PATRICK VOGT
Board of Directors // President
On behalf of the Board of Directors, our dedicated staff, the extraordinary musicians of the Columbus Indiana Philharmonic, and our passionate Notables, it is my great pleasure to welcome you to this performance. Together, we share a mission: to connect people to diverse musical experiences that create memorable moments, embody inclusiveness, and embrace life’s journey through music education, performances, and community events. Every note you hear tonight is the result of a community working in harmony—on stage, behind the scenes, and in the audience.
Whether this is your very first Philharmonic concert or you are a longtime friend returning for another season, we are grateful you have chosen to spend your time with us. For first time guests, we hope tonight sparks a lasting relationship with live music in Columbus. For our returning patrons, welcome back—you are part of the fabric of our story, and your continued presence inspires us to reach new heights.
This year marks our 39th season, Horizon—A Musical Odyssey. Throughout the year, we will journey across musical landscapes, exploring works that expand our perspectives and invite us to imagine what lies beyond the familiar. Like any great odyssey, this season is about discovery—of new sounds, new emotions, and new connections with one another. We invite you to join us for the full voyage, as each concert offers a unique chapter in this unfolding adventure.
If tonight moves you, we encourage you to share that experience. Tell your friends, family, and colleagues about the Philharmonic, and bring them along to our next performance. We have special promotions for new patrons, making it easier than ever to introduce someone to the magic of live music. After all, music is even more powerful when experienced with the people we care about.
Thank you for being here, for supporting the arts in our community, and for helping us carry our mission forward. Together, we will continue to create moments that resonate far beyond the final note.
IN LOVING MEMORY
Bob Haddad Sr.
Robert W. “Bob” Haddad Sr. (1932–2025) was a devoted husband, father, entrepreneur, philanthropist, and friend to many. After founding Columbus Container in 1972, Bob grew the company into a regional leader, creating jobs and fueling economic development across Indiana. Beyond business, Bob dedicated his life to service, holding leadership roles with countless civic, educational, and arts organizations, and receiving honors such as Small Businessman of the Year, Entrepreneur of the Year, and the Sagamore of the Wabash.
Together with his beloved wife Helen, Bob championed the arts in Columbus and beyond. Their generosity helped establish Helen Haddad
Isaac Selya is Music Director of the Columbus Indiana Philharmonic, Staff Conductor at the Dayton Philharmonic, and Founder & Artistic Director of Queen City Opera. His projects combine classical music with community collaborations, including the following:
About Isaac
» Mozart’s Super Flute; a production of Mozart’s Magic Flute set in the world of classic video games.
» Reconstructing Tchaikovsky’s lost Undina as an ecoopera focusing on sustainable energy production and water stewardship, presented in collaboration with Green Umbrella and the Cincinnati Nature Center.
» Defiant Requiem: Verdi at Terezín, commemorating the musicians of the Terezín Concentration Camp who performed Verdi’s Requiem as an act of defiance against the Nazis.
» Bach’s Coffee Cantata in collaboration with Deeper Roots Coffee and Green Umbrella, focusing on sustainable coffee production.
» Pairing classical repertoire with music from the Legend of Zelda video game, the Lord of the Rings films, and Wagner’s The Valkyrie.
He conducted the Los Angeles stage premiere of Tchaikovsky’s Iolanta at Pacific Opera Project, in collaboration with the National Federation for the Blind, and with blind soprano Cristina Jones in the title role.
His guest conducting engagements include the Deutsche Kammerphilharmonie Bremen in Germany, the Xiamen Philharmonic in China, the National Symphony of Guatemala, and the Cincinnati Symphony Orchestra accompanying Cincinnati Ballet.
His performance of Wagner’s Siegfried was the first production of the work in Ohio in over a century. In recognition of his talent and entrepreneurialism, Musical America featured him as a Spotlight Artist. Committed to ensuring that music education is accessible to everyone, Isaac serves as a Cello Teaching Artist and conductor at the MYCincinnati Youth Orchestra, an El Sistema-inspired program in Cincinnati.
Isaac has provided scholarship to publishers Bärenreiter, Henle, Schott, Breitkopf & Härtel, and the University of Chicago Press/Casa Ricordi in the critical editions of the works of Bach, Beethoven, Bizet, Mascagni, Mendelssohn, Mozart, Stravinsky, Tchaikovsky, Verdi, Wagner, and Weber.
He is currently working with Bärenreiter and artificial intelligence-powered linguistics company ipipapa as chief editor of a new edition of Tchaikovsky’s Eugene Onegin, including a machine learning assisted transcription into International Phonetic Alphabet of the Russian text.
Isaac has also conducted performances with the Xiamen Philharmonic, the Dayton Philharmonic, the National Symphony of Guatemala, the Chelsea Symphony, and the Cincinnati Chamber Orchestra. He served as Assistant Conductor for Cincinnati Opera and the Glimmerglass Festival, where he conducted the firstever reading of the revised version of Philip Glass’s Appomattox, with the composer present.
Isaac’s conducting can also be heard on the soundtrack to the award-winning video game, Masquerada: Songs and Shadows. He started his professional music career at the age of 18 singing in the chorus of the Great Synagogue in Jerusalem, Israel. He holds a BA from Yale College, where he was principal cellist of the Yale Symphony and sang in Yale’s Schola Cantorum. He completed an MM in conducting at Mannes College, where he won a competitive grant from the New School Green Fund to present a concert dealing with environmental advocacy. And he holds a doctorate from the University of Cincinnati-College Conservatory of Music, where his research focused on Mozart’s use of the baritone voice.
