuicker than last -ear is ob3iousl- a better runner. but is oule< a better composer than 6o<art; I don,t think so. I =ust think he himsel1 would... he has learned a lot and he writes in a completeldi11erent st-le. but there is not the eas- de1inition o1 what is better. %re we better human bein!s now than there were three or 1i3e hundred -ears a!o; In some aspects -es. /e don,t ha3e sla3er-. we accept so man- thin!s now that we were not able to accept e3en 1i1t- -ears a!o. ut in our own indi3idual pri3ate sel1 we are still sub=ect to the same pressures that our ancestors were 1i3e or ten thousand -ears a!o. D'0#( *%#G()): &o -ou think one o1 the thin!s that music teaches us to do is to Cuestion the notion o1 pro!ress; &%5I(L %$(5 'I6: 0eah. o1 course. D'0#( *%#G()): )hank -ou. :IF%L+9: *ello. m- name is :i!alu17;8 and I,m part o1 the mana!in! committee o1 the %ssociation o1 Ferman "chool 6usicians. in erlin. and m- Cuestion is. now -ou were re1errin! to Eierre oule<. and he is o1 course in the tradition o1 classical music. Is there e3er a chance o1 a3ant !arde music e3er to become or e3er represent the belie1s or aesthetics or ideas. thou!hts. o1 the ma=orit- o1 people; ecause -ou sa- classical music has to come out o1 its niche. and a modern 1orm o1 classical music...

&%5I(L %$(5 'I6: 7':($L%E" % ':(8 0eah. well I would not make a distinction. /a!ner and Lis<t were also a3ant !arde musicians. but the a3ant !arde o1 toda- is 1i!htin! two losin! battles. 9irst o1 all. that some o1 it has no contact with the past. which was ne3er the case at all. but more important. it is 1i!htin! a losin! battle in the sense that music is not part o1 societ-. %nd there1ore an-thin! that is not immediatel- accessible is 3erdi11icult to make part o1 our societ-. I think that a new work. the work o1 a3ant !arde. has to ha3e the possibilit- to put itsel1 in the same pro!ramme with a s-mphon- beetho3en or whoe3er it ma- be. and. and then -ou see whether it stands on the same. i1 -ou wanted. the same lea!ue or not. I don,t belie3e in makin! a niche. a separate niche 1or an-thin! at all. "+( L%/L(0: ut people resist it don,t the- &aniel... &%5I(L %$(5 'I6: Eeople resist it because. because... "+( L%/L(0: ...because it is. because it,s atonal and it doesn,t appeal to them... &%5I(L %$(5 'I6: 5o no no no no no... "+( L%/L(0: ...and their ear -earns 1or consonance. not dissonance. &%5I(L %$(5 'I6: 5o no no no no no no. I don,t. I don,t belie3e that at all. Eeople resist a lot o1 thin!s. Eeople resist e3er-... a lot o1 music that reCuires er listenin! with thou!ht. It,s not onlcontemporar- music. I pla-ed a concert in #hica!o a 1ew -ears a!o with 0o 0o 6ar. where we pla-ed two o1 the. the last two eetho3en sonatas and inbetween the sonata b- (lliott #arter. %nd -ou know what. man- people. includin! musicians o1 the #hica!o "-mphon- 'rchestra. which are 3er- e4perienced musicians both with the music o1 eetho3en and in the last twent- -ears the music o1 (lliott #arter. the- 1elt that eetho3en 'pus 102 was more modern. )here was... I don,t think that this is the point. )he point is that there is no music education to speak o1. and when there is. it is onl- as a specialised pro1ession. %nd music was ne3er a pro1ession. music was alwa-s a wa- o1 li1e. I am sure 6o<art and /a!ner and "trauss and all the composers. as well as Eierre oule< and 6ichel Fuilan. who is sittin! here. and all the !reat musicians. don,t consider themsel3es that as a pro1ession. )he- do that in a pro1essional wa-. but this is not a pro1ession. it,s a wa- o1 li1e. and there1ore -ou cannot make a niche 1or that. "+( L%/L(0: % Cuestion here; :L06%$ %L#'5: 6- name,s :l-mar7;8 alcon. I work 1or the Foethe Institut. the Ferman cultural institute. I,d like to 1ollow up on the Cuestion that... or o1 the answer -ou =ust !a3e

concernin! the power o1 music. rie1l- touched upon the /a!ner issue. which o1 course immediatel- comes to mind. but I was wonderin! i1 -ou could 1urther elaborate. &o -ou reall- think that music can be totall- innocent o1 an- kind o1 political use. i1 the music itsel1 cannot brin! across a messa!e. or. on the other side o1 the spectrum as it were. do -ou think that music could 1ormulate a uni3ersal messa!e to all in the spirit o1 the ninth s-mphon- ma-be. i1 that,s possible; &%5I(L %$(5 'I6: I think. I think that e3er-thin! is made human b- the wa- we do it and the wa- we look at it. '1 course music does not ha3e to ha3e those Cualities. o1 course music is sub3ersi3e. I,m sorr-. but when I conduct a 6o<art opera and I. and the 1irst 3iolins plathe. the. main melod-. and the second 3iolins and the 3iola. the- are alread- pro3idin! the sub3ersi3e element. /hat music teaches us is not that it is all beauti1ul or that it is all sub3ersi3e. or that -ou can use it or that -ou can abuse it. /hat music teaches us is that all o1 those thin!s can be made one. %nd this is what music does. and in that wa- it is not unlike reli!ion. 5ot in an institutionalised wa- o1 reli!ion. in the ph-sic... or o1 the comin! one 2 this is what music is about 1or me. "+( L%/L(0: ut can -ou. &aniel. separate the composer 1rom his music; I mean we... -ou,3e mentioned /a!ner. and he was known to be deepl- anti2"emitic. and there are a lot o1 people in Israel. as -ou know -oursel1. who cannot stand to ha3e his music pla-ed there. &%5I(L %$(5 'I6: 0eah but there,s no ............ "+( L%/L(0: )he- cannot hear /a!ner,s music. &%5I(L %$(5 'I6: 0eah but that,s not because he was anti2"emitic. )his is a 3er- dan!erous sentence -ou =ust said now. because we will be here 1or the ne4t two hours now. 7L%+F*)($8 )he reason that /a!ner is not bein! pla-ed in Israel. the reason at all is that. it,s not because he was anti2"emitic. )o be anti2"emitic was a part o1 the normal make2up o1 an intelli!ent thinkin! person in (urope in the second hal1 o1 the nineteenth centur-. )his was the 3er- 1irst... "+( L%/L(0: /ell he was *itler,s 1a3ourite composer. &%5I(L %$(5 'I6: )hink o1 the ............... 2 sorr- let me 1inish 2 the problem with /a!ner is that he was used and abused because his writin!. his prose. is 3oci1erous. and horribl- anti2"emitic. )he music is not. (3en the characters in the opera. there is not one anti2"emitic character in a /a!ner opera. )hat -ou can use it to make o1 it. this is somethin! else. but it is not. )he reason 1or the /a!ner problem 1or man- Dewish people. 1or whom I ha3e complete and total s-mpath- and understandin!. is that man- o1 them ha3e seen

members o1 their 1amilies bein! taken to the !as chambers in the concentration camp in Ferman- to the sound o1 )he 6eistersin!er o3erture. and -ou ask -oursel1. how could the- e3er listen to this music a!ain; )his is the. the. the problem. 6- contention is o1 course that the- can,t. and o1 course the- shouldn,t. and o1 course there is no reason to make them do that. %nd 2 not but 2 and at the same time one must not !i3e these people the ri!ht to stop other people. who 1ortunatel- do not su11er 1rom this association. 1rom hearin! this music. )his is the /a!ner problem in embr-o. "+( L%/L(0: I,m !oin! to mo3e it on. because we,re runnin! out o1 time. Fentleman here; E()($ D'5%": Eeter Donas. &%5I(L %$(5 'I6: "ir Eeter DonasJ E()($ D'5%": Eeter Donas 1rom the 6unich 'pera. +m... "+( L%/L(0: /ho we should probabl- sa- used to run the (n!lish 5ational 'pera. E()($ D'5%": 0es. )here are about twent- Cuestions I would like to ask but... &%5I(L %$(5 'I6: "tart with the... "+( L%/L(0: #ould -ou =ust ask one Eeter; &%5I(L %$(5 'I6: "tart with the nineteenth. E()($ D'5%": I,m onl- !oin! to ask one. and it seems to me that the words ,lack o1 understandin!, and incomprehensibilit- between nations. between belie1s. there,s a constant theme here also in relationship to 6unich. %1ter all... 6usicJ %1ter all when.... 7L%+F*)($8 &%5I(L %$(5 'I6: 7L%+F*"8 /hat was his name; "i!mund 9reud. no; 7L%+F*)($8 E()($ D'5%": /hen we were born we were li1ted up b- our 1eet. and the 1irst thin! that comes out is not a 1ull- 1ormed sentence or a political speech. it is a cr-. a scream. a sound which is

