When you live in a small country such as Israel, the dream of any musician is to go abroad.
— Itzhak Perlman
When I came to the United States, I appeared on the Ed Sullivan Show as a 13-year-old, and I played a Mendelssohn Concerto, and it sounded like a talented 13-year-old with a lot of promise. But it did not sound like a finished product.
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.
One of the most important elements in teaching, conducting, and performing, all three, is listening.
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.
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.
Sometimes you get from the mouth of kids wonderful things.
In Paris they have special wheelchairs that go through every doorway. They don't change the doorways, they change the wheelchairs. To hell with the people! If someone weighs a couple more pounds, that's it!
I am playing the violin, that's all I know, nothing else, no education, no nothing. You just practice every day.
That's the goal, to survive your gift.
Any gifted child can potentially get in real trouble because of the way they are handled.
My oldest daughter is a pianist; she plays concerts. We play together, also.
When you are 8 or 9, you should have a childhood. You should have adolescence. You should go through everything in a normal way.
I love to work with young kids.
This young wine may have a lot of tannins now, but in five or 10 years it is going to be spectacular, despite the fact that right now it tastes like crude oil. You know this is how it is supposed to taste at this stage of development.
The most important thing to do is really listen.
That makes classical music work, the ability to improvise.
Trust your ability!
Competition can be the most nerve-racking experience. Some people just thrive on it.
There are people who are uncanny, who are finished products at a young age. I wasn't, thank God.
I feel that you always pay when you are a child.
So many things can drive you mad as a child, not only music.
In the musician, there is a tendency to have a narrowness. It's all compartmentalized. I am playing the violin; that's all I know, nothing else, no education, no nothing. You just practice every day.
Another thing that I don't like to do is show too much how it goes. I do it once in a blue moon. Sometimes there are lessons when I don't pick up a violin at all.
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.
You get more nervous in front of a lot of people. That's why, when you play a concerto, you play with a small orchestra, in some place where you don't feel that it is as important as Carnegie Hall.
Preparing for a future in music is an expensive proposition.
Child prodigy is a curse because you've got all those terrible possibilities.
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.
A sponge has that much absorbent capability and after a while you can pour water over it and nothing stays.
I listen to kids play a lot.
For every child prodigy that you know about, at least 50 potential ones have burned out before you even heard about them.
