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Sometimes it is the artist's task to find out how much music you can still make with what you have left.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Make
Artist
Left
Stills
Still
Music
Find
Sometimes
Task
Much
Tasks

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I'm just a one-instrument player. I have been known to play a blender, but I basically play - just play the violin.
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If you play something well, I don't care what it is. I mean, I don't play an electric [violin] - I tried. It's actually interesting.
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I can actually see the sound in my head. I can actually see it... But each sound is different so this one has that sparkle, there is a sparkle to the sound.
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A Century of Wisdom is universal and will enrich readers for generations to come.
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Child prodigy is a curse because you've got all those terrible possibilities.
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I do three things. I do teaching, I do conducting and I do playing. And each one of those sort of helps the other.
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Everybody has a different kind of talent and a different timetable as to when they develop.
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One of the great challenges is to know when things are not right.
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One must always practice slowly. If you learn something slowly, you forget it slowly.
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Nothing is better for my playing than teaching because when you teach, you have to think and you have to listen what other people do. And then all of a sudden, you play yourself and then you say, my goodness, I don't need a teacher. I'm my own teacher. Then I can react to what I'm doing immediately. It really improves.
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I always say separate your abilities from your disabilities. You know, if I could play the violin, I don't have to play it standing up. I can play it sitting down and so on.
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I don't walk on stage unless I'm playing with a orchestra. But when I play a recital, I'm sort of on a scooter, and I just scoot very quickly on stage, and they're saying, wow, look at this. He's so fast.
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Just imagine yourself in a wheelchair. Go through the building. If there's a place you can't go in, it's not accessible.
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I don't feel that the conductor has real power. The orchestra has the power, and every member of it knows instantaneously if you're just beating time.
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The thing is that what you try to do when you play is you try to play not below a certain level. In other words, it can be a special day where it would be phenomenal, but if it's not below a certain level, that's the goal. You know, that's what you want to do. That's why you practice and so on.
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Preparing for a future in music is an expensive proposition.
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Perhaps our task in this shaky, fast-changing, bewildering world in which we live is to make music, at first with all that we have, and then, when that is no longer possible, to make music with what we have left.
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There is nothing like a fine Italian sound.
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