Competition can be the most nerve-racking experience. Some people just thrive on it.
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.
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.
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.
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.
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 love to work with young kids.
I am playing the violin, that's all I know, nothing else, no education, no nothing. You just practice every day.
That makes classical music work, the ability to improvise.
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.
Preparing for a future in music is an expensive proposition.
So many things can drive you mad as a child, not only music.
Trust your ability!
Any gifted child can potentially get in real trouble because of the way they are handled.