Itzhak Perlman Quotes

Riyaz hamesha dheere-dheere karna chahiye. Agar aap koi cheez dheere seekhte hain, toh use bhulte bhi dheere hain.

One must always practice slowly. If you learn something slowly, you forget it slowly.

Kabhi-kabhi kalakaar ka yeh kaam hota hai ki woh yeh pata lagae ki jo bach gaya hai, usse woh kitni sangeet-rachna kar sakta hai.

Sometimes it is the artist's task to find out how much music you can still make with what you have left.

Sangeet ke har tukde ka ek maksad hota hai. Yeh baatcheet karne jaisa hai. Agar aap kisi khaas maqsad se baat karein toh log aapko sunte hain, lekin agar aap bas ratta laga kar bolenge, toh usmein woh gahrayi nahi rehti.

Every musical phrase has a purpose. It's like talking. If you talk with a particular purpose, people listen to you, but if you just recite, it's not as meaningful.

Sabse zaroori kaam yeh hai ki aap dhyan se sune.

The most important thing to do is really listen.

Shayad is hilte-dulte, tezi se badalte aur uljhan bhare sansar mein hamara kaam yeh hai ki hum shuru mein apni poori taakat se sangeet banayein, aur jab woh mumqkin na rahe, toh jo bach gaya hai usse sangeet banayein.

Perhaps our task in this shaky, fast-changing, bewildering world in which we live is to make music, at first with all that we have, and then, when that is no longer possible, to make music with what we have left.

हर Insaan mein ek alag tarah ki pratibha hoti hai aur uske vikas ka apna ek samay hota hai.

Everybody has a different kind of talent and a different timetable as to when they develop.

Sikhane, nirdeshan dene aur perform karne—teeno mein sabse mahatvapurna cheez hai sunna.

One of the most important elements in teaching, conducting, and performing, all three, is listening.

Hum mein se kayi divyang logon se agar poocha jaye ki hum zindagi mein kya chahte hain, toh aapko hairani hogi ki kitne kam log yeh kahenge, 'Ki hum divyang na hon.' Hum apni simaon ko sweekar karte hain.

Ask many of us who are disabled what we would like in life and you would be surprised how few would say, 'Not to be disabled.' We accept our limitations.

Sabse badi chunautiyon mein se ek yeh jaanna hai ki kahan cheezein theek nahi hain.

One of the great challenges is to know when things are not right.

Mushkil samay mein logon ko bas sangeet sunna achha lagta hai. Woh suni hui dhunon se bhavbor hona chahte hain. Aur sangeet ki koi bhasha nahi hoti, woh har dil tak pahunchta hai.

In difficult times, people just like to hear music. They like to be moved by what they hear. And music speaks different languages.

Agar aapne sangeetkaar banne ka faisla kiya hai, toh aapko mehnat aur samay dena hi hoga.

You decide to be a musician, you have to put in the time.

Main hamesha kehta hoon ki apni kshamataon aur apni kamzoriyon ko alag rakhiye. Jaise ki agar main violin baja sakta hoon, toh zaroori nahi ki khade hokar hi bajaun. Main baithkar bhi baja sakta hoon aur isi tarah ki baatein.

I always say separate your abilities from your disabilities. You know, if I could play the violin, I don't have to play it standing up. I can play it sitting down and so on.

Main khud ko hamesha khush naseeb maanta hoon ki main kuch sangeet sunkar sachmuch ro sakta hoon.

I always consider myself lucky that I can actually cry listening to some music.

Jab aap sangeet bajaate hain, toh ek aur zaroori kaam yeh hota hai ki aap usmein rang bhare—jaisa ki aapko karna chahiye. Aap jaante hain, aap ek hi rang se nahi baja sakte. Agar aap sirf ek rang se bajaenge, toh woh kuch aisa hoga jaise aap koi khoobsurat painting ya drawing dekh rahe hain, par woh poori tarah ya toh neele rang mein hai ya laal rang mein. Woh dekhne mein shayad bohot achhi lage, par bohot dilchasp nahi hogi.

Another thing that you really do when you play, that you're supposed to do, is colors. You know, you cannot play with one color. If you play with one color, again, it's like watching a beautiful painting, a drawing, but it's all in blue or it's all in red. May be very nice, but not very interesting.

Sangeet ko waise mat bajaaiye jaise woh kagaz par likha hai. Use waise bajaaiye jaisa ki woh waqt par mehsoos ho. Aur har baar jab aap use bajaenge, toh woh thoda alag hoga. Kuch naya talaashiye. Bore na hona hi sabse badi chunauti hai.

