Any gifted child can potentially get in real trouble because of the way they are handled.
That's the goal, to survive your gift.
That makes classical music work, the ability to improvise.
I love to work with young kids.
Child prodigy is a curse because you've got all those terrible possibilities.
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.
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.
So many things can drive you mad as a child, not only music.
The most important thing to do is really listen.
I feel that you always pay when you are a child.
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.
A sponge has that much absorbent capability and after a while you can pour water over it and nothing stays.
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.
He was a giant in this century, as a violinist, musician, personality within the musical world. He was a real singular, individual human being, charismatic, and of course the most phenomenal child prodigy that ever existed, certainly in this century.
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!
There are people who are uncanny, who are finished products at a young age. I wasn't, thank God.
For every child prodigy that you know about, at least 50 potential ones have burned out before you even heard about them.
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.
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 listen to kids play a lot.
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.
They were very nice. It's so loud that it's a little hard to hear, so I just introduced them to my daughter.
Preparing for a future in music is an expensive proposition.
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.
Competition can be the most nerve-racking experience. Some people just thrive on it.
One of the most important elements in teaching, conducting, and performing, all three, is listening.
I am playing the violin, that's all I know, nothing else, no education, no nothing. You just practice every day.
Sometimes you get from the mouth of kids wonderful things.
Trust your ability!
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