3er- akin to sin!in!. %nd it seems to me that people can sin! be1ore the- can 1orm lo!ical sentences. without e3en 9reudian slips. Is it -our belie1 that the ma!ic o1 music could be more than =ust an aid to un. understandin!. but could be an (speranto 1or 1uture communication; &%5I(L %$(5 'I6: /ell there has to be a real re3olution in that I think. because I,m rather disturbed 3ero1ten b- the concept o1 communication. 6usicians toda- more and more are actuallcommunicators who happen to be musicians. and the- use music to communicate. and that the real communication o1 music comes when music is the communication itsel1. 5ot that music makes people 1eel !ood. and we know man- horrible people who lo3e music 2 we talked about two o1 them earlier. /a!ner and *itler and "talin and... 2 but i1 /a!ner had been able to be con3inced b- some 1orce. a kin! 2 -our er Ludwi! 2 or. or or... 7L%+F*)($8 or. or. or some other 1orce. that the nobilit- that he e4presses in the music can onlreall- come to bein! 2 i1 he is able to maintain that in his other thou!hts and in his dailli1e ma-be he would ha3e been a better human bein!. ma-be a lot o1 thin!s would ha3e happened. I think that the reason that we are in the situation that we are in is. I come back to the 1act that music is more and more an i3or- tower that is bein! er underde3eloped. and when de3eloped. onl- as such. /hat it would do i1 suddenl- the iron tower is remo3ed and it becomes open to e3er-bod- is an-bod-,s !uess. "+( L%/L(0: )hat,s it. )here will be more. but 1or now. &aniel arenboim. thank -ou 3er- much indeed. 7%EEL%+"(8 "+( L%/L(0: 5e4t week... 5e4t week we tra3el to the 6iddle (ast. where in 1@@@ &aniel arenboim created the /est (astern &i3an 'rchestra in which Dews and %rabs co2e4ist. and it,s there that the maestro will deli3er his 1ourth lecture. Its theme. Cuite naturall-. will be how music can brin! understandin!. patience. and the coura!e to listen to the narrati3e o1 others. )hat,s &aniel arenboim in the 6iddle (ast. same time ne4t week. +ntil then. 1rom the erlin "tate 'pera. !oodb-e. 7%EEL%+"(8 O (5& '9 9IL( P

Lecture !: Meeting in Music *ear &onald 6acleod,s e4tended inter3iew with &aniel arenboim co3erin! e3eraspect o1 the conductor,s in3ol3ement with /a!ner,s $in! In the 1irst o1 his lectures 1rom Derusalem &aniel arenboim will talk about how music is the !reat eCualiser as he disco3ered in his /est2(astern &i3an 'rchestra which brin!s to!ether -oun! %rab and Israeli musicians. Lecture 4: 6eetin! in 6usic "+( L%/L(0: *ello and welcome. 9or the last two in this series o1 $eith lectures we,3e come to the 6iddle (ast. &aniel arenboim had intended to deli3er this. the 1ourth lecture. in the Ealestinian cit- o1 $amallah. but because o1 the !rowin! tensions in the /est ank. we,3e been ad3ised not to !o there. "o both lectures will be deli3ered here in Derusalem. but in di11erent parts o1 the cit-. )oda- we,re =ust outside the walls o1 the 'ld #it-. in an area mainl- inhabited b- Ealestinians. who make up the bulk o1 our audience. arenboim is a contro3ersial 1i!ure in this part o1 the world. % Dew. whose 1amil- made their home in Israel when he was ten -ears old. he belie3es that the destinies o1 Israelis and Ealestinians are. as he puts it. ine4tricabl- linked. and he,s tried to e4empli1- this throu!h that which he knows best 2 music. In 1@@@ he =oined with the late Ealestinian intellectual (dward "aid to create an orchestra made up o1 -oun! Israeli and %rab musicians. #alled the /est (astern &i3an orchestra. it,s the li3in! representation o1 its 1ounders, central belie1. that music has the power to brin! people to!ether. )o e4plain wh-. and how. please would -ou welcome the $eith lecturer 2006. &aniel arenboim. 7%EEL%+"(8 &%5I(L %$(5 'I6: )hank -ou 3er- much. (dward "aid said that music is a little bit sub3ersi3e. )hat too o1 course speaks about how we percei3e it. and not about the music itsel1. ut he was unCuestionabl- ri!ht. In music. di11erent notes and 3oices meet. link to each other. either in =oint e4pression or in counterpoint. which means e4actl- that 2 counter point. or another point. %nd -et the two 1it to!ether. Elease allow me to !i3e -ou some 3ersimple. simplistic I would sa-. er e4amples o1 what I mean. )he slow mo3ement o1 eetho3en,s EathetiCue sonata 2 which I am sure man- o1 -ou ha3e heard man- times and some o1 -ou probabl- e3en pla-ed 2 is a relati3el- simple melod-. 7EL%0" 9(/ %$" '9 "'5%)%8 (tc. /hen we e4amine it a little bit more closel- we see that ob3iousl- there is a main 3oice that sinks its wa- throu!h the whole passa!e> 7EL%0" 9(/ 5')("8 %nd the bass accompanies it. in the best sense o1 the word 2 not in a situation where he. the bass is onl- 1ollowin!. but ha3in! its own to sa-. and !oes up when the melod- !oes down. and opposite>

7EL%0" 9(/ 5')("8 thereb- in1luencin! each other. %nd there is still the middle 3oice that !i3es a sense o1 continuit-. o1 1luidit-. 7EL%0" 9(/ 5')("8 )his is relati3el- a simple e4ample. I can !i3e -ou one more perhaps which mi!ht be o1 use 1or us later. and that is the last prelude o1 the 1irst book o1 ach,s /ell )empered Gla3ier. 7EL%0" 9(/ 5')(" '9 E$(L+&(8 )here the main 3oice is less ob3ious. because it could be: 7EL%0" 9(/ 5')("8 that. or it could be: 7EL%0" 9(/ 5')("8 with all sorts o1 possibilities. ut -ou see in all that. that in music there is a hierarch-. a hierarch- i1 -ou want with eCualit-. %nd that is what o1 course is much easier than in li1e. *ow di11icult it is to achie3e eCualit- and -et to 1ind a hierarch-. In times o1 totalitarian or autocratic rule. music. indeed culture in !eneral. is o1ten the onl- a3enue o1 independent thou!ht. It is the onl- wa- people can meet as eCuals. and e4chan!e ideas. #ulture then becomes primaril- the 3oice o1 the oppressed. and it takes o3er 1rom politics as a dri3in! 1orce 1or chan!e. )hink o1 how o1ten. in societies su11erin! 1rom political oppression. or 1rom a 3acuum in leadership. culture took a d-namic lead. /e ha3e man- e4traordinare4amples o1 this phenomenon. "ome is that writin!s in the 1ormer (astern loc. "outh %1rican poetr- and drama under apartheid. and o1 course Ealestinian literature amidst so much con1lict. /e onl- mention one important Ealestinian poet. 6ahmoud &alwish. and man- others. #ulture brin!s contact between people. or. shall we sa-. culture can brin! contact between people. it can brin! people closer to!ether. and it can encoura!e understandin!. )his is wh- (dward "aid and I started the /est (astern &i3an pro=ect. as a wa- to brin! to!ether musicians 1rom the di11erent %rab countries and 1rom Israel. to work to!ether. to make music to!ether. and ultimatel-. when we realised how much interest there was. to 1orm an orchestra. /hen we had the 1irst idea. which was linked to the cit- o1 /eimar in Ferman-. bein! culture capital o1 (urope in 1@@@. we e4pected to ha3e a small 1orum o1 ma-be ei!ht or twel3e -oun! people who would come and make music to!ether and spend a week or ten da-s at a workshop with us. so -ou can ima!ine the surprise we had when there were o3er two hundred applicants 1rom the %rab world alone. %nd this is how this orchestra was 1ormed. (dward and I met b- chance in London in 1@@I. in a hotel lobb-. I had !one to London to !i3e a concert. and ironicallhe was there to !i3e the 1@@I $eith Lectures. which e4plored the chan!in! role o1 the intellectual in toda-,s world. 5ow. thirteen -ears later. I ha3e brou!ht the $eith Lectures here to the 6iddle (ast.

/e took the name o1 our pro=ect. the /est (astern &i3an. 1rom a poem b- Foethe. who was one o1 the 1irst Fermans to be !enuinel- interested in other cultures. *e ori!inalldisco3ered Islam when a Ferman soldier who had been 1i!htin! in one o1 the "panish campai!ns brou!ht back a pa!e o1 the Goran to show to him. *is enthusiasm was so !reat that he started to learn %rabic at the a!e o1 si4t-. Later he disco3ered the !reat Eersian poet *a1i<. and that was the inspiration 1or his set o1 poems that deal with the idea o1 the other. the /est (astern &i3an. which was 1irst published nearl- two hundred -ears a!o. in 1N1@. at the same time. interestin!l- enou!h. that eetho3en was workin! on his ninth s-mphon-. his celebrated testament to 1raternit-. Foethe,s poem then became a s-mbol 1or the idea behind our e4periments in brin!in! %rab and Israeli musicians to!ether. )his orchestra consists o1 %rab musicians 1rom Ealestine. 1rom the territories. and Ealestinians 1rom Israel. "-rians. Lebanese. Dordanians. and (!-ptians. and o1 course Israeli musicians. 5ow. when -ou pla- music. whether -ou pla- chamber music or -ou pla- in an orchestra. -ou ha3e to do two 3erimportant thin!s and do them simultaneousl-. 0ou ha3e to be able to e4press -oursel1. otherwise -ou are not contributin! to the musical e4perience. but at the same time it is imperati3e that -ou listen to the other. 0ou ha3e to understand what the other is doin!. %nd the other ma- be doin! the same as -ou. i1 he is sittin! ne4t to -ou i1 -ou,re a strin! pla-er. or he ma- pla- a di11erent instrument and be in counterpoint to what -ou are doin!. ut in all cases it is impossible to pla- intelli!entl- in an orchestra concentratin! onl- on one o1 those two thin!s. I1 -ou concentrate onl- on what -ou do. -ou mi!ht pla3er- well but mi!ht pla- so loud that -ou co3er the others. or so so1t that -ou are not heard. %nd o1 course -ou cannot pla- onl- b- listenin!. but the art o1 pla-in! music is the art o1 simultaneous pla-in! and listenin!. In other words. one enhances the other. %nd this is the main reason we started this workshop. (dward once said. separation between people is not a solution 1or an- o1 the problems that di3ide people. and certainl- i!norance o1 the other pro3ides no help whate3er. In this workshop we were tr-in! to start a dialo!ue. to take a sin!le step 1orward. and to 1ind common !round. %nd we saw what happened when an %rab musician shared a music stand with an Israeli musician 2 both tr-in! to pla- the same note with the same d-namic. with the same stroke o1 the bow i1 the- were strin! pla-ers. with the same sound. with the same e4pression. )he- were tr-in! to do somethin! to!ether about which the- were both passionate. because a1ter all -ou cannot be an indi11erent musician. 6usic demands permanentl-. at all times. passion and e11ort. )he idea in a sense was as simple as that. because once -ou ha3e a!reed on how to pla- one note to!ether -ou can no lon!er look at each other the same wa- a!ain. )hat was our startin! point. and 1rom the be!innin! (dward and I were 1illed with optimism. despite the darkenin! sk-. as he called it. with what has turned out sadl- to be all too accurate 1oresi!ht. In the /est (astern &i3an the uni3ersal metaph-sical lan!ua!e o1 music becomes the link. it is the lan!ua!e o1 the continuous dialo!ue that these -oun! people ha3e with each other. 6usic is the common 1ramework. their abstract lan!ua!e o1 harmon-. %s I ha3e said be1ore in these lectures. nothin! in music is independent. It reCuires a per1ect balance between head. heart and stomach. %nd I would ar!ue that when emotion and intellect are in tune. it is easier also 1or human bein!s and 1or nations to look outward as well as inward. %nd there1ore throu!h music we can see an alternati3e social model. a kind o1 practical +topia. 1rom which we mi!ht learn about e4pressin! oursel3es 1reeland hearin! one another.

