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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
Little
Orchestra
Play
Halls
Done
Problems
Feel
Trust
Feels
Small
Important
Comes
Concerto
Trying
Problem
Carnegie
Work
Littles
Hall
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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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Everybody has a different kind of talent and a different timetable as to when they develop.
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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 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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Child prodigy is a curse because you've got all those terrible possibilities.
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A Century of Wisdom is universal and will enrich readers for generations to come.
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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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The most important thing to do is really listen.
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One must always practice slowly. If you learn something slowly, you forget it slowly.
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I couldn't only do one thing--I don't want the personal hell of oneness.
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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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One of the great challenges is to know when things are not right.
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Preparing for a future in music is an expensive proposition.
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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'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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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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