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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.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Important
Extremely
Really
Judge
People
Develop
Judging
Talent
Leave
Becomes
Alone
Talented

More quotes by Itzhak Perlman

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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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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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The most important thing to do is really listen.
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I listen to kids play a lot.
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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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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 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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..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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A Century of Wisdom is universal and will enrich readers for generations to come.
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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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I feel that you always pay when you are a child.
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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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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 look at raising funds for The Perlman Music Program as a challenge and as a way to provide opportunities for people who care about the future of classical music.
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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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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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One of the great challenges is to know when things are not right.
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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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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 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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