)his. and man- other thin!s. -ou can reall- learn 1rom pla-in! music. so lon! as -ou don,t 3iew music onl- as a pastime. no matter how en=o-able. or as somethin! to 1or!et the world. but somethin! 1rom which -ou can actuall- understand the wa- the world can. should and sometimes does 1unction. In an- case. 1rom the be!innin! it was our belie1. (dward,s and mine. that the destinies o1 our two people. the Ealestinian people and the Israeli people. are ine4tricabl- linked. and there1ore the wel1are. the sense o1 =ustice and the happiness o1 one has to e3entuall-. ine3itabl- be that o1 the other. which is certainl- not the case toda-. '1 course the /est (astern &i3an orchestra is not !oin! to brin! about peace. /hat it can do howe3er is to brin! understandin!. It can awaken the curiosit-. and then perhaps the coura!e. to listen to the narrati3e o1 the other. and at the 3er- least accept its le!itimac-. )his. i1 -ou want. is the main idea behind this pro=ect. %nd people 3ero1ten ask me. but this is a wonder1ul e4ample o1 tolerance. and I sa- no I don,t like the word ,tolerance,. because to tolerate somethin! or somebod- means -ou tolerate them 1or ne!ati3e reasons. 0ou tolerate somebod- in spite o1 the 1act that he or she is u!l-. -ou tolerate somebod- er in spite o1 the 1act that he or she is stupid. %nd there1ore tolerance is used. and I would sa- misused in toda-,s world. and in the press 3er- o1ten. is a 3er- misleadin! word. )he 9rench $e3olution !a3e us three much more important and power1ul ideas. or concepts 2 libert-. eCualit- and 1raternit-. ut these ideas o1 the 9rench $e3olution are not onl- ri!ht in themsel3es. but the- are so because the- come in the proper order. 0ou cannot ha3e eCualit- without libert-. and -ou certainl- cannot ha3e 1raternit- without eCualit-. )he importance o1 this I learnt 1rom music. because music e3ol3es in time. and there1ore the order ine3itabl- determines the content. %nd I ha3e ne3er had to ask m-sel1 the Cuestion. can,t we ha3e eCualit- be1ore libert-. %nd this underlines i1 -ou want a central problem o1 our con1lict here in the 6iddle (ast. /hen -oun! musicians 1rom the opposite camp. as it were. come to!ether. the- ha3e the libert-. )he- ha3e the libert- or choice whether to come or not to pla- music to!ether. )he- also howe3er ha3e somethin! =ust as important. and that is automaticallthe- ha3e eCualit-. because music !i3es e3er-one the same possibilities re!ardless o1 race. se4. reli!ion. or where the- came 1rom. In 1ront o1 a eetho3en s-mphon- we are all eCual. %nd althou!h the 1raternit- does not ha3e to be there. it is at least a possibilit-. whereas now in real li1e it is not. I know. or rather I 1eel 2 no. I 1eel I suspect and I know 2 that some o1 -ou mi!ht think the idea o1 Ealestinians and other %rabs and Israelis pla-in! to!ether is unacceptable. I know that this is unacceptable 1or man- o1 m- 1riends in $amallah 1or instance. %nd I understand it. because it is seen as a 1orm o1 normalisation 2 and b- that I mean an acceptance o1 the status Cuo. %nd this is unacceptable to them. because the real problems o1 actual e4istence ha3e not been sol3ed. %nd when we pla-ed in $amallah last %u!ust there were people who said. how can we look at Israelis. Ealestinians and other %rabs pla-in! to!ether when the Israeli tanks are here. and when we ha3e the situation that we ha3e now. ut. as (dward "aid said 2 I Cuote 2 ,6- 1riend &aniel arenboim and I ha3e chosen this course 1or humanistic rather than political reasons. on the assumption that i!norance is not a strate!- 1or sustainable sur3i3al,. /hen Ealestinians and other %rabs meet Israelis in music. the primar- Cualit- that is missin! in the political li1e. namel- the eCualit-. is alread- a !i3en. )here1ore this ma- be precisel- the startin! point 1or them to show each other that what the- ha3e in music. the eCualit- and the abilit- to con3erse with each other on eCual 1ootin!s. will lead them to look 1or wa-s to 1ind that outside o1 music. 6usic in this case is not an e4pression o1

what li1e is. but an e4pression o1 what li1e could be. or what it could become. 6usic itsel1 should not be used 1or political or an- other purpose. ut althou!h -ou cannot make music throu!h politics. perhaps -ou can !i3e political thinkin! an e4ample throu!h music. %s the !reat conductor "er!ei #elibidache said. music does not become somethin!. but somethin! ma- become music. )hank -ou 3er- much. 7%EEL%+"(8 "+( L%/L(0: &aniel arenboim. thank -ou 3er- much indeed. "o music is a !reat eCualiser but onli1 the pla-ers are willin! to listen to each other. *ere in the 6iddle (ast. where the Israeli Ealestinian con1lict is as tense as e3er. is it possible that this metaphor o1 music can describe a wa- 1orward; Let me remind listeners that our audience this e3enin! is a predominantl- %rab one. /e,re in a part o1 Derusalem inhabited mainl- b- Ealestinians. 5e4t week in another part o1 the cit- we,ll ha3e a predominantl- Dewish Israeli audience. "o. to our Cuestions. and the 1irst is 1rom $a<an Galoti who works 1or the '11ice o1 the ritish #ouncil. which is responsible 1or the Ealestinian territories. $a<an. -our Cuestion please. $%Q%5 G%L')I: (r as a Ealestinian. and ha3in! to li3e under e4tremel- harsh li3in! conditions and dailhumiliation. m- Cuestion would be how would music reall- help; &%5I(L %$(5 'I6: /ell. ma-be -ou should !o to $amallah the da- a1ter tomorrow. In $amallah the daa1ter tomorrow. in the Ealace o1 #ulture. there is a concert b- an all Ealestinian orchestra. hal1. or more or less hal1. 1rom $amallah. and the other hal1 1rom 5a<areth. 5ow since -ou are Ealestinian and -ou li3e in the area. -ou know that what I ha3e said is practicall- an impossibilit-. *ow do -ou !et twent- or twent-21i3e -oun!sters 1rom 5a<areth to !o throu!h the checkpoints and to !et the permissions and to !o to $amallah to =oin other children who ha3e the same passions and the same will to plato!ether; )his is not !oin! to sol3e the problems. it,s not !oin! to sol3e the inner Ealestinian problems. but it can do se3eral other thin!s. 9irst o1 all. I think it should be a da- o1 !reat =o-s and pride to all Ealestinians. to see 1ort- or 1ort-21i3e -oun!sters. as I said 1rom $amallah and 1rom 5a<areth. walkin! on sta!e to produce somethin! which is not e3en somethin! that one associates with Ealestinian culture. #lassical /estern music is not e4actl- the Cualit- that 1irst comes to mind. %nd -et -ou ha3e children. and 3er- -oun! people. most o1 them under si4teen. some o1 them ten and ele3en. who ha3e throu!h their passion and the curiosit-. 1ound somethin! that will !i3e them a sense o1 pride. as I said. o1 di!nit-. all those thin!s which Ealestinians so ri!htl- complain the lack o1 in their societ-. "+( L%/L(0: ut I want> I mean are -ou in an- wa- con3inced b- that; 0ou sounded sceptical when -ou be!an. 0ou,re sa-in! that the realities o1 e3er-da- li1e make it Cuite di11icult. $%Q%5 G%L')I: It,s much di11erent than> %nd it,s. as the- sa-. it,s easier said than>

