#itzhak

[the-garbanzo-annex-jr]

Histroys Mosaic

At age four, Itzhak Perlman picked up a toy violin and began mimicking the sounds he heard on the radio. The sounds weren’t random; they were melodies, played back with uncanny accuracy. Born on August 31, 1945, in Tel Aviv, Perlman showed an astonishing affinity for music from the very beginning. His earliest lessons at the Shulamit Conservatory revealed a prodigy in the making, but fate added another layer of complexity to his journey. At age four, he contracted polio, leaving him with limited use of his legs. Instead of dimming his passion, the illness sharpened his focus, anchoring him to the instrument that became both his voice and his path forward.

He played sitting down, his legs braced, the violin cradled close. Teachers were initially reluctant, believing his disability might hinder his progress. But his playing silenced doubt. Within a few years, Perlman’s performances captured attention across Tel Aviv’s musical circles. His determination was equaled by his technical precision and emotional range, an uncanny combination that would define his career. By his teens, he had outgrown the local scene and moved to New York to study at the Juilliard School under Ivan Galamian and Dorothy DeLay, two of the most influential violin teachers of the 20th century. His style matured in those formative years, not just with technique, but with an emotional intelligence that gave familiar works new life.

His national debut came in 1958 when he appeared on "The Ed Sullivan Show." Viewers across the U.S. saw a young boy with braces on his legs walk slowly onto the stage, then sit and play with a depth that seemed to defy his age. That moment wasn’t simply a breakthrough for a young violinist, it was a cultural shift. Millions watched in awe, drawn not only to his talent but to the defiance with which he pursued his art. He didn’t ask for sympathy. He gave them music, pure and unfiltered.

In the decades that followed, Perlman became synonymous with violin mastery. He interpreted Beethoven’s violin concerto with both fire and finesse, brought haunting sensitivity to Tchaikovsky’s works, and delivered spirited performances of Mendelssohn and Brahms. But beyond the classics, Perlman embraced diversity in music. He performed klezmer with authentic joy, collaborated on film scores like "Schindler’s List" with John Williams, and brought Yiddish melodies to global concert halls. His versatility wasn’t about experimentation, it reflected a deep belief that music was a universal language, one that transcended genre or tradition.

He didn’t keep that language to himself. In 1995, he founded the Perlman Music Program, a haven for young string musicians with extraordinary talent. Located on Shelter Island, the program became known not only for high-level instruction but for its focus on emotional and personal growth. Perlman taught students that greatness was not only measured by flawless execution but by the ability to move an audience, to tell a story through sound. His work as a mentor was hands-on, deeply personal. He shared jokes, stories, encouragement, and demanded honesty in musical interpretation.

Collaborations with giants like Yo-Yo Ma, Daniel Barenboim, and Pinchas Zukerman enriched his career. Yet, even among other virtuosos, Perlman remained distinctive. His phrasing felt conversational. His tone carried a warmth that no teacher could bottle, no practice session could guarantee. Whether in solo recitals or with orchestras like the New York Philharmonic and the Berlin Philharmonic, Perlman’s presence was magnetic. He never rushed, never forced emotion, he revealed it.

Perlman once briefly met Humphrey Bogart in a backstage setting during a performance-related event in New York, a surreal brush with Hollywood royalty that left a lasting impression on the young musician.

Perlman’s instrument, a 1714 Soil Stradivarius once owned by Yehudi Menuhin, seemed to become part of him. Audiences didn’t separate the violin from the man. They watched him lean into each note, eyes closed, his face a portrait of every emotion he summoned. In that act, he connected across languages and cultures, from prestigious concert halls to television screens.

In a world that often idolizes speed and ease, Perlman’s life is a quiet rebellion. He achieved brilliance with effort, patience, and intention. Not despite the obstacles, but through them. Each performance reminds us that what we create matters more than what stands in our way

Source

[tiredgirlvent]

Israel Releases Over 600 Palestinian Prisoners in Exchange for 4 More Ho...

Tsachi idan 🕯️

Itzhak elgarat 🕯️

Ohad yahalomi 🕯️

Shlomo mantzur 🕯️

May their memories forever be a blessing 🕯️🕯️🕯️🕯️

💔💔💔💔

Hundreds of Palestinian criminals for four innocent unalive hostages !

How the hell does this make any sense?

This makes me angry 🤬

I am glad they are home and will be laid to rest but these criminals that were released will just go back to plotting against Israel because they are psychopaths with absolutely no conscience

Whatever.

I am sorry but I am angry and this seems so unfair .

I am sorry Israel

The world owes you an apology ASAP !

Heart goes out to the families 💔

[rotzaprachim]

I did not find the yitshok Berliner poems I was looking for in shtot fun palatzn however I Did find an absolute jackpot of Mexican Yiddishisms

[creekfiend]

Don't you also share your surname with the man who looks like a Maine Coon? He played Hellboy?

Ron Perlman is a real human man and not a fictional character is the thing

[mr-divabetic]

Throughout the past year, I've had the opportunity to visit several stunning historic theaters across the country. Some of my favorite theaters include the Carpenter Theater in Richmond, the Temple Theatre in Saginaw, the Grenada Theater in Santa Barbara, and the Palace Theater in Waterbury. While many may not consider touring theaters when visiting cities, these venues offer a remarkable insight into entertainment history. Most of these theaters were constructed in the 1920s, initially serving as vaudeville houses before transitioning into movie theaters with Wurlitzer organs accompanying silent films and eventually returning to hosting live performances.

