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Everybody has a different kind of talent and a different timetable as to when they develop.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Develop
Talent
Everybody
Music
Different
Kind
Timetable
Timetables

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There is nothing like a fine Italian sound.
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You decide to be a musician, you have to put in the time.
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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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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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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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One of the great challenges is to know when things are not right.
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I always say separate your abilities from your disabilities. You know, if I could play the violin, I don't have to play it standing up. I can play it sitting down and so on.
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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.
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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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I love to work with young kids.
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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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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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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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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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Sometimes you get from the mouth of kids wonderful things.
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Preparing for a future in music is an expensive proposition.
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One must always practice slowly. If you learn something slowly, you forget it slowly.
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I feel that you always pay when you are a child.
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