"+( L%/L(0: )han done. $%Q%5 G%L')I: )han >>>> "+( L%/L(0: (asier said than done. $%Q%5 G%L')I: )he salaries are not paid. er e4tremel- hard li3in! conditions. er e3en ha3in! to !o to $amallah to do some work we ha3e to cross checkpoints. the humiliation. er so it,s not that eas-. &%5I(L %$(5 'I6: 5o I know. I ne3er claimed it was eas- and I didn,t claim that it is a substitute 1or the other. I,m =ust sa-in! that we ha3e to 1ind wa-s that each and e3er- human bein! in li1e has achie3ed somethin! that he doesn,t want to lose. "+( L%/L(0: Is this> 'n this sub=ect o1. o1. o1 music bein! the eCualiser is 3er- di11icult when -ou,re con1ronted with the harsh realit- o1 e3er-da- li1e in the occupied territories. F('$F( "%*%$: 6- name is Feor!e "ahar. I am er 1rom #are International. /hat I hear 6r arenboim sa-in! is that it doesn,t necessaril- ha3e to be that er the !uns ha3e to be silent so that we can hear the music. and I 1eel that this is um. it,s interestin! but it,s an added challen!e 1or us as Ealestinians. because we still are in a state where we ha3e to pro3e our humanit- to the world. and music is supposed to be an eCualiser. so I,d reall- like to hear -our perspecti3e about it. #an we hear the music when the !uns are still so loud; )hank -ou 3er- much. &%5I(L %$(5 'I6: /ell I think. -ou know -ou are per1ectl- ri!ht. )here is an area where the music and the realit- does not alwa-s !o hand in hand. and I don,t belie3e that music is an eCualiser. 6usic is nothin! e4cept itsel1. /hat -ou can do is 1ind the eCualit- in the music. It will not silence the !uns. and it will not do an- o1 those thin!s. "+( L%/L(0: ut the> &%5I(L %$(5 'I6: 5ow let me tell -ou somethin! else in a 3er- con> "orr-. In a 3er- constructi3e and positi3e wa-. I wish man- Israelis could !o to $amallah on "aturda- to hear this all Ealestinian orchestra. elie3e me. the Dewish people ha3e pla-ed a ma=or role in classical music o3er the last two or three hundred -ears. "ome o1 the best musicians all o3er the world were that. %nd with what respect the- would suddenl- look at these Ealestinians who are able to pla- this music in a wa- that is not onl- as !ood as some o1 the Israeli children. in some cases ma-be e3en better. /hen I was a child. I came to :ienna 1rom %r!entina 2 I was ten -ears old. it was in 1@A2 2 and :ienna was occupied b- the 1our powers 2 the "o3iet +nion. the +nited "tates. Freat ritain. and 9rance. %nd

the %mericans brou!ht #oca #ola. and the whole o1 :ienna went on a #oca #ola 1east. )he- had ne3er seen an-thin! like that. %nd a week or ten da-s later the :ienna Ehilharmonic pla-ed a concert with the !reat "o3iet 3iolinist &a3id 'istrakh. and belie3e me that da- the "o3iets conCuered a place in the hearts o1 all the :iennese 2 and not =ust the musicians 2 because o1 that. %nd I am sure -ou are such a talented people 2 and I am not sa-in! this to 1latter -ou. I know this. 1or man- -ears I ha3e been workin! with a lot o1 -our people 2 -ou ha3e such a 1antastic stren!th. and 1orce o1 talent that e3er-thin! has to be done to allow all Ealestinians to de3elop and e4press themsel3es in that. )his is wh- I am in3ol3ed in all this. "+( L%/L(0: I,m !oin! to take one more point on this and then I,m !oin! to mo3e on. "*I$L(0 (5D%6I5: 6- name is "hirle- en=amin. and I,m a Dewish Israeli. and 1rom m- point o1 3iew the terrible problem is to !et the Israeli Dews to open their e-es to what,s !oin! on. I am on the internet e3er- da- and I ha3e 1riends and I know what,s !oin! on. #an -ou not brin! this orchestra to Israel. to the Dewish part o1 the countr-. to let Dews see what> that the-,re not e3er-thin! that we see on the tele3ision. &%5I(L %$(5 'I6: /ell (dward "aid and I started this orchestra. and we saw what it can do and how it tra3elled. /e realised that the 1ull dimension o1 the pro=ect will onl- happen when this orchestra is allowed to pla- in all the countries that are represented in it 2 Israel. Ealestine. "-ria. Dordan. (!-pt. etc. /e are not there -et. /e made the conscious decision to !o to $amallah last -ear because we thou!ht this is the most ob3ious and clear humanistic attitude. It was not a political> *ad we tried to !o to &amascus. or to )el %3i3. this would ha3e been a 3er- 3er- clear political thin!. which we didn,t reallwant to do that. ut I am sure that the da- will come when we will pla- both in )el %3i3 and in &amascus. /e are not Cuite there. but we will !et there. "+( L%/L(0: %nd can -ou come to a Cuestion here on the 1ront row now. 1rom )o3a Lesaro3. who describes hersel1 as an %merican Israeli 2 that,s ri!ht isn,t it; 2 and she,s a =ournalist with the Derusalem Eost. )':%* L%Q%$'99: I had a couple o1 Cuestions actuall-. "+( L%/L(0: 5o no no. !i3e us one Cuestion. &%5I(L %$(5 'I6: "he is boss- with me too 2 don,t worr-J 7L%+F*)($8 5ot personall-. "+( L%/L(0:

5o -ou can,t. -ou can,t ask a couple. %sk a Cuestion. and i1 it,s !ood and i1 the answer rolls then we,ll let -ou ask another one but> )':%* L%Q%$'99: 'ka-> "+( L%/L(0: >don,t push -our luck. )':%* L%Q%$'99: I. I,ll. I,ll start with this one then. +m can -ou think o1 a speci1ic e4ample where music in this area has actuall- chan!ed the political process; &%5I(L %$(5 'I6: 5o. because neither the political leadership o1 Israel or 1rom I know the Ealestinian is musical enou!h. 7L%+F*)($ H %EEL%+"(8 "+( L%/L(0: Fo on. -ou can ask another one then. )':%* L%Q%$'99: /ell. well> 7L%+F*)($8 &%5I(L %$(5 'I6: 5o. ask the other Cuestion 2 ma-be it,s betterJ 7L%+F*)($8 )':%* L%Q%$'99: I. I,m !oin! to continue that. I. I mean is it people that -ou,re tr-in! to chan!e here or the politicians; &%5I(L %$(5 'I6: 0ou think politicians are not people; 7L%+F*)($8 "orr-J 0ou know. I am not tr-in! to chan!e an-one. I am tr-in! to work in an area which to me personall- is 3er- important. and that is the understandin! o1 the narrati3e o1 the other. %nd I think that we can do that in our small +topian republic. which has e4isted since 1@@@. where e3er-bod-,s li1e has been to some e4tent chan!ed b- these e4periences. )his is what !i3es music makin! a Cualit- that is lackin! in so much o1 the music makin! toda- in the whole world. and that is its e4istential Cualit-. /e ha3e now wonder1ul specialists on the 3iolin. on the oboe. on the piano. whate3er the- are. reallspecialised workers that can do all sorts o1 acrobatics and thin!s on their instrument. ut this is not what we are talkin! about. /e are talkin! o1 the e4pression in music as

bein! somethin! e4istential. which is more than pain or pleasure 2 it is pain and pleasure. %nd this is what this orchestra does.

"+( L%/L(0: ut I think that is the point. I think that is what people 1eel sometimes. &aniel. about this. that -ou are 2 and one understands wh- -ou,re insistent that it,s not an- kind o1 a political thin! that -ou ha3e set up here with the /est (astern &i3an. but ne3ertheless i1 -ou are settin! up a +topia that -ou hope is some kind o1 metaphor 1or how li1e could be led. how there could be some kind o1 eCualisation and some kind o1 harmon-. -ou cannot sa- it is not political. whether -ou like the >>>>> idea or not. &%5I(L %$(5 'I6: 7':($L%E8 ut then -ou ha3e to reall-> I am sorr- but then -ou ha3e to reall- de1ine 3er- clearl- and 3er- speci1icall- what is political. Is political tactic or is political strate!-; I1 political is strate!-. then I take what -ou saabout our pro=ect as a compliment. I1 -ou think political is tactical. then I will continue sa-in! it is not that. &$ 6%6&'+* %G($: 6- name is er 6amdo *akar. I am a ph-sician. a Ealestinian ph-sician and sur!eon. I,m 3er- !lad &aniel that -ou mentioned 6ahmoud &alwish in -our er lecture. Dust last week 6ahmoud &alwish and I were talkin! about the harsh realit- we are 1acin! as Ealestinians. 6a-be I need =ust to mention to -ou that to be here. it took me honestltwo hours to !et 1rom $amallah to here. in spite o1 ha. ha3in! all the necessarcredentials. but what actuall-. what &alwish was sa-in! is that now am I. within all this er realit-. 1ocusin! on culture is our chance to keep 1loatin! 2 this is e4actl- what he said 2 to keep 1loatin! in this world. #an music !o to the open air and be a cr- 1or =ustice and 1reedom. libert-. eCualit- and 1raternit- as -ou mention; /h- not to per1orm in the open air in 1ront o1 the wall. not to make a political statement but at least to show the u!liness o1 the situation 2 can this happen; &%5I(L %$(5 'I6: /h- not; Elease. I. I mean I rather wish there were no wall and this would not be necessar-. but since the wall is here. wh- not; &$ 6%6&'+* %G($: )hat,s true. &%5I(L %$(5 'I6: ut -ou ha3e noticed I am sure that I ha3e re1rained 1rom 3oicin! too much criticism i1 -ou want er o1 the Israeli side toda- here. and i1 I ha3e done so it is onl- because it would be 3er- eas- success 1or me here. I,d rather do that in Israel proper. I ha3e ne3er spoken a critical word about Israel in $amallah. and I ha3e no intention o1 doin! it here toda- 2 not because I ha3e nothin! to criticise. I ha3e been 3er- 3ocal about this on man- occasions all o3er the world. ut allow me =ust onl- one sentence. 'ne o1 the most important thin!s in m- 3iew is it is imperati3e that a situation is brou!ht about where the le!itimac- o1 the Ealestinian narration is accepted b- Israel. its politicians and

