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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.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Playing
Sort
Helping
Three
Things
Conducting
Helps
Teaching

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I love to work with young kids.
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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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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 must always practice slowly. If you learn something slowly, you forget it slowly.
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You decide to be a musician, you have to put in the time.
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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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Preparing for a future in music is an expensive proposition.
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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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I listen to kids play a lot.
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Just imagine yourself in a wheelchair. Go through the building. If there's a place you can't go in, it's not accessible.
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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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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 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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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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Sometimes you get from the mouth of kids wonderful things.
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There is nothing like a fine Italian sound.
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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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Life is not as easy as it could be for a person with a disability.
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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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