Leonard Cohen’s Prince of Asturias Awards Speech – Direct Transcript & Enhanced English Video

Leonard Cohen – How I Got My Song

Because of the extraordinary efforts of Heck Of A Guy viewers, today’s post offers English-speaking readers their best opportunity to date to comprehend Leonard Cohen’s speech given at the October 21, 2011 Prince of Asturias Awards ceremony.

The video embedded at New Video, Photos, Transcript – Leonard Cohen Prince of Asturias Awards Speech Oct 21, 2011 suffers from overdubbing in Spanish, which sometimes obscures Cohen’s own words. The transcription included in that post is a Spanish translation of Leonard Cohen’s speech originally published in El Pais and re-translated, as noted, by Google back into English. It is, consequently imperfect. On the other hand, it was – until now – the best transcript available.

The Enhanced-English Video

The Spanish Cohen Brigade, a group responsible for many, many photos seen here and at DrHGuy, secured and shared an audio tape of all but the first 2-3 minutes of Leonard Cohen’s speech. While it contains ambient noise and some volume and pitch fluctuations, it does not, of course, include the Spanish overdubbing and is, as a result, significantly easier for those who speak only English to understand.

I have spliced that tape into the video of Cohen’s talk; that portion of the video begins at 2:25.

Update: A newly available video of Leonard Cohen’s 21 Oct 2011 “How I Got My Song” speech given at the Prince Of Asturias Awards ceremony featuring higher quality audio and no overdubbing whatsoever can now be found at Upgraded Video Of Leonard Cohen’s Prince of Asturias Awards Speech With No Overdubbing.

The Direct Transcript

Coco Éclair, who also serves as one of Heck Of A Guy’s Chocolodka Goddesses, prepared a complete, direct transcription of Leonard Cohen’s words. I provided a modicum of editing based on my own knowledge of Cohen’s phrases used in telling the anecdotes in the past and, of course, on the English-only tape of the speech not available to Ms Éclair.

The transcription begins just after the Cohen’s opening salutations to the audience.


It is a great honour to stand here before you tonight. Perhaps, like the great maestro, Riccardo Muti, I’m not used to standing in front of an audience without an orchestra behind me, but I will do my best as a solo artist tonight.

I stayed up all night last night wondering what I might say to this assembly. After I had eaten all the chocolate bars and peanuts from the minibar, I scribbled a few words. I don’t think I have to refer to them. Obviously, I’m deeply touched to be recognized by the Foundation. But I have come here tonight to express another dimension of gratitude; I think I can do it in three or four minutes.

When I was packing in Los Angeles, I had a sense of unease because I’ve always felt some ambiguity about an award for poetry. Poetry comes from a place that no one commands, that no one conquers. So I feel somewhat like a charlatan to accept an award for an activity which I do not command. In other words, if I knew where the good songs came from I would go there more often.

I was compelled in the midst of that ordeal of packing to go and open my guitar. I have a Conde guitar, which was made in Spain in the great workshop at number 7 Gravina Street. I pick up an instrument I acquired over 40 years ago. I took it out of the case, I lifted it, and it seemed to be filled with helium it was so light. And I brought it to my face and I put my face close to the beautifully designed rosette, and I inhaled the fragrance of the living wood. We know that wood never dies. I inhaled the fragrance of the cedar as fresh as the first day that I acquired the guitar. And a voice seemed to say to me, “You are an old man and you have not said thank you, you have not brought your gratitude back to the soil from which this fragrance arose. And so I come here tonight to thank the soil and the soul of this land that has given me so much.

Because I know that just as an identity card is not a man, a credit rating is not a country.

Now, you know of my deep association and confraternity with the poet Frederico Garcia Lorca. I could say that when I was a young man, an adolescent, and I hungered for a voice, I studied the English poets and I knew their work well, and I copied their styles, but I could not find a voice. It was only when I read, even in translation, the works of Lorca that I understood that there was a voice. It is not that I copied his voice; I would not dare. But he gave me permission to find a voice, to locate a voice, that is to locate a self, a self that that is not fixed, a self that struggles for its own existence.

As I grew older, I understood that instructions came with this voice. What were these instructions? The instructions were never to lament casually. And if one is to express the great inevitable defeat that awaits us all, it must be done within the strict confines of dignity and beauty.

And so I had a voice, but I did not have an instrument. I did not have a song.

And now I’m going to tell you very briefly a story of how I got my song.

Because – I was an indifferent guitar player. I banged the chords. I only knew a few of them. I sat around with my college friends, drinking and singing the folk songs and the popular songs of the day, but I never in a thousand years thought of myself as a musician or as a singer.

One day in the early sixties, I was visiting my mother’s house in Montreal. Her house was beside a park and in the park was a tennis court where many people come to watch the beautiful young tennis players enjoy their sport. I wandered back to this park which I’d known since my childhood, and there was a young man playing a guitar. He was playing a flamenco guitar, and he was surrounded by two or three girls and boys who were listening to him. I loved the way he played. There was something about the way he played that captured me. It was the way that I wanted to play and knew that I would never be able to play.