Don't play the way it goes. Play the way it is. And the way it is every time you play it, it's slightly different. Look for something. So that's the challenge not to be bored.

Mera sangeet sudharne ke liye sikhane se behtar kuch nahi ho sakta, kyunki jab aap sikhate hain, toh aapko sochna padta hai aur doosron ko sunna padta hai. Aur phir achanak, jab aap khud bajaate hain, toh aap sochte hain—waah, mujhe kisi guru ki zaroorat nahi. Main khud hi apna guru hoon. Tab main apne kaam par turant dhyan de pata hoon. Isse sangeet sachmuch behtar ho jaata hai.

Nothing is better for my playing than teaching because when you teach, you have to think and you have to listen what other people do. And then all of a sudden, you play yourself and then you say, my goodness, I don't need a teacher. I'm my own teacher. Then I can react to what I'm doing immediately. It really improves.

Ho sakta hai is naye wine mein abhi bohot kasailapan ho, lekin aane wale paanch ya das salon mein yeh behtareen ho jayega, bhale hi abhi iska swaad kachche tel jaisa lag raha ho. Aap jaante hain ki vikas ke is daur mein iska swaad aisa hi hona chahiye.

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.

Main sangeet ki aawaz ko apne dimaag mein saaf dekh sakta hoon. Main sachmuch ise dekh sakta hoon... Lekin har aawaz alag hoti hai, toh isme ek chamak hai, sangeet ki aawaz mein ek alag hi chamak hoti hai.

I can actually see the sound in my head. I can actually see it... But each sound is different so this one has that sparkle, there is a sparkle to the sound.

Jitne bhi baal-pratibhaon (child prodigies) ke baare mein aap jaante hain, unse kam se kam 50 aisi pratibhaen aisi hain jo aapke sunne se pehle hi bujh gayeen.

For every child prodigy that you know about, at least 50 potential ones have burned out before you even heard about them.

Kuch log aise hote hain jo behad hairan karne wale hote hain, jo choti umar mein hi poori tarah nikhhar jaate hain. Main aisa nahi tha, Bhagwan ka shukr hai.

There are people who are uncanny, who are finished products at a young age. I wasn't, thank God.

Beethoven ke concerto hon... Tchaikovsky ke concerto hon... inmein se kayi shandar krityon (masterpieces) mein hamesha kuch na kuch behtareen mil hi jata hai... hamesha kuch naya talaashne ko milta hai.

Beethoven concertos ... Tchaicovsky concertos ... with a lot of these wonderful masterpieces there's always something wonderful to find ... there's always something new to find.

Main theek se chal nahi sakta, par main stage par chalne ke liye nahi hoon. Main stage par bajaane ke liye hoon.

I can't walk very well, but I'm not onstage to do walking. I'm on the stage to play.

Asli maksad yahi hai, ki aap apni is pratibha ke sath jee sakein aur iska aatmavishwas banaye rakhein.

That's the goal, to survive your gift.

Zara khud ko ek wheelchair par kalpana karke dekhiye. Us imarat se guzariye. Agar wahan koi aisi jagah hai jahan aap nahi ja sakte, toh woh jagah suvidhajanak nahi hai.

Just imagine yourself in a wheelchair. Go through the building. If there's a place you can't go in, it's not accessible.

Kisi bhi pratibhaashaali bachche ke sath galat tarike se pesh aane par uske liye badi musibaten khadi ho sakti hain.

Any gifted child can potentially get in real trouble because of the way they are handled.

Har divyang vyakti ki disability thodi alag hoti hai. Sabhi ki samasyayein ek jaisi nahi hotiin. Aamtaur par wheelchairs ek jaisi hi hoti hain—unki unchai aadi sab ek jaisi hoti hain. Yeh apne aap mein ek samay ki samasya hai.

Every person with a disability has a slightly different kind of disability. Not everybody has the same problems. Usually the wheelchairs are the wheelchairs. It's the same height and so on. It's a problem.

Classical music tabhi asardar banta hai jab ismein tatkal yaani mauke par naye prayog karne ki kshamata ho.

That makes classical music work, the ability to improvise.

Main violin bajaata hoon, bas itna hi jaanta hoon, aur kuch nahi—na koi padhai, na kuch aur. Aapko bas roz riyaz karna hota hai.