Isaac maintains a catalogue of parallel fifths and other voice leading irregularities he finds in the works of common-practice composers. You can see them, as well as his commentary on counterpoint at his blog, illicitfifths.tumblr.com.
Isaac is based in Cincinnati with his wife Pin-Hsuan Chen, who is a violinist and personal trainer. They have three cats: Tosca, Aida, and Tamino.
Isaac Selya fast facts
pets
Tosca, Aida & Tamino (3 cats)
Cincinnati, OH birth place
favorite composer
W.A.
Mozart education
University of Cincinnati - College Conservatory of Music Mannes College Yale College
MEET our musicians
VIOLINS
Jiangzhongnuo Tao, Concertmaster
Sponsored by Ben & Pat Bush
Pin-Hsuan Chen, Associate Concertmaster
Juli Enzinger, Assistant Concertmaster
Sponsored by Mark & Linda Pillar
Yi-Fan Sun, Assistant Concertmaster
Vanessa Edwards, Principal Violin II
Alice Curry Endowed Chair
Ava Shedd,
Assistant Principal Violin II
Laura Andrews
Sponsored by Peter King Law, PSC
Maria Cherkassova
Abigail Harms
Wei-Jung Hsu
Lu Li
Calvin Liu
Natalie Nef
Jungeun Noh
Inkyung Oh
Gozde Parlaktuna
Kiran Rajamani
Chin-Pei Tso
Yen-Ju Young
VIOLA
Ryan Tolentino, Principal
Katherine Deneris, Assistant Principal
Jacob Burk
Nicolette Cheauré
Siyu Jiang
Ila Rondeau
Wan-Zhen Xie
Bowei Yang
CELLO
Kyle Johnson, Principal Sponsored by Drs. Dale & Linda Guse
Noori Han, Assistant Principal
Kamila Dotta
Hsi-Yuan Kao
Aram Lee
Stephanie Li
Sophie Lyman
Haley Rasmussen
BASS
Brenton Carter, Principal Sponsored by the George E. & Catherine H. Shortle Foundation
Corey Watzek, Assistant Principal
Nicholas Blackburn
FLUTE
Laura Recendez, Principal
Notables Flute Chair
Donna M. Wilson
Jessica Harris, Piccolo
OBOE
Liza Saracina, Principal
Sponsored by Bob & Mary Orben
Jennifer Kirby, English Horn
CLARINET
Samantha Johnson-Helms, Principal
Sponsored by Donnie Robinette
Keith Northover, Bass Clarinet
BASSOON
Corbin Krebs
Kathleen Moran, contra.
HORN
Harrison Tye, Principal
Charlotte Ulmer
Dave Poncar
Kenji Ulmer
TRUMPET
Eric Rodriguez, Principal
Jay Ellsmore
Keith Burton
Sponsored by Jorge Morales
TROMBONE
Matt Williamson, Principal
Kyle Malesevich
Carter Woosley, Bass Trombone
TUBA
Glen Dimick, Principal
TIMPANI
Jason Spangler, Principal
PERCUSSION
Brian McNulty, Principal
Sponsored by Tom & Sara Wood
Robert Torres
HARP
Julia Johnson, Principal
EDUCATION PROGRAMS
PHILHARMONIC YOUTH ORCHESTRA
The Philharmonic Youth Orchestra (PYO) provides an encouraging and challenging orchestral setting for middle and high school students. PYO musicians are mentored by Philharmonic musicians and perform in several concerts and ensemble groups each year, including an opportunity to perform side-by-side with the Columbus Philharmonic Orchestra. Membership is by audition.
COMMUNITY OUTREACH
ADVENTURE CONCERTS
Each year, thousands of area 3rd and 4th grade students explore the world of orchestral music at the Adventure Concerts. These concerts blend education and entertainment, exposing young children to the various instrument families of the orchestra, encouraging them not only to enjoy music, but also to explore making music.
The Philharmonic believes that arts programming is a critical component to a well-rounded education, and therefore has a strong commitment to education outreach initiatives, such as the Adventure Concert Preview Program where musicians tour area schools for hands-on learning. Philharmonic musicians participate in other outreach activities including many ensemble performances, company ribbon cutting ceremonies, concert receptions, wedding ceremonies, and festivals. CICC’s annual Love Chapel Gift Concert provides our youth the opportunity to encourage food donations to our local food bank.
MAKING MUSICchanges lives
COLUMBUS INDIANA
CHILDREN'S CHOIR
NEIGHBORHOOD ACADEMY CHOIR
The CICC Neighborhood Academy Choir is part of the ICC/CIP effort to provide a short term, after-school choral experience to serve local and regional schools. CICC offers a 5-6 week introductory choral education program with the opportunity for performance with the CICC Choir and members of the CIP. Past Neighborhood Choir Academies have included schools in Franklin, Batesville and Hope.
Contact CICC Administrator Olivia Cain at cicc@thecip.org to help underwrite this program or to request to have an NAC at your location.
The Columbus Indiana Children’s Choir is a cooperative effort between the Columbus Indiana Philharmonic and the internationally renowned Indianapolis Children’s Choir. CICC is known for its excellence in music education and performance. CICC has shared its musical artistry as frequent guests for local schools, community organizations and beyond. Members of CICC have performed and toured across the continental United States, in Hawaii, Alaska and throughout Central Europe. The CICC also performed in New York City’s Carnegie Hall and Lincoln Center. CICC is a tuition-based, educational program. CICC consists of three treble voiced choirs of children and youth in 1st thru 9th grades.
