Itzhak Perlman Quotes

Then certainly for a musician timing becomes something that is immediately accessible as a concept, because it's a necessity in ones everyday performance.

Through conducting, you express through your arms, through your face and even the body, what you want to tell, so the musicians of the orchestra understand.

I think this orchestra's strengths involve drama and voice.

Well, rhythm is 90 percent of the interpretation.

We need improvement in the style of performance. There is no more advantage in a musician who plays and conducts than in one who is only a beater of rhythm.

There's nothing more frustrating than seeing a conductor say, 'Play softer,' as they're waving their hands in huge gestures.

The soprano turned out to sound to me like the right hand on the piano.

Technique is communication: the two words are synonymous in conductors.

The real architecture happens within the works themselves, and that was done by the composer. That's where the real skill is. In putting together a program, you're more a curator, but that's important as well. And then the interpreting of it is where our big job is.

In symphonic music, when you are conducting, you do the same thing. You are feeling the whole orchestra, thinking ahead so you can prepare for a change.

I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.

Music is emotional, and you may catch a musician in a very unemotional mood or you may not be in the same frame of mind as the musician. So a critic will often say a musician is slipping.

I didn't sing, but I did play the drums.

Musicians are also interpretive artists and we are just as creative as painters and writers. We interpret in a way that expresses ourselves.

When I'm playing with my band, I designate different parts to feel different things. The bass pounds in your chest when you go to a concert. It almost replaces your heartbeat. Then the drums you feel on the floor.

Essentially I'm a melody person in a rhythm age, and that's what Broadway is really about, the songs.

Music is my heart.

Behind the notes, something different is told, and that's what the interpreter must find out. He may sit down and play one passage one way and then perhaps exaggerate the next, but, in any event, he must do something with the music. The worst thing is not to do anything.

If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.

I try to convey the musical notes through dance, take on the music.

If you watch me for a long time, you'll really understand and appreciate the way I play.

I realised how important it is to have your body movement, your diction, tonality, dialogue delivery and to be in rhythm because everything is musical.

Music is the only thing that I trust.

I play in tune like a cello player and use legitimate vibrato. There are no tricks; it's just all in the hands!

When I started, I'd never had a conducting lesson in my life; I could just do it.