I am playing the violin, that's all I know, nothing else, no education, no nothing. You just practice every day.

Asal baat yeh hai ki jab aap sangeet bajaate hain, toh aapko koshish karni chahiye ki aapka level ek nishchit star se niche na gire. Doosre shabdon mein, aisa din bhi aa sakta hai jab aapka performance behad shandar ho, par agar woh ek nishchit star se niche nahi girta, toh yahi aapka lakshya hona chahiye. Aap jaante hain, aap yahi karna chahte hain. Isiliye aap riyaz karte hain aur baaki sab karte hain.

The thing is that what you try to do when you play is you try to play not below a certain level. In other words, it can be a special day where it would be phenomenal, but if it's not below a certain level, that's the goal. You know, that's what you want to do. That's why you practice and so on.

Baal-pratibha (child prodigy) hona ek shrap ki tarah hai kyunki iske sath kayi tarah ki bhayankar chunautiyan judi hoti hain.

Child prodigy is a curse because you've got all those terrible possibilities.

Samaj ka ek bada varg divyang logon ko ek hi chashme se dekhta hai, jabki socha jaye toh bohot se logon ki disabilities alag-alag tarah ki hoti hain. Aap koi aisa ek niyam nahi bana sakte jo sabhi par laagu ho—haan, yeh kuch disha-nirdesh (guidelines) ho sakte hain, par lambe samay mein, interior designers aur architects ko is vishay par aur adhik shiksha ki zaroorat hai. Yahi cheez gayab hai.

A lot of society tries to put people with disabilities into one cube, and when you think about it, many, many people have different types of disabilities, and you cannot put a code that applies towards everyone - generally, they can be guidelines, but in the long run, interior designers and architects need more education on the subject. That's what's missing.

Ek aur cheez jo mujhe pasand nahi, woh yeh hai ki main sikhate waqt yeh dikhaun ki ise kaise bajaana hai. Main yeh saalon mein kabhi-kabhi hi karta hoon. Kayi baar toh aise sargon ke din hote hain jab main violin ko hath tak nahi lagata.

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.

Jo log sachmuch pratibhaashaali hote hain, unke liye yeh jaanna behad zaroori ho jata hai ki kya nahi kehna chahiye. Aapko yeh parakhna padta hai ki kya bole aur kis baat ko waisa hi chhod de taaki pratibha ko khud viksit hone ka mauka mile.

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.

Yahi baat sangeet ke saron aur dhunon (harmonies) ke sath bhi hai. Agar aapko koi aisi dhun sunayi de jo sangeet ke lihaz se dilchasp ho, toh use vyakt kijiye. Main yahi keh raha hoon ki keval sangeet bajaane ke bajaye sangeet ke zariye apne bhavon ko baatein.

Same thing with harmonies. If you hear something that harmonically is interesting, express it. So that's what I'm saying about talking the music rather than just playing through.

Jab aap kisi chhote orchestra ke sath koi concerto bajaate hain, toh aapko yeh Carnegie Hall jitna bada nahi lagta. Aap wahan ki chhoti-moti samasyaon ko suljhane ki koshish karte hain. Ek baar woh sab tay ho jaye, toh fir vishwas ka daur shuru hota hai.

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.

मैं तो बस एक ही ساز बजाता हूँ। कभी-कभार मैंने ब्लेंडर भी चलाया है, पर मुख्य रूप से मैं बस वायलिन ही बजाता हूँ।

I'm just a one-instrument player. I have been known to play a blender, but I basically play - just play the violin.

संगीत में भविष्य बनाने की सोच रहे हैं, तो यह एक खर्चीला सौदा है।

Preparing for a future in music is an expensive proposition.

जब आप दस लाख डॉलर की बात करते हैं, तो ज़रा गौर से सोचिए, अगर इसे बांट दिया जाए, तो यह कोई बहुत बड़ी रकम नहीं है। आपको एक नीति बनानी होगी कि यह पैसा किसे देना है।

When you talk about a million bucks, if you think about it very carefully, it's not that much money, if you start to divide it. You have to figure out a philosophy as to whom you want to give it to.