STRINGS INVITATIONAL
The Philharmonic Youth Orchestra hosts several musical groups from surrounding communities at the annual Invitational under the direction of CIP Music Director Isaac Selya.
EDUCATION PROGRAMS
STRINGS CLASSES
The Philharmonic offers weekly strings classes in local elementary schools, with a concert presented at the end of each semester. Beginning, intermediate and advanced classes are offered.
SUMMER CAMPS
Choral Festival and Strings Camp are offered to young aspiring musicians during May and June. Choral Festival is a weekend music camp for children graduating into grades 4-8. Participants enjoy singing, playing musical games, learning about vocal production, harmony, and much more! At Strings Camp, string musicians of all levels in grades 1-8 are encouraged to sign up for group lessons on violin, viola, cello, and bass taught by experienced instructors. Arts and crafts, swimming, miniature golf, and other outdoor fun are part of the daily schedule. Both camps culminate in performances open to the public.
MISSION Why we do what we do? OUR VISION A regionally known performing arts organization that offers a multitude of inclusive arts driven activities focused on performing, visual, and culinary art forms. Who
We connect people to diverse musical experiences that create memorable moments, embody inclusiveness, and embrace life’s journey through music education, performances, and community events.
PHILHARMONIC YOUTH ORCHESTRA direected by Vanessa Edwards
talented young players in grades 4–12 from Bartholomew and surrounding counties, PYO challenges students to grow their musical skills through ensemble rehearsal and concert performance. Auditions include an interview, solo work, and sight-reading, offering participants a supportive yet stimulating environment to advance their artistry. PYO musicians also have opportunities to perform with and alongside professional colleagues, bringing dynamic classical music experiences to our community.
Mark & Melanie Henderson Mark & Melanie Henderson
LEGACIES
Saturday • March 7, 2026 • 7:30 PM • Erne Auditorium
Columbus Indiana Philharmonic
Isaac Selya • Conductor
Philharmonic Youth Orchestra
Vanessa Edwards • Director
To Zanarkand from Final Fantasy X Nobuo Uematsu Performed with Philharmonic Youth Orchestra
Death and Transfiguration, Op. 24
INTERMISSION
Richard Strauss
Symphony No. 4 in E minor, Op. 98 Johannes Brahms
I. Allegro non troppo
II. Andante moderato
III. Allegro giocoso – Poco meno presto
IV. Allegro energico e passionato
VANESSA EDWARDS Director of Philharmonic Youth Orchestra
since 1998, the Education Director since 2004 and the Philharmonic Youth Orchestra Conductor since the fall of 2009. However, her association with the CIP goes back further. She was a participant in the first CIP (then Columbus Pro Music) strings classes in 1972. It’s only fitting that she is the CIP Education Director today and manages (and teaches many of) the CIP strings classes in Columbus elementary schools and organizes the CIP strings camp every summer. Vanessa has shared her love of music and the violin with thousands of area children over the years. She feels very rewarded when she sees students become excited about making music and confident with their instrument. In her spare time, Vanessa enjoys spending time with her husband Greg, son Nick, daughter-in-law Sarah, daughter Shelby and two grandchildren, Dylan and Milo.
PROGRAM NOTES
accompanies the journey of young heroes confronting a doomed world. Its simple, elegiac melody has resonated far beyond gaming, touching audiences with its quiet emotional depth. Uematsu, often referred to as the "Beethoven of video game music," is one of the most celebrated composers in the genre. With a career spanning multiple decades, he brought orchestral sophistication and emotional nuance to a medium once dominated by simple electronic sounds. To Zanarkand is perhaps his most beloved work, emblematic of his ability to blend Western classical forms with contemporary storytelling.
By performing this work side-by-side with the PYO, we honor youth as our greatest legacy. Music, like tradition, is passed from hand to hand, from heart to heart—and in this moment, we celebrate that ongoing inheritance.
Richard Strauss
Death and Transfiguration, Op. 24
Composed when Richard Strauss was only 24 years old, Death and Transfiguration (1888–89) is a tone poem that imagines the death of an artist and his transformation beyond this world. The work begins with halting, breath-like figures representing the frailty of the dying man. As memories flood in—childhood, love, struggle—Strauss unleashes his full orchestral palette, culminating in a radiant theme symbolizing transfiguration: the soul ascending toward eternal truth.
PROGRAM NOTES
Strauss's ability to portray such profound emotional territory at such a young age is striking in itself. Born in 1864 in Munich, Strauss was a musical prodigy whose early works drew comparisons to Wagner and Liszt. He would go on to become one of the towering figures of late Romantic and early modern music, bridging centuries with his expressive orchestration and daring harmonic language.
His connection to tradition was also very real: he would later serve as an assistant conductor for a performance of Brahms’s Symphony No. 4, offering a fascinating link between the two composers. Death and Transfiguration contemplates what we leave behind and what we carry with us beyond death. It is both a farewell and a promise.
Johannes Brahms
Symphony No. 4 in E minor, Op. 98
Movements and Approximate Timings:
I. Allegro non troppo (12 min)
II. Andante moderato (11 min)
III. Allegro giocoso – Poco meno presto (6 min)
IV. Allegro energico e passionato (10 min)
Brahms’s Fourth and final symphony (1884–85) is a work of profound depth, rich with echoes of the past and intimations of mortality. While Brahms was not known for wearing his heart on his sleeve, this symphony is striking for its emotional immediacy and structural mastery. The composer himself joked about the work’s intensity, calling it “a bit grim.”
