What happens when one of the greatest violin players poses as a busker as part of an article for the Washington Post?

In the three-quarters of an hour that Joshua Bell played, seven people stopped what they were doing to hang around and take in the performance, at least for a minute. Twenty-seven gave money, most of them on the run — for a total of $32 and change. That leaves the 1,070 people who hurried by, oblivious, many only three feet away, few even turning to look.

And that’s including a $20 donation from the one person who actually recognised him. I find this immensely interesting. As someone of a musical disposition I would hope that even if I didn’t recognise that it was Joshua Bell that I’d be able to say that he was an amazing musician. However, considering my lack of knowledge on something like, oh I dunno, abstract impressionism I can understand how someone who doesn’t listen to much classical music might think he isn’t that special.

Bell also discusses the differences between playing for an audience in a theatre and one that can walk away at any moment.

“When you play for ticket-holders,” Bell explains, “you are already validated. I have no sense that I need to be accepted. I’m already accepted. Here, there was this thought: What if they don’t like me? What if they resent my presence . . .”

It’s kind of how I feel about some art (Pollock in particular). If I’m told beforehand that it’s a Pollock then naturally I feel as though I should take note of something (I don’t know what though). I’d be far more likely to attend a Pollock exhibition than a student art one. By the same token there was no “this is one of the best violinists in the world” banner above Bell’s head to give people a visual clue.

Full article (via Waxy)