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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.
Itzhak Perlman
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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Feel
Trust
Feels
Small
Important
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Concerto
Trying
Problem
Carnegie
Work
Littles
Hall
Little
Orchestra
Play
Halls
Done
Problems
More quotes by Itzhak Perlman
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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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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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One must always practice slowly. If you learn something slowly, you forget it slowly.
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I love to work with young kids.
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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 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 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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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 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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..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'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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There is nothing like a fine Italian sound.
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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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You decide to be a musician, you have to put in the time.
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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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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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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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