The first movement is stormy and noble, with sighing phrases that hint at ancient modes and folk melodies. The second offers lyrical warmth, while the scherzo surprises with its exuberant energy. But it is the finale, structured as a passacaglia, a Baroque form based on a repeating bass line, that sets this symphony apart. The
written by Maestro Isaac Selya
theme is derived from the final movement of Bach’s Cantata No. 150, and Brahms transforms it into a sweeping, tragic conclusion.
Among the many voices heard in this finale is a subtle quotation of the Lutheran chorale “O Tod, wie bitter bist du” (“O death, how bitter you are”), a biblical text that Brahms would later set directly in one of his final songs. The appearance of this phrase in the Fourth Symphony adds emotional and spiritual resonance, underscoring the symphony’s meditation on legacy, loss, and what endures. In this final statement, Brahms reaches backward through time even as he writes his own epitaph in music.
PHILHARMONIC CHORUS direected by Caio Lopes
Discover the joy of singing with the Columbus Philharmonic Chorus, a dynamic and welcoming ensemble that brings together singers of all skill levels, from high school students to seasoned adults. As the Philharmonic’s largest and most significant adult education program, the Chorus is dedicated to musical excellence, performing major symphonic works in collaboration with the orchestra.
Our non-auditioned chorus of approximately 60 passionate singers provides a unique opportunity for vocal training, the chance to perform in multiple languages, and the experience of working as a team to create powerful musical moments. If you can read music, love to sing, and are excited to grow as a musician, we are welcoming new members for the 2025-2026 season!
We rehearse Monday evenings, 7:00 to 9:00 PM at First United Methodist Church. For information, contact Caio Lopes at 812-3762638 or clopez@thecip.org.
Caio Lopes is a Brazilian conductor based in Bloomington, Indiana. In addition to serving as Chorus Master for the Columbus Indiana Philharmonic, Caio is also an Associate Adjunct Professor of Music at the University of Indianapolis, Assistant Conductor and pianist for the Bloomington Chamber Singers, and Music Director at the First United Methodist Church in Columbus. As a graduate student at the Jacobs School of Music at Indiana University, Caio worked with all of the university concert choirs (Oratorio Chorus, University Singers, NOTUS, Singing Hoosiers and Pro Cantare), and served as an assistant chorus master for several productions at the IU Opera Theater. He was recently selected as an active conductor for the ACDA 2023 National Masterclass and the NCCO 2023 National Masterclass. Caio has completed the coursework for the Doctor of Music degree at the Jacobs School of Music, where he also earned his Master of Music degree. He received his Bachelor of Music degree from São Paulo State University in Brazil.
MOZART REQUIEM
Saturday • April 18, 2026 • 7:30 PM • First Christian Church
Columbus Indiana Philharmonic
Isaac Selya • Conductor
Columbus Philharmonic Adult Chorus
Caio Lopes • Director
Mithra Mastropierro • Soprano
Junyue Gong • Mezzo-Soprano
Travis Pearce • Tenor
Christopher Filipowicz • Bass
Requiem in D minor, K. 626 Wolfgang Amadeus Mozart
CONCERT SPONSOR
Mark & Linda Pillar Mark & Linda Pillar
CONCERT CO-SPONSORS SEASON MEDIA SPONSOR
ROBERTSON & JIM BOLTON
PAMELA
The young soprano Mithra Mastropierro was lauded by the New York Times as “an artist to watch out for.” She recently made her Carnegie Hall debut as soprano soloist in Orff’s Carmina Burana with the Carmina Chorus under Andrea Fessmann.
She has sung at some of America’s most important opera houses such as The Glimmerglass Festival and the Dallas Opera. She also joined The Lyric Opera of Chicago to cover Abigaille in their recent production of Nabucco. She has sung some of the most important roles of her repertoire such as Norma, Abigaille and Tosca at the Croatian National Theater, where she received rave reviews and was hailed as “a miracle soprano with beautiful bel canto style, unbelievable range and regal stage presence.” Mithra has enjoyed performing Leonore in Beethoven’s Fidelio, Brünnhilde in Wagner’s Siegfried, Sieglinde in Act 1 of Wagner’s Die Walküre, and the soprano solo in Verdi’s Requiem all with Queen City Opera under the baton of Maestro Isaac Selya. Other recent performances include Mimì in New Rochelle Opera’s production of La bohème.
Mithra is a major grant winner of the Olga Forrai Foundation for large dramatic voices and has received numerous scholarships and awards, among them an encouragement award by the Gerda Lissner Foundation and full scholarships to Joan Dornemann’s IVAI programs in Israel and Virginia and a full scholarship to study voice and performance at Mannes College.
Hailing from Chengdu, China, Junyue Gong is a mezzo-soprano known for her rich vocal color, expressive musicality, and commanding stage presence. Her operatic repertoire includes roles such as Carmen in Carmen, Dorabella in Così fan tutte, Marcellina in Le Nozze di Figaro, Ramiro in La finta giardiniera, Madame de la Haltière in Cendrillon, Bianca in The Rape of Lucretia, and Hippolyta in A Midsummer Night’s Dream. She has appeared with Des Moines Metro Opera, Cincinnati Opera, Queen City Opera, CCM Opera, and Opera in the Ozarks.
