I am playing the violin, that's all I know, nothing else, no education, no nothing. You just practice every day.
The most important thing to do is really listen.
For every child prodigy that you know about, at least 50 potential ones have burned out before you even heard about them.
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.
That makes classical music work, the ability to improvise.
Trust your ability!
Child prodigy is a curse because you've got all those terrible possibilities.
One of the most important elements in teaching, conducting, and performing, all three, is listening.
There are people who are uncanny, who are finished products at a young age. I wasn't, thank God.
A sponge has that much absorbent capability and after a while you can pour water over it and nothing stays.
Sometimes you get from the mouth of kids wonderful things.
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.
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.
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.
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.
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