all its citi<ens. )his has to be the 1irst step. +ntil that moment has come. nothin! will be real. %nd this is e4ceptionall- important. "+( L%/L(0: +m I,m !oin! to call in %ri "ha3it. who,s an Israeli and a senior columnist on *aaret<. um a leadin! national newspaper here. %$I "*%:I): 6r arenboim. I think that it. 1or me it,s ob3ious that -our pro=ect. the pro=ect -ou launched with Ero1essor "aeed. is a beni!n pro=ect. I don,t see an- wa- one can contest the idea o1 an orchestra o1 the others learnin! to pla- to!ether and to be in dialo!ue one with another. ut what I would like to Cuestion is the metaphor there. 0ou ha3e come with the # team to the land o1 tra!ed-. the tra!ed- bein! that there are two people here who ha3e lost their own music. &on,t -ou think that in order to mo3e 1orward. in order to ha3e a ci3ilised peace1ul li1e here. each people needs a time with his own music; &on,t -ou think that i1 -ou tr- to put two peoples into one position where theare challen!ed with the music o1 the other in an intimate situation. that endan!ers the 3er- pro=ect that -ou want to ad3ance; &%5I(L %$(5 'I6: I think it,s a 3er- er um le!itimate Cuestion. althou!h based. i1 I ma- sa- so. on an erroneous understandin! o1 the problem. (r it. this is not Israeli music 3ersus %rab music. we,re not talkin! here about Dewish music. we,re not talkin! about Glet<mer music a!ainst the music o1 eirut. eetho3en was Ferman. -es. but he was much more than that. he was e3er-thin!. )his is somethin! that we all draw 1rom. It is not the pri3ile!e o1 the Israelis to sa- we are classical musicians. and there1ore the- are not 1orcin! the Ealestinians to accept somethin! o1 their own. %$I "*%:I): 5o I. I. I want to emphasise that the pro=ect itsel1> &%5I(L %$(5 'I6: 0es. %$I "*%:I): >I 1ind inspirin! in e3er- wa-. I =ust think that we all should think about whether we want to take the metaphor seriousl- and to translate it to a political !oal. or where do we reach the more realistic idea which sa-s that each people need some time with itsel1. to assert its own identit-. %nd I think -ou,3e heard it in the Cuestions here. amon! the Ealestinians. man- o1 the Ealestinians who somewhat 1eel threatened b- what the- see as a cultural in3asion o1 Israelis into their own terrain. which I think 3er- much I> &%5I(L %$(5 'I6: 7':($L%E8 I,m sorr-. I am sorr- to disa!ree with -ou. I ha3en,t 1elt that at all. I ha3e 1elt some Cuestionin! and criticism o1 man- other thin!s. but I ha3en,t 1elt that at all. %nd I think that an-thin! that makes e3er- sin!le Israeli ha3e to think 1or a moment that there is a le!itimac- in the point o1 3iew o1 the other. e3en i1 the- are uncom1ortable 1or the Israelis. and I ha3e ne3er shied awa- 1rom that. and I don,t er reall- belie3e in that. %nd i1 an-bod- has the 1ear that er this is another 1orm o1 Israeli in3asion i1 -ou want. I can onl- tell -ou that this is a total misunderstandin! o1 the nature o1 music and where it comes 1rom.

"+( L%/L(0: I,m !oin! to call 1inall- um $ud-ar "hihada. who,s a human ri!hts law-er and writer. based in $amallah. which is where he was born. *e was called to the ar in London and then returned to um pri3ate practice in $amallah and has been there e3er since. $%D% "*(*%&(*: I am 3er- concerned about the destruction o1 the landscape. which I 1ind to be a di3erse ..;.. )he rollin! hills o1 the /est ank and the deep 3alle-s are li!ht music captured in stone. (r the beaut- and the li3es o1 the Ealestinians who inherit them are bein! destro-ed b- the discordant wall. which is so out o1 s-nc with the nature o1 the land. 6- Cuestion is. can music made b- people 1rom the di11erent sides o1 the wall restore the harmon- be1ore it is lost 1ore3er; "+( L%/L(0: /e come back to the same point a!ain e3er- time &aniel. &%5I(L %$(5 'I6: $ud-ar. -ou,re makin! it 3er- di11icult 1or me. 0ou make it 3er- di11icult 1or me. I still belie3e that an-thin! that people can share to!ether. whether it is throu!h music or throu!h ideas or throu!h 1riendship or whate3er it is. cannot be ne!ati3e. It cannot do dama!e. %nd what I wish. I wish 1or a much !reater percenta!e o1 er Israelis to reallconcentrate and understand this part o1 Ealestinian histor-. )hat,s what I said earlier. that until Israelis accept the le!itimac- o1 the Ealestinian narration. nothin! will mo3e. not onl- in the wa- that -ou Ealestinians want but in a wa- that is humanl- =ust. "+( L%/L(0: Eick up please> $%D% "*(*%&(*: (r I. I absolutel- belie3e that this is true. I ha3e heard the &i3an orchestra on se3eral occasions. and what struck me is not onl- that it,s possible to ha3e people 1orm both sides pla- to!ether but the 1act that when the- pla- to!ether the- can create somethin! which is more beauti1ul than what either alone can produce. &%5I(L %$(5 'I6: 7':($L%E8 )he- inhabit each other. $%D% "*(*%&(*: 0eah. %nd. and I think that,s a 3er- important messa!e. because I think the Israeli e4perience and. and ideolo!- is that we must ha3e Dews onl- in Israel. so the. there were alwa-s Dews li3in! in %rab countries. and. and now the- don,t. and that this is a better situation that %rabs li3e on one side. the Dews li3e on another side. %nd the possibilito1 h-bridit- is lost. and I think the &i3an is showin! that i1 it is restored it will be better 1or e3er-bod-. &%5I(L %$(5 'I6: )hank -ou. "+( L%/L(0:

6usic to -our ears. as the- sa-. )hat,s it. thank -ou 3er- much. 5e4t week &aniel arenboim ends his series with a lecture about the di11erence between power and stren!th. 6usic. like politicians. can ha3e both. )he art is knowin! how to combine them. )hat,s arenboim in Derusalem on music and political leadership at the same time ne4t week. 9or now. our thanks to &aniel arenboim. and !oodb-e. 7%EEL%+"(8 O (5& '9 9IL( P Lecture ": The #ower o Music 6usic has shown arenboim that there is a 1undamental di11erence between power and stren!th which could map a new =ourne- 1or our politics. Lecture A: )he Eower o1 6usic "+( L%/L(0: *ello and welcome. '3er the past 1i3e weeks we,3e been to London. #hica!o. erlin. and now Derusalem. in the compan- o1 our lecturer &aniel arenboim. %ll these places are central to both his music makin! and his philosoph- that music has the power to trans1orm and impro3e the world. Last week be1ore a mainl- Ealestinian audience he described music as a !reat eCualiser. %n orchestra can,t brin! peace. he said. but it can brin! the understandin!. patience and coura!e 1or people to listen to one another. )odawe,re in the Derusalem International 06#%. but this is no ordinar- 06#%. It was desi!ned in 1act b- the architect o1 the (mpire "tate uildin!. and described b- 9ield 6arshall Lord %llenb-. when he opened it in 1@II. as a place where 2 and I Cuote 2 ,=arrin! sectarians ma- cease 1rom wran!lin! and men,s minds be drawn to lo1tier ideals,. % noble note then on which to introduce our last lecture. Elease welcome the man who ar!ues that music should be seen as a metaphor 1or li1e. capable o1 demonstratin! the !reat Cualities o1 leadership. Ladies and !entlemen. &aniel arenboim. 7%EEL%+"(8 &%5I(L %$(5 'I6: )hank -ou 3er- much. )oda- I would like to concentrate on the 1act that music has a power be-ond mere words. It has the power to mo3e us. and it has the sheer ph-sical power o1 sound. as we know. )hrou!hout this series o1 $eith lectures I ha3e been 1ocused on the content o1 music and its relationship to li1e. *ere. toda- in this 1inal lecture. I would like to e4plore the power that music has o3er us. the power o1 the association that music e3okes 2 that is to sa- I would like to distin!uish between the substance o1 music. and our perceptions o1 it. and ultimatel- to consider the di11erence between power and stren!th in music. and in li1e. It is essential to understand that music is concei3ed o1. and e3entuall- deli3ered. 1rom the point o1 3iew o1 one indi3idual. %s a result sub=ecti3it- is an inte!ral and necessarpart o1 music. %nd there1ore the permanent relationship between sub=ecti3it- and