Junyue’s artistry has earned her numerous honors, including Third Prize at Tuesday Musical’s 2025 Annual Scholarship Competition, a Special Award at the 2024 Laffont Competition (Nebraska District), and First Prize in the 2023 Career Bridges Grant Awards. She was also a finalist in the 2023 Classical Singers Vocal Competition (Young Artist Division). From 2024 to 2026, she is a recipient of both a Full Scholarship and the Ralph Corbett Scholarship at the University of Cincinnati’s CollegeConservatory of Music.
She holds a Bachelor of Music in Vocal Performance from the Sichuan Conservatory of Music and a Master of Music in Vocal Performance from the University of Cincinnati’s College-Conservatory of Music, where she is currently pursuing an Artist Diploma in Opera Performance. Junyue studies with Quinn Patrick Ankrum and Amy Johnson and continues to build a vibrant career as a versatile and compelling mezzo-soprano.
Tenor Travis Pearce is a Cincinnati-based artist who has been an active and familiar presence in the region’s classical music scene for several years. He has performed regularly with Cincinnati Opera and is also a frequent collaborator with Queen City Opera, appearing in a wide range of operatic and concert repertoire. His work reflects a strong commitment to both traditional operatic literature and contemporary works, with performances noted for their musical clarity and expressive storytelling.
TRAVIS PEARCE
On stage, Travis has been heard in roles such as First Prisoner in Beethoven’s Fidelio and Max in Weber’s Der Freischütz. His repertoire also includes Ferrando in Così fan tutte, Sam Kaplan and Lippo Fiorentino in Kurt Weill’s Street Scene, and Mr. EEE in the world premiere of Martian Chronicles. These roles highlight his versatility across styles ranging from classical opera to modern and genre-blending works.
Most recently, Travis was a participant in Les Grandes Voix d’Opéra d’Afrique. While attending the American Institute of Musical Studies in Graz, Austria, he was awarded the Harold Heiberg Liedersänger Preis for his outstanding performances of Schubert lieder. As the prizewinner, he was later invited to present a recital of lieder and operetta at the Austrian Embassy in Washington, D.C., further showcasing his artistry as both an operatic and recital performer.
Bass Christopher Filipowicz has quickly established himself as a powerful and versatile presence on today’s operatic stage. He was most recently heard in Chicago as King René in Iolanta with Opera Aeterna and also performed the role with the Tahoe Symphony for their May 2025 performances of Tchaikovsky’s Iolanta. With Lyric Opera of Chicago, his roles include Bram in Mazzoli and Vavrek’s The Listeners, praised by the Chicago Tribune as “…beautifully sung,” as well as a villager in Pagliacci, the offstage voice in Janáček’s Jenůfa, and the Servant in Sir David McVicar’s production of Macbeth. The 2024–25 season marked his first as a member of the regular chorus at Lyric Opera of Chicago. Christopher made his Metropolitan Opera chorus debut in September 2023 in Verdi’s Requiem and previously sang Ed in Jake Heggie’s It’s a Wonderful Life while a member of the San Francisco Opera chorus. Career highlights also include performances with Music Academy of the West, Nashville Opera, Sarasota Opera, and West Bay Opera.
Upcoming engagements include Il Principe di Bouillon in Cilea’s Adriana Lecouvreur in summer 2026. He has studied with Dr. Julia Nielsen, Susan Charles, Cesar Ulloa, and James Smidt.
CHRISTOPHER FILIPOWICZ
PROGRAM NOTES
Wolfgang Amadeus Mozart (1756 - 1791)
Requiem in D minor, K. 626
New completion by Michael Ostrzyga (2024); includes the “Amen” Fugue
Mozart was already famous across Europe for his operas (Le nozze di Figaro, Don Giovanni) and symphonies (Jupiter), but by 1791, at age 35, his health and personal circumstances had deteriorated. He was at the height of his creative powers, yet his life was unsettled. Despite ill health and serious financial woes, he juggled multiple major projects simultaneously: Die Zauberflöte (The Magic Flute), La clemenza di Tito, and the Requiem, commissioned anonymously by Count Walsegg. His compositional method allowed him to jump from project to project: he sketched music meticulously in his mind before writing skeleton drafts, then only at the final stage of performance preparation would he fully orchestrate the pieces. This allowed him to work swiftly and across genres. He died on December 5 that year in Vienna, leaving his final Requiem masterpiece unfinished. He wrote out in its complete form only the Introitus, Kyrie, and part of the Sequentia, including just eight measures of the Lacrimosa. Other parts of the piece existed in draft and shorthands that would have made sense to him, but would require extensive deciphering and guesswork from anyone else. His widow Constanze later promoted a narrative of Mozart’s final work as fated and mystical, fueling dark, romantic legends about the Requiem’s origins.
The Myths & the Manuscript
The Requiem gained legendary status through tales of a masked messenger commissioning Mozart anonymously, a plot dramatized in the film Amadeus. Early biographers, notably his widow Constanze, perpetuated myths such as Mozart believing the work was for his own funeral and being poisoned by Salieri. However, modern scholarship shows no evidence of poisoning or rivalry; these are later dramatizations.
After Mozart’s death on December 5, 1791, composer Joseph Eybler and Mozart’s student Franz Xaver Süßmayr finished the work at
written by Maestro
Isaac Selya
Constanze’s request, crafting the Lacrimosa, Sanctus, Benedictus, Agnus Dei, and Communio based on Mozart’s drafts.