मैं व्यक्तिगत रूप से महसूस करता हूँ कि जब मैं किसी ऐसी जगह जाता हूँ जहाँ मेरा प्रवेश वर्जित होता है, चाहे वह कोई होटल हो, दुकान, बाज़ार या सड़क का कोई ऐसा कोना जहाँ रैंप नहीं है क्योंकि कोई उसे बनाना भूल गया और मुझे इसके लिए दो ब्लॉक घूमकर जाना पड़े, तो मुझे वहाँ एक अड़ियल रवैया महसूस होता है। कई बार बहाना यह होता है, "अरे, यह तो एक पुरानी इमारत है।" यह मेरा सबसे पसंदीदा बहाना है। "यह एक पुरानी इमारत है।" मानो 50 साल पहले दिव्यांग लोग होते ही नहीं थे। जैसे दिव्यांग कोई नई समस्या हों। यह समस्या हमेशा से रही है।

I find personally that when I go to a place where I can't get in, I feel hostility from whatever it is, a hotel, a shop, a market, a street corner where there are no curb cuts, because somebody forgot to put them in, and where I have to go two blocks to the corner to do it. A lot of the excuses are, "Well, this is an old building." That's my favorite one. "This is an old building." It's as though 50 years ago, people with disabilities did not exist. As if the disabled are a new problem. It has always been a problem.

आलोचना सुनना किसे पसंद है? ज़्यादातर लोगों को नहीं। बेशक, अगर कोई आपको सही सलाह दे और आपके साथ उसका अच्छा तालमेल हो, तो यह बहुत बढ़िया बात है। लेकिन उस पर पूरी तरह निर्भर न रहें। आपको खुद पर भरोसा होना चाहिए।

Not many people like it when they get criticism. Of course, if you have someone who does tell you and you do have a rapport, that's great. But don't rely on it. You have to rely on yourself.

द पर्लमैन म्यूजिक प्रोग्राम के लिए फंड जुटाना मुझे एक चुनौती भी लगता है और उन लोगों को अवसर देने का एक ज़रिया भी, जो शास्त्रीय संगीत के भविष्य की परवाह करते हैं।

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.

मैं इन दिनों तीन काम कर रहा हूँ: कॉन्सर्ट करना, ऑर्केस्ट्रा का संचालन करना और पढ़ाना, और ये तीनों एक-दूसरे में मददगार साबित होते हैं। इनसे मुझे चीज़ों को अलग-अलग दृष्टिकोण से देखना और अलग नज़िए से सुनना सीख मिलता है। सबसे अहम बात जो आपको करनी चाहिए, वह है वास्तव में ध्यान से सुनना।

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.

मुझे छोटे बच्चों के साथ काम करना बहुत पसंद है।

I love to work with young kids.

एक स्पंज की सोखने की एक सीमा होती है, और एक समय के बाद आप उस पर चाहे जितना पानी डालें, कुछ भी नहीं रुकता।

A sponge has that much absorbent capability and after a while you can pour water over it and nothing stays.

'ए सेंचुरी ऑफ़ विजडम' एक सार्वभौमिक पुस्तक है जो आने वाली पीढ़ियों के पाठकों को समृद्ध करेगी।

A Century of Wisdom is universal and will enrich readers for generations to come.

एक दिव्यांग व्यक्ति के लिए ज़िंदगी उतनी आसान नहीं होती जितनी हो सकती है।

Life is not as easy as it could be for a person with a disability.

मैं नहीं जानता कि आपके साथ कभी ऐसा हुआ है या नहीं, लेकिन यह मेरे सबसे मज़ेदार और साथ ही सबसे दुखद अनुभवों में से एक है। आप किसी होटल में जाते हैं और वहाँ एक सुलभ वॉक-इन शावर होता है। आप अंदर जाते हैं और पर्दा हटाते हैं, तो पाते हैं कि शावर के एक तरफ बैठने के लिए बेंच बनी है। हालाँकि, शावर आयताकार है। एक तरफ बेंच है, लेकिन नल उसके ठीक सामने हैं। इसलिए अगर आप बेंच पर बैठते हैं, तो आप नलों तक पहुँच ही नहीं सकते।

I don't know if it's ever happened to you, but it's one of my funniest and saddest experiences, when you go into a hotel, and they have an accessible walk-in shower. So you go in and open the curtain, and there is a bench off to the side of the shower. However, the shower is rectangular. On one side there's a bench, but the faucets are across from you. So if you sit on the bench, you cannot reach the faucets.

मुझे ऐसा नहीं लगता कि कंडक्टर के पास असली ताक़त होती है। ताक़त ऑर्केस्ट्रा के पास होती है, और उसका हर सदस्य तुरंत भाप लेता है कि आप सिर्फ ताल पीट रहे हैं या सच में कुछ कर रहे हैं।

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.