ob=ecti3it- is an essential aspect o1 music makin!. as it is o1 li1e. (3en the 1reedom o1 speed in music. what is called tempo rubato. which is nothin! else but Italian 1or stolen time. )empo rubato can not be will1ull- concei3ed. but must ine3itabl- ha3e at the 3erleast a contact with the ob=ecti3e sense o1 time. i.e. not stolen. %nd here a!ain we are con1ronted with what I like to see as the moral responsibilit- o1 the ear. %1ter all. it is the ear that determines audibilit- and transparenc- in music. It is the ear that must !uide us in tempo rubato to ha3e the moral stren!th to !i3e back what was inad3ertentlstolen. In other words. when takin! time in parts o1 a phrase. we must 1ind the ri!ht place to !i3e it back. )his is not unlike the moral responsibilit- to !i3e back what has been stolen. I will !i3e -ou a 3er- simple. or I should almost sa- simplistic e4ample. In the 1irst mo3ement o1 the )chaiko3sk- piano concerto. which I am sure -ou ha3e heard man- times. there is a 3er- beauti1ul and interestin! second sub=ect. 7EL%0" 9(/ %$" '9 EI%5' #'5#($)'8 etc. 5ow. i1 pla-ed totall- without an- sense o1 1reedom. -ou !et onl- the sense o1 re!ularit-. 7EL%0" "%6( 9(/ %$" &I99($(5)L08 5ow Cuite apart 1rom the Cuestion o1 st-le o1 how much 1reedom there can be. it is I think Cuite e3ident that it needs a certain amount o1 1reedom where the melod- and the harmon- create a speci1ic kind o1 tension which needs more time 1or the ear to percei3e and understand. and there1ore then has to 1ind a wa- to !i3e it back. 7EL%0" "%6( 9(/ %$"8 %nd now... 7#'5)I5+("8 I ha3e to take the time there. but then I ha3e to !i3e it back... 7#'5)I5+("8 I1 I wouldn,t do that. this is what it would sound like. 7EL%0" "%6( 9(/ %$" %F%I58 I ha3e nowhere to !o. )here is a certain lo!ic in the speed that !oes in there. ecause music onl- e4presses itsel1 throu!h sound. and takes place in a !i3en time. It is b- its 3er- nature ephemeral. /hat is di11icult in real li1e is somethin! that is essential in music. that is to be able to start 1rom scratch each time we pla- somethin!. because what we did -esterda-. and what we did this mornin!. is !one. and we must start o3er as i1 the 1or the 1irst time but with the knowled!e o1 the last time. It is 3er- di11icult 1or the human bein! to trul- ha3e the coura!e and the abilit- to start 1rom scratch. to start 1rom <ero. to take e4perience 1rom the past and -et think it anew. %nd -et this is essential. in music as well as in li1e. 6usic allows us certain emotions or combination o1 emotions that are practicall- impossible in li1e without sound 2 that is in li1e without a musical dimension. /e know at least since "pino<a that =o- and its 3ariant lead to a !reater

1unctional per1ection. and that sorrow and related e11ects are unhealth- and should there1ore be a3oided. ut music allows us to 1eel pain and pleasure simultaneousl-. both as pla-ers. and as listeners. It is crucial to distin!uish between the nature o1 music on the one hand. and the associations that it e3okes on the other. #onsider how eetho3en was misused and abused in Ferman politics. b- ismarck. b- *itler. and b- the (ast Ferman $epublic. )he iron- o1 eetho3en,s 5inth "-mphon- bein! pla-ed in the 5a<i era 2 ,%lle 6enschen werden ruder, 2 ,%ll men will be become brothers, 2 all that is e4cept a 1ew. In other words the concept o1 1raternit- is bein! de1ined in ad3ance in the sense that -ou can keep some people out o1 it. /e are talkin! here about a critical distinction. /e are back at m- earlier Cuestion about the kni1e 2 a Cuestion that I raised in one o1 the earlier lectures. Is the kni1e an instrument with which we can commit murder. there1ore a 3iolent instrument. or is it one with which we can 1eed the other; )he kni1e in itsel1 is not moral. it is the human bein! who has the capacit- to make it moral or immoral. and it is the human bein! who has the responsibilit- o1 creatin! the associations. %nd there1ore the problem with pla-in! eetho3en,s music in 5a<i times. or e3en with pla-in! /a!ner,s music here in Israel. is not the music in itsel1. but the association that it e3okes in people. )his I am a1raid is linked to political correctness. and is tied to ideolo!ical thinkin!. /hen -ou pla- a piece o1 music -ou must 1ind the content. and -ou can onl- do that 1rom the point o1 3iew o1 one indi3idual. %nd no matter how wide and ob=ecti3e that indi3idual tries to be. there is ine3itabl- an element o1 such acti3it- in it. )he use and abuse o1 /a!ner,s ideas and music was an inte!ral part o1 the last -ears o1 the )hird $eich 2 in 1act o1 the whole )hird $eich 2 and it is not onl- understandable. but sel12e3ident. that somebod- who su11ers 1rom this kind o1 association is not onlunwillin! but unable to hear this music. %nd there is no reason in the world to 1orce him or her to do so. It is not m- intention 2 it ne3er was. and it ne3er will be 2 to 1orce this music or anmusic on an-bod-. and I certainl- do not Cuestion the horrible associations that holocaust sur3i3ors ha3e with speci1ic pieces o1 /a!ner. I can onl- hope that time will e3entuall- help to liberate these human bein!s 1rom pre3ious ne!ati3e associations. ultimatel- to hear the music 1or what it trul- is. It is not m- place to tell those who su11ered 1rom terrible associations what to do about /a!ner. but I belie3e it is m- place to tell those who can and want to listen to /a!ner. that the music itsel1 is not the a!ent o1 the su11erin!. In the meantime howe3er. I do belie3e that it is eCuall- important not to 1orce ne!ati3e associations on those who 1ortunatel- who do not su11er 1rom them. )here1ore. in the democratic societ-. the decision whether it is permissible to hear /a!ner or not must be indi3idual and not imposed b- law or e3en worse. the result o1 a taboo. )rue democrac- can onl- e4ist without taboos. 'b3iousl- it is imperati3e to di11erentiate between substance and perception. )he problem with association is that one is the 3ictim o1 the perception. and not o1 the substance. It is critical that we are not =ust sla3es to the associations created b- listenin! to a piece o1 music. but that we understand its substance. in the same wa- that a leader has to understand the substance o1 what his people are tellin! him. I went into !reat detail. and I,m a1raid I cannot do it a!ain toda-. er into the 1act that one can onlarticulate the content o1 music with sound and not with words. but the 1act that one cannot articulate it with words o1 course does not mean that it doesn,t ha3e a content. %nd althou!h music means man- thin!s to man- di11erent people. and 3er- o1ten means

man- di11erent thin!s to the same person at di11erent times 2 poetical. mathematical. sensual. philosophical 2 it is onl- e4pressed throu!h sound and there1ore it can be said without a Cuestion o1 a doubt that it has somethin! to do with the human bein!. that it has somethin! to do with the human condition. %nd this is the humanit- o1 music. I had the !reat pri3ile!e o1 attendin! se3eral lectures !i3en here in Derusalem b- 6artin uber7;8. man- -ears a!o. It was uber who made me realise the necessit- o1 alwa-s lookin! be-ond one,s 1irst impression. o1 di!!in! deeper and 1indin! connections. %s he wrote in I and )hou. and I Cuote. ,)here is nothin! that I must not see in order to see. and there is no knowled!e that I must 1or!et. $ather is e3er-thin!. picture and mo3ement. specious7;8 and instance. law and number included. and inseparabl- 1used., %s human bein!s we o1ten tend to want to manipulate the element o1 time. /hen we are in a pleasurable situation we would like it to !o on 1ore3er. and when we are in a pain1ul situation we wish we could shorten it. in both cases because we either want chan!e 1rom a pain1ul situation. or we want to keep chan!e 1rom inter1erin! with pleasure. ut music shows us the ine3itable 1law o1 li1e. which depends on chan!e. the 1luidit- o1 li1e. )he Qionist idea was a Dewish (uropean idea. but e3en Qionism cannot !o a!ainst the 3ernature o1 li1e. which brin!s constant chan!e with it. #han!e 1or me in this case means the de3elopment o1 the idea in the !eo!raphical and cultural conte4t that we li3e amon!st our nei!hbours. that Israel does not remain a 1orei!n bod-. (uropean inspired. in the 6iddle (ast. but becomes an inte!ral part o1 the 6iddle (ast. )here1ore it is essential to inte!rate %rab musical culture into an e4istin! rich but dwindlin! /estern musical li1e in Israel. 9or this reason I will donate the entire sum o1 the pri<e that I will recei3e 1rom the Gorn2Ferstenmann 9oundation at the Dewish #ommunit- #entre in 9rank1urt on the Rth 6a-. 1or the stud-in! and research o1 classical %rab music in Derusalem. precisel- because the Qionist idea was a Dewish (uropean idea but the "tate o1 Israel is not in (urope. it is in the 6iddle (ast. %nd there1ore i1 Israel wants to ha3e a permanent place it must become part o1 the 6iddle (ast. and it must be aware o1 the culture that alread- e4isted here. and not pretend. as has been done 1or a lon! time now. that it was a desert and an uncultured one at that. 9or the 1uture o1 Israel it is necessar1or Israelis to open their ears to the %rab culture. this is not an issue o1 Israel den-in! its (uropean roots but instead a Cuestion o1 enrichin! and enhancin! its (uropean herita!e b- placin! it side b- side with its 6iddle (astern herita!e. 'therwise the "tate o1 Israel will remain 1ore3er a 1orei!n bod-. and as such there is no possible perspecti3e o1 1uture 1or its remainin! here. because a 1orei!n bod- can e4ist in a societ-. or in music. or in a human bein!. onl- 1or a limited amount o1 time. )ransition. let us not 1or!et. is the basis o1 human e4istence. In music it is not enou!h simpl- to pla- a statement o1 a phrase. it is absolutel- essential to see how we arri3ed there. and to prepare it. 'ne pla-s a statement one wa- at the be!innin! o1 a piece. but when the same statement returns later. in what we call in musical terminolo!- the recapitulation. it is in a completel- di11erent ps-cholo!ical state o1 mind. %nd there1ore the brid!e. the transition. determines not onl- itsel1 but what comes a1ter it. It is important to reco!nise that the present does not e4ist without the past. and that the present would be di11erent with another past. %t the same time. what we do in the present is ine3itabl- the prelude to what the 1uture will be. %nd the 1uture is determined not b- somethin! that we passi3el- wait 1or. but it is the ine3itable outcome that we prepare 1or 1rom the present moment.