Why a New Edition Matters
Süßmayr’s completion dominated performance tradition but has faced critique for inconsistent style, abrupt orchestration, and hasty compositional choices. A small autograph sketch entitled “Amen” was discovered in the 1960s, likely intended to close the Lacrimosa.
Michael Ostrzyga’s new critical edition, published by German publisher Bärenreiter, re-examines all source material, including autograph sketches, and offers alternative realizations across Lacrimosa, Sanctus, Benedictus, and the rarely-performed Amen Fugue, drawing on Mozart’s own contrapuntal models. It integrates the Amen Fugue, supported by contextual evidence and compositional structure, and provides flexible options for performers.
Overview of the Edition
Source-critical: Reconstructs Mozart’s completed and incomplete movements, distinguishing them clearly.
New realizations: Offers refined orchestration and stylistically faithful alternatives to Süßmayr’s additions.
Amen Fugue reinstated: Based on autograph sketches, tonal analysis, and theoretical rationale Mozart’s Requiem stands at the intersection of genius and myth. The Ostrzyga edition highlights these ambiguities, acknowledging what we do not know, while still drawing on tradition. This approach illuminates the dark mysteries of the work, offering renewed coherence, stylistic unity, scholarly insight, and ultimately, choice to the performers and interpreters regarding matters that Mozart left incomplete. While Süßmayr’s version shaped centuries of performance, this edition offers both historical awareness and artistic freshness. It’s an invitation to engage more deeply with Mozart’s final testament, a
PROGRAM NOTES
work at once personal, sacred, and transcendent.
The Requiem emerges not just as a Romantic legend, but as a work balanced between the sacred, the human, and the compositional mastery of Mozart. Mozart’s Requiem remains a profound testament to creativity in adversity: not merely a work shrouded in legend, but a deeply human masterpiece, now illuminated by careful scholarship and renewed interpretive insight.
SPONSORS
CONCERT PARTNER
RICHA & DEEP SHARMA
SEASON MEDIA SPONSOR
PHILHARMONIC SANGEET:
A SYMPHONY OF TWO WORLDS
Saturday • May 9, 2026 • 7:30 PM • Erne Auditorium
Columbus Indiana Philharmonic
Isaac Selya • Conductor
Curated by Guest Artistic Partner Dr. Kanniks Kannikeswaran
Vidita Kanniks • Soprano Ritesh Upadhyaya • Tabla
Modhuro
Rabindranath Tagore arr. Dr. Kanniks Kannikesweran
Chitrahaar Overture Dr. Kanniks Kannikesweran
Menuetto from Crown of India Suite Edward Elgar
Badinerie from Suite no.2
J.S. Bach
Symphony no. 5, I Ludwig van Beethoven
Tirai Isai- Tamil Film Overture Dr. Kanniks Kannikesweran
INTERMISSION
Evening Song from Satyagraha Phillip Glass
Rainmaker
Dr. Kanniks Kannikesweran
Santatam Pahiman Muthuswami Dikshitar arr. Dr. Kanniks Kannikesweran
Symphony no. 40, I Wolfgang Amadeus Mozart
Chaturang Tarana
Dr. Kanniks Kannikesweran
Dr. Kanniks Kannikeswaran
Dr. Kanniks Kannikeswaran is an internationally renowned musician, composer, music educator, scholar and documentary filmmaker who has consistently employed his knowledge, understanding in music to create works of art that build bridges across diverse communities and cultures. Centered on issues of relevance to humanity, Kanniks’ creations are grounded in history and spirituality, and they integrate multidimensional story telling with movement, visuals, chants and ensemble music based on Indian ragas, in an overarching vision of nootherness.
His recent music video ‘Rivers of India’ produced for the International Center for Clean Water, IIT Madras with wellknown singers Bombay Jayashri and Kaushiki Chakravorty has received widespread acclaim.
Kanniks is credited with creating a ‘new sound’, that of Indian ragas in conjunction with western choirs and ensembles. He has consistently built on his work over the past 25 years; as a pioneer of Indian American choral music, his work has personally touched the lives of over 3500 performers and has inspired the flowering of community choirs in over 12 cities in the United States. Kanniks has collaborated with the Cincinnati Chamber Orchestra, the Cincinnati Pops, the Martin Luther King Chorale, the Dario Fo choir, the Residentie Orkest (Netherlands), the National University of Singapore Symphony orchestra, the United Nations Association International Choir, The Santa Clara Chorale, artists such as Lakshmi Shankar, Mallika Sarabhai, and the Gundecha brothers.
Kanniks was interviewed on NPR in 2013, was featured in INK Talks India in 2015; his composition ‘Mahavakya’ was performed as the opening invocation at the historic reception accorded to Prime Minister Narendra Modi at Madison Square Gardens in 2014. He is the recipient of the McKnight Residency Fellowship, the Ohio Heritage Fellowship, the Just Community Award, the Humanities Award from the Hindu American Foundation, the Distinguished Alumnus Award from IIT Madras and several other accolades.
Kanniks skillfully uses the digital platform to communicate powerful messages through compelling videos on water awareness, music history, the history of yoga etc. His recent musical documentary 'Yog Darshan' has received praise from scholars such as Padma Bhushan Dr. Nagaswamy. He has also seamlessly used the power of digital communication to create ensemble music through his Sadhana workshops.
