Grace Notes

A Broken String: an interview with jesse irons

DONNA REILLY

Jesse Irons played principal second violin in UV Baroque’s February performance of Handel’s Water Music. Five minutes before the concert began, Jesse’s violin broke a string. Seated very near him, I watched as he quickly replaced the string and had re-tuned by the time Filippo reached the podium. I had an opportunity to talk with Jesse recently. Our conversation has been edited for length and clarity.

DR: Jesse, bad luck with that string!

JI: Usually they break in the middle of playing a concert, but this one popped when I was just standing there. Fortunately, I usually carry an extra on stage. Those strings are organic; they’re greatly affected by change in temperature and humidity, but I’m not sure what caused that one. Rehearsing all week puts a strain on the strings. Sometimes you can see when they’re about ready to pop; they get these little whiskers where the break is coming. That’s why it’s a good idea to always have a spare handy.

How does the Baroque violin differ from a modern violin?

The Baroque violin is very much like the modern violin. Stradivarius, and all the old 17th century instrument makers, created instruments for their time. During the 19th century, performance spaces got larger, so those instruments needed to be modified to project sound into the larger space. The Baroque violin is really just an instrument that’s been returned to the time period for which it was created. The gut strings go back to an era before synthetics were invented. The bow is quite different today, but again that was another adaptation to the larger concert spaces. So the essential difference is that, overall, the Baroque violin is more organic, more colorful, with slightly less projection. It’s geared to a more intimate environment.

So, you must need to make some modifications in the way you play it.

Definitely. Here’s a very simplified explanation of what happened over time: During the 19th century, when we essentially transferred over into the “modern” music period, the bel canto style in Italy influenced the way violin music was performed. Music was played in a way that more accurately reflected the singing voice; concentration was on the beauty of the tone and the long phrase. The operatic style became the norm. In addition, the composer assumed a larger role, contributing specific details about how the music should be played. Baroque orchestral music was more “spoken” than “sung.” Much greater attention was paid to the details of articulation. There was more concentration on the beginning of a bow stroke and the shape of the notes, as well as more variation within a single note. Instead of specific directions, Baroque music depended almost entirely on the musician for interpretation, thus providing greater opportunity for improvisation.

Your wife Emily is also a violinist and you have two young children. What a fine appreciation for music they’re getting!

They are, but not only that. You know, I love what I’m doing. Impressing upon my daughter and son that I’m able to do what I love is even more important to me.