पेरिस में ऐसे विशेष व्हीलचेयर हैं जो हर दरवाज़े से निकल जाते हैं। वे दरवाज़े नहीं बदलते, बल्कि व्हीलचेयर बदल देते हैं। लोगों जाए भाड़ में! अगर किसी का वज़न थोड़ा ज़्यादा है, तो बस खेल खत्म!

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!

कभी-कभी बच्चों के मुँह से बहुत कमाल की बातें सुनने को मिल जाती हैं।

Sometimes you get from the mouth of kids wonderful things.

मैं तीन काम करता हूँ। मैं पढ़ाता हूँ, ऑर्केस्ट्रा का संचालन करता हूँ और वाद्य यंत्र बजाता हूँ। और इनमें से हर एक काम दूसरे में मददगार साबित होता है।

I do three things. I do teaching, I do conducting and I do playing. And each one of those sort of helps the other.

बचपन में बहुत सी चीज़ें आपको पागल कर सकती हैं, सिर्फ संगीत ही नहीं।

So many things can drive you mad as a child, not only music.

...मैंने ओरी काम को सुना और एक वायोला वादक के रूप में उनकी उपलब्धियों से बेहद प्रभावित हुआ। उनकी तकनीकी और भाव-प्रवण प्रस्तुत करने की कला वाकई अनूठी है। मैं उनके लिए एक शानदार भविष्य देखता हूँ।

..I heard Ori Kam and was deeply impressed with his achievements as a violist. His technical and interpretive skills are truly unique. I see a great future for him.

बढ़िया इतालवी वाद्ययंत्रों की आवाज़ का कोई मुकाबला नहीं है।

There is nothing like a fine Italian sound.

मैं सिर्फ एक ही काम नहीं कर सकता था—मैं एक ही चीज़ से बंधे रहने के उस मानसिक झमेले से बचना चाहता था।

I couldn't only do one thing--I don't want the personal hell of oneness.

अगर आप कोई चीज़ अच्छे से बजाते हैं, तो इससे कोई फर्क नहीं पड़ता कि वह क्या है। मेरा मतलब है, मैं इलेक्ट्रिक [वायलिन] नहीं बजाता—मैंने कोशिश की थी। वैसे यह दिलचस्प है।

If you play something well, I don't care what it is. I mean, I don't play an electric [violin] - I tried. It's actually interesting.

बहुत से लोग यह सोचना पसंद करते हैं कि पोलियो ने मेरे काम को प्रेरित किया। मुझे लगता है कि संगीत का संबंध इस बात से है कि आपके भीतर किस तरह का जूनून है।

A lot of people like to think that polio was a inspiration in what I do. I think that music has to do with what kind of passion do you have.

प्रतियोगिता सबसे तनावपूर्ण अनुभव हो सकता है। कुछ लोग बस इसी माहौल में पनपते हैं।

Competition can be the most nerve-racking experience. Some people just thrive on it.

मानिए या न मानिए, मेरे कुछ ऐसे इंटरव्यू भी हुए हैं जहाँ इंटरव्यू लेने वाले ने कहा, "तो आपने कब शुरुआत की और क्यों? आपके माता-पिता के बारे में क्या?" मैंने उनसे कहा, "कृपया, क्या आपने कभी 'गूगल' नाम का शब्द सुना है?"

Believe me, I've had interviews where the person says, "So when did you start and why? What about your parents?" I say to them, "Please, have you heard of the word Google?"

मुझे लगता है कि बचपन की हर चीज़ की एक कीमत चुकानी पड़ती है।

I feel that you always pay when you are a child.

जब तक मैं किसी ऑर्केस्ट्रा के साथ न बजा रहा हूँ, मैं मंच पर चलकर नहीं जाता। लेकिन जब मैं कोई एकल प्रस्तुति (रिसिटल) देता हूँ, तो मैं एक स्कूटर पर होता हूँ और बहुत तेज़ी से मंच पर आ जाता हूँ, और लोग कहते हैं, अरे वाह, इसे देखिए। यह कितना तेज़ है।

I don't walk on stage unless I'm playing with a orchestra. But when I play a recital, I'm sort of on a scooter, and I just scoot very quickly on stage, and they're saying, wow, look at this. He's so fast.

मैं बच्चों को बहुत वाद्य बजाते हुए सुनता हूँ।

I listen to kids play a lot.