Kanniks has been described as a renaissance personality who effortlessly traverses diverse disciplines such as music, spirituality, and innovation in his talks and his creations.
He has taught Graduate Level courses on Indian Music Theory/ History at the College Conservatory of Music - University of Cincinnati. He continues to teach music theory and history through the Hindu University of America. His unique pedagogical approach to music emphasizes 'Raga Vidya', built on the core of commonality between the Hindustani and Karnatic traditions, with emphasis on the compositions of Muthuswami Dikshitar. He lives in Cincinnati OH with his wife Jayashree and daughters Vidita and Sukhita.
Vidita Kanniks is a multifaceted vocalist whose work primarily traverses chamber ensemble music & historical performance. With her dual background in Indian and Western classical music she aims to engage in unique, personal projects that challenge cultural and musical boundaries. Most recently, her work was featured on the JUNOnominated album, ‘East is East’, a critically acclaimed collaborative recording project with Montreal-based ensemble Infusion Baroque. 2024-25 season highlights included solo appearances with the Montreal Early Music Festival, Converging Arts Columbus, the Cincinnati Chamber Orchestra’s Summermusik Festival and Sinfonia Ancaster (Greater Toronto). The 2025-26 season brings on an exciting lineup including appearances with Pegasus Early Music, NYS Baroque, Early Music Seattle, Resonance Works and Indianapolis Early Music Festival.
Vidita has been recognized by audiences around the globe for her collaborative work with her father, Dr. Kanniks Kannikeswaran. She has studied both within the Hindustani and Carnatic musical traditions, particularly in the Dhrupad style of vocal technique and interpretation. Her unprecedented interdisciplinary work in this area paired with her sensitive musicianship and affinity for language has led her to gain attention through social media content and live performances across the United States and internationally.
An avid choral singer, Vidita has performed with the VOCES8 Foundation, Grammy-nominated ensemble Seraphic Fire, Cincinnati Vocal Arts Ensemble, Cincinnati Bach Ensemble and Collegium Cincinnati. She holds Bachelor’s degrees in Vocal Performance and Music History from the University of Cincinnati-CCM (2018), a Master’s degree in Early Music Performance from McGill University in Montreal (2020) and a Master’s in Business Administration from the University of Cincinnati (2023). She currently resides in Cincinnati where she is active as a teaching artist and vocal instructor in both Western and Indian classical disciplines, in conjunction with her performance schedule and dual career in arts marketing & media.
Vidita Kanniks
Ritesh Upadhyay is a veteran Tabla virtuoso with over three decades of professional performance experience, recognized for his rhythmic precision, expressive depth, and commanding stage presence. Regarded as one of the most proficient Tabla players in the contemporary music scene, Ritesh is celebrated for the way he balances technical brilliance with musical sensitivity, creating performances that feel both powerful and deeply human.
Rooted in the tradition of Hindustani classical music, he has extensive experience presenting solo Tabla recitals as well as accompanying leading vocalists and instrumentalists with nuance and artistry. His ability to listen, respond, and elevate the musical moment has made him a highly soughtafter collaborator across classical concert settings.
Ritesh Upadhyaya
Ritesh is also widely respected for his mastery of semiclassical forms, bringing refined interpretation and stylistic authenticity to genres such as Thumri, Dadra, Ghazal, Bhajan, and Sugam. This breadth allows him to move effortlessly between intimate, lyrical expression and complex rhythmic exploration.
Beyond traditional performance, Ritesh has developed a strong reputation in fusion and cross-cultural collaboration, integrating classical Tabla language into modern arrangements and international genres without losing its soul. Whether performing as a soloist, accompanist, or ensemble artist, he consistently delivers work that bridges tradition and innovation, leaving audiences captivated by the depth and vitality of his rhythm.
PROGRAM NOTES
Rabindranath Tagore
Modhuro arr. Kanniks Kannikeswaran
We begin with Rabindranath Tagore (1861–1941), the "Bard of Bengal" and Nobel laureate, whose legacy permeates the cultural and intellectual landscape of the Indian subcontinent. Modhuro (meaning "sweet" or "honeyed") belongs to the genre of Rabindra Sangeet, a body of over 2,000 songs that redefined Bengali music by fusing elements of classical ragas with regional folk and even Western melodies. Tagore’s work often seeks a "truth-force" in the simplicity of nature and devotion. This arrangement by Kanniks Kannikeswaran preserves the lyrical intimacy of the original while expanding its reach through the orchestral palette, bridging the gap between the soloistic traditions of the East and the communal voice of the Western ensemble.
Dr. Kanniks Kannikeswaran
Chitrahaar Overture
For generations of Indians, the word Chitrahaar evokes a profound nostalgia. Named after the iconic television show that broadcast Bollywood song sequences to millions, this overture is a curated journey through the "Golden Age" of Indian cinema (the 1950s–70s). During this era, composers like Shankar-Jaikishan and Naushad utilized massive orchestras, often blending Indian instruments with Western violins and cellos to create a lush, symphonic sound that became the hallmark of the Indian film industry. This overture celebrates that vibrant hybridity, where the drama of the screen meets the virtuosity of the concert hall.
PROGRAM NOTES
write music for a massive theatrical masque celebrating the 1911 Delhi Durbar: the coronation of King George V as Emperor of India. While the Crown of India suite is often viewed through a skeptical lens today as a relic of imperialist rhetoric, the Menuetto reveals Elgar’s ability to find "beauty and craft" even within a political commission. It represents a specific historical moment where Western classical forms were imported to provide the soundtrack for British rule, a complex legacy that this program seeks to reexamine through a collaborative lens.
