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One must always practice slowly. If you learn something slowly, you forget it slowly.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Slowly
Practice
Forget
Learn
Must
Something
Always

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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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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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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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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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The most important thing to do is really listen.
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Life is not as easy as it could be for a person with a disability.
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One of the great challenges is to know when things are not right.
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A Century of Wisdom is universal and will enrich readers for generations to come.
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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 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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Believe me, I've had interviews where the person says, So when did you start and why? What about your parents? I say to them, Please, have you heard of the word Google?
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Preparing for a future in music is an expensive proposition.
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I listen to kids play a lot.
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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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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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You decide to be a musician, you have to put in the time.
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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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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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