October 14, 2021 | 7:30PM

Christel DeHaan Fine Arts Center
University of Indianapolis
1230 Greyhound Ln
Indianapolis, IN 46227

Indiana Historical Society
450 W Ohio Street
Indianapolis, IN 46202

October 15, 2021 | 7:30PM

A few centuries of distance can make the diversity of the Baroque repertoire appear monolithic. Lift Thy Brow - so named in reference to a passage in Robert Browning’s poem honoring Charles Avison - invites listeners to explore a type of composition for the early orchestra that embraces both thoughtful form and unforgettable melodies. The program represents a way of thinking about music that, though a shining product of Baroque ingenuity, did not permeate every part of the era’s repertoire.

Arcangelo Corelli is likely the most recognizable name on the program. His outsized influence - especially through the dissemination of his Op. 5 sonatas - extended far beyond the epicenter of his influence in Rome, inspiring musicians and music lovers across the European continent and the British Isles. Francesco Geminiani was believed to be his student and was undoubtedly a close acquaintance. When Geminiani moved to England, his stature as a musician was boosted by his association with Corelli. Like Corelli, he was one of the great violinists of his time and made a career out of both composition and performance.

For these consummate violinists, performances of instrumental music (often their own) brought together the major pillars of their professional lives. This program, however, leans just as heavily on the works of composers who were most at home composing for the church: Francesco Durante (Naples) and Charles Avison (Newcastle). Durante was a venerated teacher with famous students (such as Pergolesi), and he balanced technically erudite composition with a consistently adventurous and evolving style. Avison, like Durante, was fascinated by the concerto and was immersed in producing sacred vocal music.

In this program without words, there is a narrative arc that invites us to optimistically lift our brow from turmoil and grief to bask in the promise of future warmth and exuberance. It draws together the experiences of violinists and church musicians and makes sense of independent works in a broader redemptive context. Of particular note are the final two pieces: an orchestral arrangement by Avison of music by Domenico Scarlatti and an arrangement by Geminiani of music by Corelli. Through these pieces, the arrangers honor their creative predecessors and present older ideas in a new context. In this time of great difficulty, I hope that the auspicious narrative arc and creative reimaginings of this program speak both to your experience and to your heart.

Jeremy Rhizor
Curator & Violin