Perlman

Perlman’s development combined extraordinary natural facility with the disciplined traditions of Juilliard. Galamian and DeLay helped refine a technique already notable for ease, tonal richness and security. His use of crutches and later a motorized mobility device became part of his public presence, but never defined the musical terms on which audiences and colleagues judged his playing.

After the 1964 Leventritt victory, Perlman rapidly became a regular soloist with the major American and European orchestras. His repertory encompassed virtually the entire standard violin concerto literature, from Bach and Mozart to Beethoven, Brahms, Tchaikovsky, Sibelius, Elgar, Berg and twentieth-century works.

The recording studio became central to his legacy. Perlman recorded prolifically for EMI and other labels, often with conductors such as Daniel Barenboim, Carlo Maria Giulini, André Previn and Eugene Ormandy. His chamber partnerships included Vladimir Ashkenazy, Pinchas Zukerman, Lynn Harrell, Yo-Yo Ma and Martha Argerich.

Perlman’s playing is immediately recognizable for the richness and continuity of the tone, generous vibrato, highly polished bow control and apparent technical ease. At his best, virtuosity serves a relaxed singing line rather than display. His recordings of Kreisler and the Romantic concerto repertory became particularly influential for several generations of listeners.

His reach extended far beyond the traditional concert hall. He performed the violin solos in John Williams’s score for Schindler’s List, explored klezmer music in In the Fiddler’s House, appeared frequently on television and became a visible advocate for accessibility and disability rights.

Perlman also developed a substantial career as conductor and teacher. Together with his wife Toby he has been closely associated with the Perlman Music Program, and he has taught at Juilliard. His many honours include multiple Grammy Awards, the Kennedy Center Honors, the National Medal of Arts and the Presidential Medal of Freedom.