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Preparing for a future in music is an expensive proposition.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Proposition
Propositions
Preparing
Expensive
Future
Music

More quotes by Itzhak Perlman

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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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Sometimes you get from the mouth of kids wonderful things.
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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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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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Everybody has a different kind of talent and a different timetable as to when they develop.
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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 listen to kids play a lot.
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One of the great challenges is to know when things are not right.
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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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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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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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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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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 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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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 feel that you always pay when you are a child.
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Every person with a disability has a slightly different kind of disability. Not everybody has the same problems. Usually the wheelchairs are the wheelchairs. It's the same height and so on. It's a problem.
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There is nothing like a fine Italian sound.
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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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