Jesenka Balic Zunic brings passion for Baroque to İstanbul

In 2003 she began to play the lead violin in the Holmens Barokensemble, which is conducted by the Danish composer, organist and harpsichord player Jakob Lorentzen. She often performs as the lead violin in various other Scandinavian baroque ensembles.

Speaking with Today’s Zaman ahead of her concert, she said she is happy to have an “opportunity to sense the atmosphere” of İstanbul, “the great historic and cultural capital.”

You began playing the violin at a very young age. What inspired you to start studying music? Why did you choose the violin in particular?

As long as I can remember I had an interest in music. I used to sing along with recordings of operas or try to play on the piano we had at home. On one occasion my parents let me listen to a record on which various musicians introduced their instruments and they asked me which one of them I would like to play. Actually, I liked the harp most of all, but I was told that young children could not start playing the harp. I chose the next one and it was the violin, which, of course, I do not regret today.

You recently began to study the rare violoncello da spalla. What interests you about this instrument?

I heard the da spalla for the first time approximately one year ago. My teacher at the Paris Conservatory, Francois Fernandez, brought one to one of his classes. The instrument is a reinvented one -- J.S. Bach used to compose for it, but it was later forgotten. Now, violin maker Jean Paul Bourie has made several instruments according to old sketches and descriptions, and my teacher got one to try. When I first tried to play the da spalla I immediately fell in love with it. It has a deep and rich sound, like a mixture between the cello, the viola da gamba and the viola. I can finally play the basso continuo myself and feel this part of the music and increase the register of the tunes I play and feel how cellists, for example, experience the music.

What makes it distinct from the violin?

It is the size of a child’s cello. It must be hung on a strap over the shoulders, because it is too big to fit just in the hand. It has five strings -- C, G, D, A, E -- one octave below the violin and is played with a cello bow. While playing, one gets an impression of embracing the music, which is a wonderful feeling.

How has your experience with the Holmens Barokensemble affected you as a musician?

Working with the founder and conductor of the Holmens Barokensemble, Jakob Lorentzen, is extremely inspiring. An excellent harpsichord and organ player, conductor and composer, he himself very much resembles a musician from the Baroque period. I think what is special about our ensemble is our great joy in music. Even when the orchestra is expanded with visiting musicians for some specific projects and when we play with the excellent Holmens choir, it feels like playing chamber music, the contact between musicians is always so close. I think this is also the reason for the specific vital sound of our orchestra. When playing with other ensembles, I feel I always try to reproduce the same atmosphere.

What attracts you the most to Baroque music?

Until my 16th year I had no special interest in Baroque music. Then, when I started at the conservatory and attended classes on the history of music, I heard on one occasion a recording with Monica Huggett playing Corelli’s sonatas. I realized then that it was the most beautiful way of playing the violin that I had ever heard. I think that it has something to do with the transparency, authenticity of feelings and the dancing element that the composers of the Baroque and the classic period put in their music which attracts me.

Aside from Baroque music, what other music inspires you? What genres do you appreciate outside of classical music?

For me there is no genre without something interesting in it. I must say that I even like some heavy metal. Thinking about what else I myself can do as a violinist, I actually would like to play jazz violin sometimes. Stéphane Grappelli is one of my favorite violinists. During a tour in Mexico, where I was invited in 2008, I had some memorable “jam sessions” with some local musicians who played their traditional music and invited me to join. Yes, I think I would like to learn more of various folk music styles as well.

What new perspectives on your music do you take away from your live performances?

For me the music is made to share with other people, not to play it alone in your room. Each concert is not only a new experience for the audience, but very much for the musician as well. I have learned probably the most I master from my concerts. This is for me the way I develop and invent new things.

This will be your first performance in Turkey. What are your impressions of the country?

Yes, this is my first time ever in Turkey. I am very much looking forward to visiting Turkey, which has such great importance for the history and culture of the world and, of course, İstanbul is such a famous city. There will not be enough time to enjoy the natural beauties of your country, but I hope I will have an opportunity to sense the atmosphere of this great historic and cultural capital.

Are you familiar with any Turkish musicians?

I have not had, unfortunately, direct contact with any Turkish musicians until now. I hope this visit will also give me the opportunity to meet some active musicians from İstanbul. About the artists I know from recordings, I am very fond of the outstanding Pekinel sisters, and I especially like their interpretations of Mozart’s music. I also want to mention the Yinon Muallem Ensemble, whose recordings I admire and whom I must say I find absolutely fantastic.

What can your audience expect from your performance here?

I had many teachers and attended many classes during my studies. It was because I didn’t want to learn only one style, but get as broad an insight into Baroque music as possible. Therefore, I have quite a variable repertoire and constantly change it. So the audience can expect, I hope, an original interpretation and quite a variable atmosphere.

Is there anything you would like to add?