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.

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.

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.

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

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.

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.