I like to play in “the grand tradition.” Heifetz was in the grand tradition.  Kreisler was just the beginning.  Oistrakh, Stern, and these were all sort of grand, traditional sort of basic sound of the instrument.  Big, lush sounding instrument. Certain slides, certain way of phrasing and so on. Big, big playing. Right now there’s a lot of stuff.  Some people still play in the grand tradition, but a lot of them play sometimes —  you have this business with the early music playing where they don’t vibrate.  That comes into the situation.  Shifting is a bit less than it used to be, and so on.  It’s very interesting because I feel that during our summer program, the Perlman Music Program, we always have a couple of nights where I play for the students. It’s like studying history. I play them old violinists. I play them violinists that used to play 40 years ago, 50 years ago. It’s changed.  It’s like jazz. And a lot of the stuff, if you ask me why has it changed, I believe that it has changed because every time something gets evolved, and then people listen… There’s so much more chance of listening today. It’s very easy, you know? Just put on YouTube and you can listen to anything you want, and it depends who is affected by what. I always like to tell my kids, “Don’t listen only to who is playing today these days. You’ve got to listen to who played 20 years ago, 30 years ago, 40 years ago, 50 years ago.”  It’s part of history, because otherwise you play like you have blinders. You don’t see anything. You have to have a history of listening.