And, I sat there with the other listeners for a few moments and when there was a silence, an appropriate silence, I asked him if he would give me guitar lessons. He was a young man from Spain, and we could only communicate in my broken French and his broken French. He didn’t speak English. And he agreed to give me guitar lessons. I pointed to my mother’s house which you could see from the tennis court, and we made an appointment and settled a price.

He came to my mother’s house the next day and he said, “Let me hear you play something.” I tried to play something, and he said, “You don’t know how to play, do you?’

I said, “No, I don’t know how to play.” He said “First of all, let me tune your guitar. It’s all out of tune.” So he took the guitar, and he tuned it. He said, “It’s not a bad guitar.” It wasn’t the Conde, but it wasn’t a bad guitar. So, he handed it back to me. He said, “Now play.”

I couldn’t play any better.

He said “Let me show you some chords.” And he took the guitar, and he produced a sound from that guitar I had never heard. And he played a sequence of chords with a tremolo, and he said, “Now you do it.” I said, “It’s out of the question. I can’t possibly do it.” He said, “Let me put your fingers on the frets,” and he put my fingers on the frets. And he said, “Now, now play.”

It was a mess. He said, ” I’ll come back tomorrow.”

He came back tomorrow, he put my hands on the guitar, he placed it on my lap in the way that was appropriate, and I began again with those six chords – a six chord progression. Many, many flamenco songs are based on them.

I was a little better that day. The third day – improved, somewhat improved. But I knew the chords now. And, I knew that although I couldn’t coordinate my fingers with my thumb to produce the correct tremolo pattern, I knew the chords; I knew them very, very well.

The next day, he didn’t come. He didn’t come. I had the number of his, of his boarding house in Montreal. I phoned to find out why he had missed the appointment, and they told me that he had taken his life. That he committed suicide.

I knew nothing about the man. I did not know what part of Spain he came from. I did not know why he came to Montreal. I did not know why he played there. I did not know why he he appeared there at that tennis court. I did not know why he took his life.

I was deeply saddened, of course. But now I disclose something that I’ve never spoken in public. It was those six chords, it was that guitar pattern that has been the basis of all my songs and all my music. So, now you will begin to understand the dimensions of the gratitude I have for this country.

Everything that you have found favourable in my work comes from this place. Everything , everything that you have found favourable in my songs and my poetry are inspired by this soil.

So, I thank you so much for the warm hospitality that you have shown my work because it is really yours, and you have allowed me to affix my signature to the bottom of the page.

19 responses to “Leonard Cohen’s Prince of Asturias Awards Speech – Direct Transcript & Enhanced English Video

  1. OLE!!!! BRAVO DOC!!!

  2. Brilliant!!!!

  3. Hell of a wonderful job Allan! Many thanks to you and the Spanish friends for contributions.

    That LC guy does have a way with words, doesn’t he?

  4. Thank you so much Allan,
    That was worth waiting for!

  5. Allan and Coco Éclair, thank you both for this posting. I did try to listen to the original official recording, but could not make out the fragrant cedar from the trees.

  6. Leonard has a way of expressing gratitude that is unlike any I’ve ever heard.

    Thank you to everyone involved in bringing this here for us to appreciate.

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    • Marketta Siltanen

      Det var ett underbart tal! Jag blev väldigt berörd och tackar Leonard Cohen för all beröring och glädje jag har fått via hans texter och musik!

      • Marketta Siltanen

        It was a wonderful speech! I was very moved and thank Leonard Cohen for all touch and joy I have received through his text and music!

  8. I was deeply moved by the speech, and felt privileged to live in the country that gave Cohen his voice and his music.

    Someone pointed out that the young Spanish guitarist was probably an angel…

  9. Dear Leonard,

    I have thought that our families are related. Now I am sure. Your voice when speaking sounds almost identical to my cousin David. Perhaps you would like to meet him. He is very close to your age and has a passion for art and lots of other stuff. He lives in Berkeley California. You have got to meet him.

  10. What a beautiful speech.I’m honoured to love Leonard Cohen’s music, poetry ,and art.In every century there are only a few unuque individuals that leave their mark on the world. Leonard Cohen is definitely one of them.

  11. A tribute to the Spanish culture, as briliant as only Leonard Cohen can present it!

  12. LC’s words are iconic. One time I read in an interview his opinion on form in song and writing etc. and he advocated form saying something like it has it’s place and was worthy to adhere to. I was quite free form at the time and wandering around in abstraction a lot, but the words stuck with me, and lingered in my mind. I think they finally came to the forefront and a few years ago I managed to write and record about two hundred songs in maybe six months. In fact, I purposely refused to write them anymore, just so I could stop. Anyway, that is how words affect me, and I appreciate that Mr. LC is a very wholistic being and ‘down to earth’.

  13. Pingback: Leonard Cohen’s “Prince Of Asturias Award” Speech « Movie City News

  14. Pingback: Leonard Cohen Recounts “How I Got My Song” | Open Culture

  15. Pingback: How I Got My Song – Leonard Cohen « VIDEOVOLT

  16. @Bree,
    Do you have any links to the article; or can you elaborate on Cohen’s use of form?

  17. Pingback: how leonard cohen found his song « The Improvised Life