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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
Becomes
Alone
Talented
Important
Extremely
Really
Judge
People
Develop
Judging
Talent
Leave

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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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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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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 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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Life is not as easy as it could be for a person with a disability.
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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 feel that you always pay when you are a child.
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One of the great challenges is to know when things are not right.
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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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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 listen to kids play a lot.
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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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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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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 love to work with young kids.
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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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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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