Violinists From The United States

"That India should offer me at once a homeland and a new-found land with lasting power to astonish seemed only right, for it is precisely the reconciling of contradictions Within an all-accepting unity that is the country's genius and its abiding appeal to me. India, I feel, has softened my Talmudical adjudications between right and wrong, upheld innocent acceptance of the lovely things of life, given me much that was new yet welcome, understandable, waiting to experienced."

"When I was a boy no one seemed to ask where the energies come from. Land, oil, coal, air seemed inexhaustible. Now we are realizing how our very life depends upon restoring not only our balance with nature, but also that balance within ourselves. We are depleting our reserves of spirit, health, courage and faith at an alarming rate. The quiet practice of yoga is, in its humble yet effective way, an antidote."

"We in the Western world have grown to understand matter as imprisoned light, and light as liberated matter, yet this has had no influence on our spiritual thought. In practical terms it only led to the creation of the atom bomb."

"First and foremost, yoga made its contribution to my quest to understand consciously the mechanics of violin playing, a quest which by 1951 had long been one of the themes of my life. All influences pointed to less tension, more effective application of energy, the breaking down of resistance in every joint, the coordination of all motions into one motion; and illustrated the profound truth that strength comes not from strength but from the subtle comprehension of process, proportion and balance."

"There were other gurus and other lessons, but not until I met Iyengar did I take up the study regularly. My first meeting with him was like the casting of a spell. We made each other's acquaintance in Mumbai. He appeared in my rooms one morning and straightaway made it clear that the "audition" to follow was mine as much as his. For all my celebrity, to him I was just another Western body knotted through and through."

"Homeopathy is the safest and more reliable approach to ailments and has withstood the assaults of established medical practice for over 100 years."

"Each human being has the eternal duty of transforming what is hard and brutal into a subtle and tender offering, what is crude into refinement, what is ugly into beauty, ignorance into knowledge, confrontation into collaboration, thereby rediscovering the child’s dream of a creative reality incessantly renewed by death, the servant of life, and by life the servant of love."

"What guides us is children's response, their joy in learning to dance, to sing, to live together. It should be a guide to the whole world."

"The art of creation lies in the gift of perceiving the particular and generalizing it, thus creating the particular again. It is therefore a powerful transforming force and a generator of creative solutions in relation to a given problem. It is the currency of human exchanges, which enables the sharing of states of the soul and conscience, and the discovery of new fields of experience."

"Peace may sound simple — one beautiful word — but it requires everything we have, every quality, every strength, every dream, every high ideal."

"We embark unhesitatingly on the path, in a direction that is absolutely right and urgent, supported by everyone, in the knowledge that this path is but a learning process... We have to keep on learning, creating, applying, by-passing, touching upon, refining and clarifying a number of notions and details that need to be improvised and applied and which, thank God, we cannot foresee. The only rigidity lies in our will, our conviction that we are on the right road and that our initiatives are most pressing."

"I would hate to think I am not an amateur. An amateur is one who loves what he is doing. Very often, I'm afraid, the professional hates what he is doing. So, I'd rather be an amateur."

"The violinist must possess the poet's gift of piercing the protective hide which grows on propagandists, stockbrokers and slave traders, to penetrate the deeper truth which lies within."

"I can only think of music as something inherent in every human being - a birthright. Music coordinates mind, body and spirit."

"To play great music, you must keep your eyes on a distant star."

"Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it's clear to the listener without being pedantic - one can't fake things in Bach, and if one gets all of them to work, the music sings in the most wonderful way."

"It is not like we have a piece written out that we improvise on. We know where we are going but we don’t know how we are going to get there."

"Interpretation is as improvisation as improvising from silence is. It is just a different way of looking at it. When you improvise form interpretation you have certain dramatic ideas, you have a certain structure. But you know that everything that is in that is relative and flexible. Even pitch can be a matter of interpretation. Rhythm is relative."

"I’m kind of at the point where I’m doing the second of those things and surprised by what I have done. And it is not necessarily a big master plan, but I look at the number of recordings I’ve made and I’m kind of shocked."

"What do I really want to do, and what will help me continue to be creative, and what will lead me towards being the artist that I want to be in the end."

"I hate analyzing stuff. I do the bare minimum. When it comes to interpretation, I just play it and go from there. I think emotion is everything. When you get the notes, you've just scratched the surface. The best things happen spontaneously, on stage. I'm doing three concerts here; I guarantee that none of them will be the same. We're not machines."

"I remember when I was eight, my friends thought it was a little bit unusual that I was going off to Europe or to Asia, and playing concerts. And they would go to Tower (Records) and see my CD out. So that was a little different! But, I guess they've gotten used to it now, and really could not care less," she asserted. "It's nice because most of my friends are not musicians, and it keeps me grounded."

