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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.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Children
Prodigy
Even
Prodigies
Every
Burned
Potential
Ones
Least
Heard
Child

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There is nothing like a fine Italian sound.
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Sometimes you get from the mouth of kids wonderful things.
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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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This machine, the wheelchair, I can go all over the place, but you need a place without stairs to get in.
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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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You decide to be a musician, you have to put in the time.
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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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Everybody has a different kind of talent and a different timetable as to when they develop.
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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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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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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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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 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 listen to kids play a lot.
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A Century of Wisdom is universal and will enrich readers for generations to come.
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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.
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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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Same thing with harmonies. If you hear something that harmonically is interesting, express it. So that's what I'm saying about talking the music rather than just playing through.
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I feel that you always pay when you are a child.
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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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