J.S. Bach
Badinerie from Suite No. 2
The Badinerie (literally "jesting") is one of the most recognizable works in the Baroque canon, prized for its virtuosic flute solo and infectious rhythmic drive. In the context of Philharmonic Sangeet, its inclusion highlights the "spirit of play" that exists in both traditions. South Indian film composers, most notably the legendary Ilayaraja, have often looked to Bach’s contrapuntal mastery for inspiration. The Badinerie’s motoric energy mirrors the intricate rhythmic patterns (jati) found in Carnatic music, demonstrating that the pursuit of mathematical and musical perfection is a universal human endeavor.
Ludwig van Beethoven
Symphony No. 5
Beethoven’s "Fate" motif (the "short-short-short-long” rhythm) is perhaps the most famous sequence in musical history. Its influence
written by Maestro Isaac Selya
depth that resonated with his own worldview. By performing this movement alongside Indian compositions, we hear it not just as a Western masterpiece, but as a motif that has become part of India’s own modern musical vocabulary.
Dr. Kanniks Kannikeswaran Tirai Isai – Tamil Film Overture
While Bollywood (Hindi cinema) is world-famous, the South Indian film industry, specifically the Tamil "Kollywood" has a distinct and revolutionary musical identity. Tirai Isai (meaning "Film Music") is an overture that pays tribute to the masters of this region, such as M.S. Viswanathan and Ilayaraja. Their work is characterized by a "new sound": a sophisticated integration of Indian ragas with Western orchestral textures. This overture captures the rhythmic complexity and melodic richness that define the South Indian cinematic experience.
Philip Glass Evening Song from Satyagraha
Philip Glass’s 1979 opera Satyagraha is a meditative masterpiece based on Mahatma Gandhi’s early years in South Africa. The title itself, a Sanskrit word meaning "truth-force" defines the lens through which Glass views Gandhi’s philosophy of non-violence. The Evening Song concludes the opera, with the text drawn
PROGRAM NOTES
Dr. Kanniks Kannikeswaran Rainmaker
In honor of the 250th year of the great composer Muthuswami Dikshitar, who famously set his own composition Anandāmrta Karsini in this raga, Kanniks Kannikeswaran has created an orchestral work that explores Amritavarshini's unique sonic landscape. This raga is associated with the legend of the composer’s ability to invoke torrential rains with his music. This orchestral work moves beyond the raga's traditional soloistic rendering, utilizing the full dynamic and textural range of the Western orchestra maintaining the raga's original spirit of sacred celebration while presenting it in a grand, symphonic form. The work serves as a bridge, allowing the power of the ancient raga to resonate with a modern global audience.
Muthuswami Dikshitar
Santatam Pahiman, arranged by Kanniks Kannikeswaran
Muthuswami Dikshitar (1775–1835), one of the "Trinity" of Carnatic music, was a pioneer of cross-cultural fusion centuries before the term existed. Living near the British East India Company’s base in Madras, he was fascinated by the tunes played by military bands. He composed a series of Nottuswara ("note-swaras"), Sanskrit devotional lyrics set to Western folk and colonial melodies.
written by Maestro Isaac Selya
Wolfgang Amadeus Mozart
Symphony No. 40
Mozart’s 40th Symphony holds a unique place in the hearts of Indian listeners. In 1961, the brilliant composer Salil Chowdhury "Indianized" Mozart’s iconic opening theme for the song Itna Na Mujhse Tu Pyar Badha in the film Chhaya. While some critics at the time viewed this as imitation, modern scholarship sees it as a "seamless fusion" where Mozart’s chromaticism was reimagined through the lens of Indian folk and light classical music. Hearing the original symphony in this concert context allows us to appreciate the "skeletal drafts" of Mozart’s genius through the vibrant colors of the culture that adopted his music.
Dr. Kanniks Kannikeswaran
Chaturang Tarana
The program concludes with a celebration of the Chaturang, a traditional Hindustani form consisting of four "colors": Khayal (lyrics), Tarana (meaningless syllables), Sargam (solfège), and Bol (percussive rhythmic syllables). This orchestral setting brings the ancient vocal tradition into a modern symphonic context. It is a work of exuberant energy, representing the ultimate synthesis of East and West, where the rhythmic precision of India and the harmonic depth of the West unite in a final, joyous testament to our shared musical heritage.
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• Access to Best Practices
• World-Class Treatment Plans
• World-Class Treatment Plans
• Proactive Care
• Smarter Technology
• Proactive Care
• Smarter Technology
As a Cleveland Clinic Connected member, this means we are connected to world-class care. From advanced heart care to breakthrough cancer treatments, your care team has access to Cleveland Clinic expertise —right here at Columbus Regional Health.
• Proactive Care
As a Cleveland Clinic Connected member, this means we are connected to world-class care. From advanced heart care to breakthrough cancer treatments, your care team has access to Cleveland Clinic expertise —right here at Columbus Regional Health.
As a Cleveland Clinic Connected member, this means we are connected to world-class care. From advanced heart care to breakthrough cancer treatments, your care team has access to Cleveland Clinic expertise —right here at Columbus Regional Health.
To learn more, scan the QR Code or visit crh.org/ccc
To learn more, scan the QR Code or visit crh.org/ccc
To learn more, scan the QR Code or visit crh.org/ccc