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

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I couldn't only do one thing--I don't want the personal hell of oneness.
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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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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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Everybody has a different kind of talent and a different timetable as to when they develop.
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Child prodigy is a curse because you've got all those terrible possibilities.
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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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One must always practice slowly. If you learn something slowly, you forget it slowly.
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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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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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You decide to be a musician, you have to put in the time.
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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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I feel that you always pay when you are a child.
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A Century of Wisdom is universal and will enrich readers for generations to come.
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The most important thing to do is really listen.
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There is nothing like a fine Italian sound.
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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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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'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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