"I had this very interesting experience when I was about 13. I went to Finland and it was dead in the middle of winter. It was freezing cold. There was so much snow and I went to Ainola, which is Sibelius' house. It was completely isolated -- just snow and forest, trees and the lake, completely beautiful but very quiet. And very serene. And I thought, well, this is where he was composing his stuff. And his great symphonies and the violin concerto, this is where it basically came from. I also got this little handbook about Ainola and there's a part that says that Sibelius wouldn't allow running water in his house because it disturbed him and his thought processes. So his daughters had to go out to the well which was half a mile away and then bring back water. So I thought, "Wow!" This person was really that much into control and silence. So you go and look at the concerto after that and the way it starts in the beginning: very shimmery. Very beautiful. But in a way it is isolated, and you feel kind of lonely when you're playing that. And gradually of course it builds up into this great big climax when every single orchestra-like instrument known to mankind is clashing and you're trying to break out there and you're trying to play your heart out. But really it did help me realize what he is like."

"Now this is very funny because my brother's name is Michael Chang, I go in for interviews or just talk to people and they say, "so what does your brother do?" I say he plays tennis and they automatically assume that he is Michael Chang, the tennis player, and I don't say anything."

"There are certain moments in performance when I'm hand-in-glove with a conductor and feel I can take risks and try something completely different from what we did in rehearsal. Sometimes we pull it off, and it's magical. Other times you try to get creative, the support isn't there, and you think, oh well, maybe next time."

"I've worked with a lot of living composers recently. It drives me nuts, though, that they like to change things at the last minute. For example, two years ago I played a piece that had been completed only the day before, in front of thousands of people in a huge stadium in Taejon, South Korea."

"Everything in my life is planned. It adds stability, but it makes me yearn for something that's not planned, that's spontaneous."

"I try not to take my life for granted. I have friends who have tendinitis. That would kill me. A short break from the violin is fine, but if I don't touch it for three or four days, my fingers start to feel funny."

"The ultimate high for me is being onstage in front of an audience. Nothing else can compare."

"I've always ranked the Brahms as the Mount Everest of all concertos -- and the Beethoven, of course."

"I like Lenny Kravitz, I like Pink, and for forever and ever I've thought that Whitney Houston has an amazing voice. I really love great voices."

"(about concerts)"I love the adrenaline rush you get from having a live audience in front of you. There's nothing like performing live. I like to categorize classical music as one of those really beautiful, glamorous gems from the old era. The men are in tails onstage, the women are in beautiful dresses and the soloist comes out in a gorgeous evening gown. I really, really love that old-school glamour.For me, concert days are always exciting. It doesn't matter if I give 100 concerts or 150 concerts that season. Every concert is magical. Every concert has a sparkle to it. The challenge is to keep myself fresh and to give a spontaneous performance every single night while maturing and growing as a musician every day. The whole art form of being onstage is so mysterious and magical, it fascinates me. ""

"(about her beginnings) "People assume I always wanted to be a violinist. It was actually just one of many other hobbies that I had. I had very enthusiastic parents. They gave me swimming lessons and horseback riding and gymnastics and ballet. My mom put me on the piano when I was about 3i. I asked for the violin when I was 4 because I wanted something that was smaller and more portable. I auditioned for the Juilliard School when I was about 6. During the week, I went to a regular school in Philadelphia so I could be with kids my own age." and "I started my career when I was 8 with two debuts in New York and Philadelphia, and then I started recording when I was 9. When you're so young, you don't realize the impact of a New York Philharmonic debut. You're told to do something and you go out and do it and you don't ask too many questions. I think the questions come later when you're in your teens. By the time I was 14, I was spending probably half the year in Europe. So I was out of school a lot. I did most of my homework by e-mail or fax. We made it work because my professors were incredible.""

"(about her concert in North Korea) "The concert was full of government officials. Every single last seat. It was invitation only, but it was an unbelievable experience. Frightening and exhilarating at the same time. And I just thought about how lucky I am. I am so fortunate to be a musician, and at that moment, I genuinely felt that music is the one and only universal language.""

"Rochester: It would help if you bleed a little."

"Bob Hope: [on being on a CBS show] I feel like Zsa Zsa Gabor at a P.T.A. meeting."

"Jack: What do you mean, you think? Can't you tell?"

"Rochester: I think I cut you."

"Jack: What's the matter?"

"Rochester: Oh oh."

"Rochester: That's for me. I can't stand the sight of blood."

"Jack: Smell?... What do I want with smelling salts?"

"Rochester: [checking his equipment] Shaving cream, brush, razor, smelling salts."

"Jack: I want to look tanned, not lumpy."

"Jack: I know, but peanut butter?"

"Rochester: Well, you said you wanted something to make you look nice and tanned."

"Jack: Hey, wait a minute. What kind of make up is this?"

"Jack Benny: Does it have to be both?"

"Thug: You're gonna give us $10,000, or we're gonna break both your legs."

"Jack Benny: I'm thinking I'm thinking!"