The Palace Theater, with its luxurious tomato-red velvet curtain, has hosted a myriad of iconic performers over the years, from Frank Sinatra, Bing Crosby, and Jackie Gleason to Fleetwood Mac, Bob Dylan, and the Grateful Dead.

In 1924, during a performance by magician Harry Houdini, a crew had to cut an 8-foot-wide hole in the stage floor for a trap door. The hole was later patched up. Unfortunately, when Ringling Bros and Barnum & Bailey Circus visited, an elephant named Shirley fell through the patched hole from Houdini’s act several years earlier. Sadly, the management had to put the animal down as they could not rescue it. Shirley, the elephant, is now part of Palace Theater lore as one of the four friendly spirits that supposedly haunt the theater.

In contrast to today's black box-style theaters designed to accommodate various stage productions, these historic theaters, with their gleaming neon marquees, elegant lobbies, gold detailing, crystal chandeliers, and Art Deco carvings, were solely intended to transport their audiences from the mundane of everyday life to a magical world. The sumptuous plushness of the velvet seats instantly makes you feel like you're about to experience something extraordinary.

During the pandemic, people stopped attending live shows for health and financial reasons. Still, they continued to stream music, films, and TV in record numbers, proving that entertainment is a necessary commodity. There was a prevailing notion that live theater was a luxury. If that notion still holds, creating elaborate, glamorous theater spaces that encourage people to dress up, celebrate, and experience the joys of life is truly invaluable.

Watching performances by Itzhak Perlman and Rohan De Silva in these beautiful settings is a treasure.

[courseyoulovemeyoudontknowme]

Fantasia 2000 (1999, James Algar, Gaëtan Brizzi, Paul Brizzi, Hendel Butoy, Francis Glebas, Eric Goldberg, Don Hahn and Pixote Hunt)

24/03/2025

[musicianrambles]

One thing that jazz has going for it above classical is that they shout out the names of the soloists on stage and everyone goes crazy. They should introduce that into classical concerts. Soloist plays a cadenza and the conductor just screams ITZHAK PERLMAN and everyone cheers. This post is about Corrado Giuffredi's performance of An American In Paris.

[vivaldi-ives]

This was fun! More talking than playing, but I figure when you're 79 years old and super famous, you can do whatever you want. Itzhak seems like a friendly, funny person along with being an incredible violinist. Now I want to start playing again!

I like that he said he hated practicing. 😆 And he mentioned several times how people have judged him for his disability, even though you don't need legs to play the violin...

[tratadista]

Itzhak Perlman plays Schubert's serenade accompanied by Rohan de Silva

[velvet4510]

This is the love theme that I have chosen for Fingon & Maedhros.

When you have 3 minutes to spare, you can picture those two doomed Noldor and listen to “their” theme here.

This piece is from the 1939 film adaptation of Wuthering Heights, composed by the great Alfred Newman.

My mind immediately went here when searching for a Russingon theme, particularly this sorrowful violin version by Itzhak Perlman. Wuthering Heights itself is far from a perfect comparison to these two, but the initial beginnings (childhood friends who fall in love) and the aftermath (one dies, the other goes mad) are strikingly similar.

It’s a song full of pain and longing and innocence lost, so well exemplified by Russingon’s story - especially as they spend so much time apart for a variety of reasons, and this song makes me picture them, separated but each thinking about the other…and eventually Maedhros left alone to hallucinate Fingon in his madness…and ages later, re-embodied Fingon left alone to wander the places in Valinor where he and Maedhros used to rendezvous.

Hope y’all like it. :)

[feralchaton]

Ithzak Perlman - La ronde des lutins/The dance of the goblins by Antonio Bazzini

[culturevulturette]

A towering work. One of Perlman's greatest performances. Professor Schickele was a musical genius for the ages. Let us marvel at his work.

[shlufim]

בין שני עננים גדולים - יצחק קצנלסון (''דמדומים: שירים'', תר''ע, 1910)

בֵּין שְׁנֵי עֲנָנִים גְּדוֹלִים, / בֵּין שְׁנֵי עִנְקֵי שְׁחוֹר — / רוֹעֵד כּוֹכָב אֶחָד, / רוֹע��דֶת קֶרֶן אוֹר…

מָה אֲיוּמִים — אֵלִי! / אֵלֶּה עַנְנֵי עַד; / וּמַה קָּטֹן, חַלָּשׁ / כּוֹכָבִי זֶה הַחַד.

פְּנֵי עֲנָנִים מְפִיקִים; / קֶצֶף, קְלָלָה, מְרִי, / וְכוֹכָב זֶה הַיְחִידִי / מָה הוּא חָבִיב לִי!

לִרְגָעִים יֶחֱרַד לִבִּי / לִי נִדְמֶה עוֹד מְעָט / וְנֶחֱנַק בְּיַם הַחֲשֵׁכָה / כּוֹכָבִי זֶה הַקָּט.

אָנָא, עַנְנֵי זַעַם, / אַל תִּפְעֲרוּ פֶה, / לִבְלֹעַ אֶת חֲבִיבִי — / אֶת כּוֹכָבִי זֶה.

הוֹי, מַה גָּדוֹל יִהְיֶה / עָנְיִי, צַעֲרִי אָז — / בְּהִבָּלַע פִּתְאֹם / קְטַנִּי זֶה, בֶּן־פָּז

[suchamiracle-does-exist]

When Klaus became a teenage girl 🙊

Music: Jules Massenet "Thaïs: Méditation" performed by Itzhak Perlman (2015)

Also, we Klaus x Karl are back on TikTok 👨🏻‍❤️‍👨🏻

[nanashrimp]