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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
Much
Tasks
Make
Artist
Left
Stills
Still
Music
Find
Sometimes
Task

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Sometimes you get from the mouth of kids wonderful things.
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Child prodigy is a curse because you've got all those terrible possibilities.
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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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I feel that you always pay when you are a child.
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I'm now doing three things: concerts, conducting, and teaching, and they each support each other. I learn to see things from different perspectives and listen with different ears. The most important thing that you need to do is really listen.
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There is nothing like a fine Italian sound.
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For every child prodigy that you know about, at least 50 potential ones have burned out before you even heard about them.
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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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..I heard Ori Kam and was deeply impressed with his achievements as a violist. His technical and interpretive skills are truly unique. I see a great future for him.
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For people who are really talented, what you don't say becomes extremely important. You have to judge what to say and what to leave alone so you can let the talent develop.
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The Violin of my dreams. If you wanna play a pianissimo that is almost inaudible and yet it carries through a hall that seats 3,000 people, there's your Strad.
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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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The most important thing to do is really listen.
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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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When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.
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Preparing for a future in music is an expensive proposition.
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Everybody has a different kind of talent and a different timetable as to when they develop.
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Every person with a disability has a slightly different kind of disability. Not everybody has the same problems. Usually the wheelchairs are the wheelchairs. It's the same height and so on. It's a problem.
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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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Life is not as easy as it could be for a person with a disability.
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