)here1ore in m- 3iew the 1uture o1 the "tate o1 Israel must de3elop and 1ind the !olden mean that will lead to harmonious internal and e4ternal relations. =ust as in a piece o1 music its harmon- can be achie3ed e3en i1 it is made up o1 con1lictin! elements. albeit o1 the stron!est and most radical nature. as lon! as each element can de3elop itsel1 to its 1ullest. )he !enuine and ori!inal idea o1 the renewal o1 Dewish settlement in Ealestine has been totall- o3erwhelmed and di3erted b- 1orces that belie3e that power and not what uber called the command o1 the spirit. that power rules the social and political destin- o1 humanit-. )his celebration o1 power has led to an insensiti3it- and misunderstandin! o1 the 1act that the command o1 the spirit can mean in this case nothin! else but a true realisation that this is a land 1or two people. with opposin! narrati3es. but o1 necessit- eCual ri!hts. )o Cuote 6artin uber a!ain: ,)here can be no peace between Dews and %rabs that is onl- a cessation o1 war. )here can onl- be a peace o1 !enuine co2operation., (nd o1 Cuotation. )here1ore peace reCuires dialo!ue. a dialo!ue which consists o1 sensiti3e talkin! and o1ten pain1ul listenin!. 7 $I(9 %EEL%+"(8 It is essential in this re!ard to understand the di11erence between stren!th and power. Eower itsel1 has onl- one kind o1 stren!th. which is that o1 control. ut e3en the !reat power o1 sound. in eetho3en. rahms or /a!ner. does not ha3e to create the association o1 power that works e4clusi3el- throu!h control. but instead throu!h actual real stren!th. the accumulati3e stren!th that comes 1rom the build2up o1 tension. (3en the most power1ul chord has to allow the inner 3oices to be heard. otherwise it has no tension. onl- brutal a!!ressi3e power. 0ou must hear the opposition. the notes that oppose the main idea. In other words. the concept o1 transparenc- is essential in music. because i1 it is not orall- transparent -ou cannot actuall- !et the totalit- o1 the music. -ou onl- !et one line o1 it. In 6o<art 1or e4ample. 3er- o1ten in the operas -ou ha3e per1ectl- harmonised ensemble. and -et e3er- sin!le 3oice is sa-in! somethin! completel- di11erent. and all this at the same time. ut -ou still ha3e a de1inite sense o1 or!anisation. -ou ha3e main 3oices and -ou ha3e subsidiar- 3oices 2 music would be totall- uninterestin! without this. (3en at the moment when all the elements are uni1ied. when e3er-thin! comes to!ether in a sin!le chord. -ou still hear all the di11erent 3oices. Let us consider 1or a moment the e4ample o1 pla-in! in an orchestra. /hen 3erpower1ul instruments. the so2called musical hea3-wei!hts 2 trumpet and trombone 2 pla- in a chord where the whole orchestra is pla-in! the- ha3e to pla- in such a wathat the- !i3e a 1ull sense o1 power. but that the- allow the other instruments. who are less power1ul. to be heard at the same time. 'therwise the- co3er them up. and then the sound has no stren!th. onl- power. "ee the di11erence; )here1ore when -ou pla- in an orchestra e3er-bod- is constantl- aware o1 e3er-bod- else. In m- 3iew this is a model 1or societ-. Leadership throu!hout histor-. and it is probablinherent in the human nature. has been based on the e11ect it can produce because o1 the weakness o1 the people. not because o1 their stren!th. *ow wonder1ul the world would be i1 it were ruled b- people who understood this lesson 1rom music. and understood the importance o1 combinin! transparenc-. power and stren!th. ut i1 music is so human. i1 music is so all inclusi3e and so positi3e. we ha3e to ask oursel3es how is it possible that monsters such as %dol1 *itler and others had such lo3e 1or music; *ow do we e4plain that; *ow to e4plain the 1act that *itler was able to send millions o1 people to the !as chamber and would be mo3ed to tears listenin! to music; *ow; *ow was /a!ner able

to write music o1 such nobilit- and also write his monstrous anti2"emitic pamphlet; I belie3e people don,t think about music. the- =ust let it wash o3er them. and operate on them in an almost animal wa-. 6usic to me is sound with thou!ht. and as "pino<a belie3ed that rationalit- was the sa3in! !race o1 the human bein!. then we must learn to look at music like this too. )his is wh- music in the end is so power1ul. because it speaks to all parts o1 the human bein!. all sides 2 the animal. the emotional. the intellectual. and the spiritual. *ow o1ten in li1e we think that personal. social and political issues are independent. without in1luencin! each other. 9rom music we see that this cannot occur. it is an ob=ecti3e impossibilit-. because in music there are no independent elements. Lo!ical thou!ht and intuiti3e emotions are permanentl- united. 6usic teaches us that e3er-thin! is connected. )hrou!hout these lectures I ha3e been attemptin! to draw parallels between the ine4pressible content o1 music and the ine4pressible content o1 li1e. /e ha3e talked about the phenomenon o1 sound. about the distinction between hearin! and listenin!. about the need 1or ha3in! a point o1 3iew. both in music and in li1e. and we ha3e spoken about how music can brin! people to!ether. how music itsel1 can be a !reat connector. %s I conclude these lectures here in Derusalem toda-. we ha3e come 1ull circle. )his too. ladies and !entlemen. I learned 1rom music. because when -ou per1orm a piece o1 music -ou ha3e to be able to hear the last note be1ore -ou pla- the 1irst. )hank -ou 3er- much. 7%EEL%+"( and #*(($"8 "+( L%/L(0: &aniel arenboim. thank -ou 3er- much indeed. +m let me remind our listeners that we are in Derusalem. and our audience is made up o1. lar!el- o1 Dewish Israelis 2 the mirror ima!e o1 last week,s mainl- Ealestinian audience in another part o1 this cit-. /e ha3e se3eral people er read- with Cuestions here on the 1ront row. and I want to in3ite comments 1rom the rest o1 the audience here as we !o on. ut let,s be!in with a Cuestion 1rom $ita Danssen. who is el!ian. "he,s an economist who,s li3ed and worked in both Derusalem and $amallah 1or some -ears now. 6rs 0ansen. -our Cuestion please; $I)% D%5"(5: )hank -ou. I alwa-s had a keen interest in the 6iddle (ast. 6- 1ocus was Israel. and I had a !reat admiration 1or its achie3ement in creatin! a state. )his admiration was 1ounded b- association on m- deep 1eelin! 1or the Dewish people and their achie3ements in the arts. in science. in education. and most o1 all the humanistic and philosophical 3alues which are at the basis o1 Dewish societ-. 9or the past three -ears I ha3e been li3in! and workin! in Ealestine. where I witness on a dail- basis blatant in=ustice. and the dehumanisation and despair o1 the Ealestinian people. 1or whom I 1eel the hi!hest respect. 1or whom the- are and what the- are 1i!htin! 1or. %nd I sadl- ha3e to admit that m- lo3e a11air with Israel has !one sour. 6r arenboim. can -ou identi1- with me4perience; %nd ha3e -ou !one throu!h a similar process o1 re2thinkin! o3er the past -ears; &%5I(L %$(5 'I6:

I had. i1 -ou want. the !ood 1ortune to come to this countr- as a little bo-. when to me it was a completel- di11erent countr-. I think that we ha3e to di3ide the histor- o1 modern Israel into two periods 2 1rom 1@4N to 1@6R. and e3er-thin! that,s happened 1rom 1@6R until toda-. I will not !o in this particular case into the problems o1 dispossession 2 this is a sub=ect 1or another discussion 2 but the transition 1rom bein! a minorit- 1or so man-ears to bein! a nation was done in m- 3iew in a 3er- 3er- positi3e wa-. )his 1or nineteen -ears. and onl- nineteen -ears. "uddenl- we 1ound oursel3es. a1ter the war in 1@6R. in a situation that Israel was controllin! another minorit-. I ha3e more and more the 1eelin! that a1ter the war in 1@6R this countr- went drunk. but the han!o3er is still 1elt toda-. +nless we are in a position that we can e4amine this. in m- 3iew there is no wa- that -ou will be able to recapture -our lo3e a11air with this countr-. because -our lo3e a11air with this countr- is precisel- what draws -ou now to $amallah. )his is one o1 the reasons wh- I 1eel it is not m- dut- but it is m- pri3ile!e to brin! whate3er I can to the Ealestinian people. 7%EEL%+"(8 "+( L%/L(0: Let me call er 0isrel 6edad 7;8 2 he,s :ice #hairman o1 Israel 6edia /atch. an or!anisation set up to pro3ide a critical 3oice on radio and tele3ision reportin! here. 6r 6edad; 0I"$%(L 6(&%&: 6r arenboim. -ou ha3e been described as a coura!eous idealist to belie3e that s-mphonic music can heal human con1lict. %nd durin! a 3isit to $amallah %u!ust 200I -ou said o1 the Israel/%rab con1lict that there is no militar- solution either morall- or strate!icall-. %nd =ust recentl-. e3en toda-. -ou said that there,s a 3er- ma=or di11erence between power and stren!th. that i1 -ou attack a chord with more power than -ou are !oin! to sustain it. it has no stren!th. ut is it not possible that -ou are simpl- 1iddlin! awa- 2 to misappropriate the metaphor 2 e4tendin! succour to a terrorist entit-. now supported b- a popular 3ote. while Israel,s securit- is endan!ered b- the sounds o1 Kassam rockets. this despite the withdrawal 1rom Fa<a. as well as the loud ban!s o1 suicide bombers who continue to kill its citi<ens and tourists. Eerhaps it is the %rabs now who are mistakenl- usin! too much 1orce. &%5I(L %$(5 'I6: /ell. mm hm... 7%EEL%+"(8 )he whole idea o1 unilateral action is somethin! completel- 1orei!n to me. because I know that unilateral action can onl- be short2term. %nd =ust remember. the war ended in 1@6R. % unilateral action in 1@R0. R1. N2. NI. @4. @6. 2001. 2002. ma- ha3e had a certain element e3en o1 !enerosit- to it. but now it is onl- bein! done b- 1orce. %nd I don,t see what there is to con!ratulate oursel3es 1or a pull back 1rom a place where we should ha3e ne3er been. "orr-.

