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I am a conductor,and I'm here today，to talk to you about trust.
我是个指挥家，今天我要谈的是信任问题。
My job depends upon it.
这对我的工作很重要。
There has to be, between me and the orchestra,an unshakable bond of trust,born out of mutual respect,through which we can spin a musical narrative that we all believe in.
我和乐队间必须有信任，建立在互相尊重基础上的，牢不可破的信任，我们坚信这是我们一起音乐创作的基石。
Now in the old days, conducting, music making,was less about trust and more, frankly, about coercion.
以前，指挥，谱曲跟信任没有太大关系，而是强迫性的。
Up to and around about the Second World War,conductors were invariably dictators these tyrannical figures，who would rehearse, not just the orchestra as a whole, but individuals within it,within an inch of their lives.
大概是二战期间，指挥家总是独裁者这些独裁者们，不仅彩排乐队也控制了所有成员，和他们的生活点滴。
But I'm happy to say now that the world has moved on,music has moved on with it.
但我很高兴今天是世界已经不同了，音乐也是如此。
We now have a more democratic view and way of making music,a two-way street.
如今我们创作音乐的视角和方法更加民主是双向通道。
I, as the conductor, have to come to the rehearsal with a cast-iron sense,of the outer architecture of that music,within which there is then immense personal freedom for the members of the orchestra to shine.
作为指挥家的我要在彩排之前就对，曲子的大体结构一清二楚，在此架构内乐团的成员可以自由地注入他们自己的理解。
For myself, of course,I have to completely trust my body language.
对我自己而言，我必须完全坚信我的肢体语言。
That's all I have at the point of sale.
因为这是我所有的卖点了。
It's silent gesture.
无声的语言。
I can hardly bark out instructions while we're playing.
演奏的时候我很少喊指示。
Ladies and gentlemen, the Scottish Ensemble.
女士们先生们，苏格兰乐队。
So in order for all this to work,obviously I have got to be in a position of trust.
为了一切顺利，我必须心怀信任。