"+( L%/L(0: ut &aniel. =ust... 7%EEL%+"(8 "+( L%/L(0: 7&+$I5F %EEL%+"(8 )he. the. the. the. sub... 0I"$%(L 6(&%&: 6r arenboim... "+( L%/L(0: *an! on. han! on... 0I"$%(L 6(&%&: 7':($L%EEI5F %EEL%+"(8 In other words we will not merit to hear ancondemnation o1 terror 1rom -ou; &%5I(L %$(5 'I6: ut o1 course. 0I"$%(L 6(&%&: 'ka-. /ithout an- moral strin!s attached; &%5I(L %$(5 'I6: 5o. 0I"$%(L 6(&%&: 0ou oppose the use o1 terror... &%5I(L %$(5 'I6: %bsolutel-. 0I"$%(L 6(&%&: ...o1... )hank -ou.

&%5I(L %$(5 'I6: %nd I,ll tell -ou somethin! else. %s -ou know per1ectl- well. probabl- better than I. man- Israeli politicians ha3e said not onl- in pri3ate but in public that i1 the- had been Ealestinians the- would also be terrorists and the- would also be usin! 3iolence. I don,t think I would. I think the most use1ul wa- 1or Ealestinians toda- would be to ha3e non2 3iolent resistance. )hat would !i3e them... 7%EEL%+"(8 )hat in m- 3iew would !i3e them not onl- the admiration o1 the world. but in the lon!2 term would achie3e 1or them man- better results. "+( L%/L(0: ut it =ust seemed to me. and correct me i1 I,m misunderstandin! -ou. that the substance o1 that Cuestion was a su!!estion. puttin! it bluntl-. &aniel. that -ou mi!ht =ust be makin! music in $amallah with people who. or the relati3es o1 people who ma- ha3e it in mind to kill Israelis. &%5I(L %$(5 'I6: /hen I went to $amallah with the /est (astern &i3an. er last %u!ust. I 1elt. and it was clearl- 1elt b- e3er-bod- there. that we were comin! with a messa!e sa-in! look how it works in music. I1 we were able to create conditions in li1e. conditions o1 eCualit- and acceptance. we would !et 1urther. %nd this is what I sa- to all the Ealestinians. 1riend and 1oes alike. who sa- to me we cannot listen as lon! as the Israelis tanks and er armhere. and I sa- to then the same thin! 2 I e4pect e3er-bod- to do as I ha3e said earlier in the lecture. sensiti3e talkin! and pain1ul listenin!. because the Israeli narrati3e is no less pain1ul to the Ealestinians as the Ealestinian narrati3e mi!ht be to man- people in Israel. "+( L%/L(0: &aniel we,re comin! towards the end and nobod-,s asked -ou so 1ar about the %rab "tud- #entre that -ou announced -ou,re settin! up. 0ou ha3e Israelis and Ealestinians who don,t like the idea o1 it bein! set up. the Israelis because the- don,t want %rab culture in their midst here in Derusalem and Ealestinians because as one put it. er to me. and I wrote it down a1ter -ou said... &%5I(L %$(5 'I6: I,3e alwa-s worked on the assumption that i1 I am criticised with the same 3ehemence b- both sides I must be ri!ht. 7L%+F*)($8 "+( L%/L(0: 0ou. -ou sound rather like the #J +m...

7L%+F*)($ and %EEL%+"(8 "+( L%/L(0: %s this person put it. -ou know. a Ealestinian 2 ,)he Israelis ha3e taken our land. occupied our territor-. and now the- want to hi2=ack our culture,. )hat,s the kind o1 thin! -ou,re up a!ainst. when it,s a... -ou know -our cultural !estures become seen as 1iercel- political. *ow does it make -ou 1eel; &oes it make -ou want to turn awa- and sa- I !i3e up; &%5I(L %$(5 'I6: 5o. I belie3e that i1 the "tate o1 Israel is not to be =ust a short episode in the lon! Dewish histor-. then it must 3ehementl- chan!e its education and its wa- o1 lookin! at culture. 'therwise it will ne3er be 1ree 1rom the criticism that this is a colonial power. It starts with the culture. %nd we ha3e to stop rel-in! alwa-s. politicall-. morall- and culturallon the +nited "tates o1 %merica. I am sorr-. 7%EEL%+"(8 "+( L%/L(0: 7F'(" )' "E(%G8 &%5I(L %$(5 'I6: /ait I minute. I ha3e to 1inish. no no no. "+( L%/L(0: Let me =ust !i3e... &%5I(L %$(5 'I6: Let me 1inish. I. I am not 1inished. 7L%+F*)($8 /hen. when 0asha *ei1et< came here in 1@AI. he was asked b- the ta4i dri3er that took him to the concert hall. ,6r *al1it<. what caden<a do -ou pla- in the eetho3en concerto;, 0ou know. this was a (uropean herita!e that was ali3e here. and this is what made musical li1e here in the 1i1ties and in the si4ties so e4traordinar-. /h- do we on the one hand not take into account our nei!hbours 2 3er- important culturall- 2 and whdo we stop the contact. both culturall- and politicall-. with (urope that has !i3en us so much; %nd wh- is it that automaticall- e3er- sin!le Israeli !o3ernment does not want the (uropeans to ha3e an-thin! to sa- in here. because the- don,t think that the- will be pro2Israeli enou!h; I am sorr-. I am not !ettin! polemic. and this is the onl- polemic sentence I,m !oin! to sa-. *ow lon! are we !oin! to look 1or Dewish lobbies to de1end our situation here; 0ou know. the Dewish intelli!ence. 1or which we are so 1amous.

should reall- help us do that. and look 1or a 6iddle (ast that is a stron!. intelli!ent. secular 1orce on this corner o1 the 6editerranean. 7%EEL%+"(8 "+( L%/L(0: I am on a promise to take one more 3er- brie1 comment here. 6%5: 0ou !et to sa- somethin! o1 what,s !oin! on in Israel. which -ou don,t disa!ree. but it certainl- has a !oal o1 er impro3in! the situation. o1 chan!in! it. %nd to compare it to music. isn,t a matter o1 i1 somethin! doesn,t !o well in a concert. isn,t it a matter o1 the members o1 the orchestra or is it the conductor; )hank -ou. 7:. $I(9 %EEL%+"(8 &%5I(L %$(5 'I6: 5o. 0ou know 1irst o1 all. -ou cannot separate the leaders 1rom the people. I1 we ha3e in Israel the leaders we ha3e here. this is the result o1 1i1t- -ears o1 hal1 truths. strai!ht out lies. and lots o1 actions which ha3e nothin! to do with the situation in !eneral. %nd -ou cannot onl- criticise the leaders. 0ou know. the same thin! in the orchestra. I will !i3e -ou the answer. 0ou know. I mean o1 course man- times I make mistakes. I make mistakes when I conduct. 0ou know. -ou,ll be surprised 2 when I make mistakes the musicians usuall- co3er up 1or me. )he- are 3er- nice. the- are 3er- !ood. %nd so I think we ha3e to. we ha3e to reall- ask oursel3es. I didn,t come here to criticise. 7"'6('5( ")%$)" "E(%GI5F8 I didn,t come here to criticise the "tate o1 Israel. 76%5 ")ILL )$0I5F )' "E(%G8 Let me =ust 1inish. Elease. I listened to -ou to the end. I didn,t come here to criticise the "tate o1 Israel. I came here basicall-. as 1ar as this part o1 the lecture is concerned. to ask a simple Cuestion. /e see now 1or so man- -ears. at least since 1@6R. that the situation does not !et better. It is !ettin! worse. )he more the ph-sical stren!th o1 the state. the less the moral stren!th. *ow come so 1ew people ask themsel3es the real Cuestions o1 how we !ot there; )hirt-2nine -ears o1 occupation. I am sorr-. when -ou are the occupier and the others are occupied and thin!s are not ri!ht. -ou cannot reallcontinue li3in! more or less in the same wa-s. 9or -our own sur3i3al -ou ha3e to ask -oursel1 the Cuestion. wh-. and what 1or; %nd I am sorr- but this. I don,t belie3e that we are askin! oursel3es these Cuestions. at least not with enou!h 3ehemence. )hank -ou 3er- much. 7%EEL%+"(8 "+( L%/L(0:

I,m sure there are more hands wa3in! at us. but um I ha3e to sa- thank -ou to our audience here in Derusalem. indeed thank -ou to all o1 our audiences o3er the past 1i3e weeks. in London. #hica!o and erlin too. &aniel arenboim set out in these lectures to draw on his li1etime o1 musical e4perience to demonstrate that music is a wa- o1 makin! sense o1 the world. and like his musical per1ormances it,s been an illuminatin!. a pro3ocati3e and an entertainin! =ourne-. %nd like them. as he,s o1ten reminded us in his lectures alon! the wa-. it returns 1or now. but onl- 1or now I suspect. to silence. &aniel arenboim. $eith lecturer 2006. thank -ou 3er- much indeed. and !oodb-e 1rom Derusalem. 7%EEL%+"(8 O (5& P