"CSUF New Music Ensemble" program

CSUF NEW MUSIC ENSEMBLE

8pm • Wednesday, December 10, 2025 CPAC 119

C AL STAT E FULLER TON

C S U F S C H O O L O F M US IC

RONALD S. ROCHON President, California State University, Fullerton

DR. RANDALL GOLDBERG Director, School of Music

AMIR H. DABIRIAN Provost and VP for Academic Affairs

KIMO FURUMOTO Assistant Director, School of Music

ARNOLD HOLLAND, EDD Dean, College of the Arts

BONGSHIN KO Assistant Director, School of Music

SCHOOL OF M U S I C F U L L-TI M E FAC U LT Y A N D S TA F F Bongshin Ko cello Dr. Ernest Salem* violin

FACULT Y CONDUCTING Kimo Furumoto instrumental Dr. Robert Istad choral Dr. Christopher Peterson choral Dr. Dustin Barr instrumental JAZZ AND COMMERCIAL MUSIC Bill Cunliffe jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director Rodolfo Zuñiga* jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director PIANO, ORGAN, PIANO PEDAGOGY Bill Cunliffe jazz piano Alison Edwards* piano, piano pedagogy, class piano Dr. Robert Watson piano MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL Dr. Christopher Peterson choral Dr. Gregory X. Whitmore* instrumental MUSIC IN GENERAL EDUCATION Dr. John Koegel* Dr. Katherine Reed MUSIC HISTORY AND LITERATURE Dr. Vivianne Asturizaga musicology Dr. John Koegel* musicology Dr. Katherine Reed musicology STRINGS Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor

THEORY AND COMPOSITION Dr. Hesam Abedini composition, theory Dr. Pamela Madsen composition, theory Dr. Ken Walicki* composition, theory VOCAL, CHORAL, AND OPERA Dr. Robert Istad* Director of Choral Studies and University Singers conductor Dr. Kerry Jennings* Director of Opera Dr. Christopher Peterson CSUF Concert Choir and Singing Titans conductor Dr. Joni Y. Prado* voice, academic voice courses Dr. Bri’Ann Wright general education WOODWINDS, BRASS, AND PERCUSSION Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band Jean Ferrandis* flute Sycil Mathai* trumpet Ken McGrath* percussion Dr. Gregory X. Whitmore University Symphonic Winds conductor Michael Yoshimi* clarinet S TA F F Michael August Production Manager Eric Dries Music Librarian Gretchen Estes-Parker Office Coordinator Will Lemley Audio Technician Jeff Lewis Audio Engineer Chris Searight Musical Instrument Services Paul Shirts Administrative Assistant Elizabeth Williams Business Manager

* Denotes area coordinator

facebook.com/CSUFMusic instagram.com/CSUFMusic soundcloud.com/csufmusic m u s i c .fu l l e r t o n .e du

Welcome to the Fall 2025 performing and visual arts season at Cal State Fullerton’s College of the Arts. Each new semester, our campus comes to life with the energy and creativity of thousands of arts students eager to share their unique visions. Whether you’re returning to our venues or here for the first time, we are so excited to present another season to you. Thank you for joining us.

On October 12, the School of Music presents the interdisciplinary performance “Shakespeare in Sound,” featuring the University Symphonic Winds along with vocal and theatre students. Later in the semester, “Here’s Johnny!: Celebrating 100 Years of Johnny Carson” swings its way onto the stage with a program of jazzy favorites on November 16.

More toe tapping is in order when the Department of Theatre and Dance presents their fall musical “9 to 5,” based on the hit 1980 film and featuring the music of Dolly Parton.

To close the season, “Fall Dance Theatre: Tethered” returns to the Hallberg Theatre with a fully interactive stage set for our dancers and choreographers to explore.

If you haven’t yet visited the College of the Arts Galleries, join us for the October 4 opening reception for the exhibitions Soo Kim: “(Charlie sings in the quietest voice)” and Carol Caroompas: “Mystical Unions.” Kim is known for her intricately cut and layered photographic work while trailblazing alumna Caroompas is widely recognized for her layered visual narratives. Don’t forget to stop by our student galleries while you’re there!

There are so many exhibitions, concerts, and performances to experience across the college this season, but they wouldn’t be possible without you – our extended Titan community. In every class, every rehearsal and with every hour spent in the studio, our students are pushing creative boundaries, but they need your support to thrive.

The Dean’s Fund for Excellence provides arts students with necessary funds for scholarships, off-campus opportunities, and so much more. Help transform their potential into possibility by making a gift of any amount to the Dean’s Fund for Excellence today.

Thank you for joining us for this performance. Our students are ready to make the Fall 2025 season unforgettable, and we are so proud to share their artistry with you.

Sincerely,

Arnold Holland, EdD Dean, College of the Arts

SCAN THIS QR DONATE TODAY TO THE DEAN’S FUND FOR EXCELLENCE

PROGRAM The Memory of Now................................................................................. IONE The Well and The Gentle (1985).............................................. Pauline Oliveros Of Blues and Dreams (1986).......................................................Anthony Davis Drei Kleine Stücke for Cello and PIano, op. 11 (1914)............... Anton Webern Shannon Hayden, cello Daniel Meyers, piano Vier Stücke for Clarinet and Piano, op. 5 (1913).............................. Alban Berg John Gerling, clarinet Luke Templeman, piano Concerto for Contrabass Trombone and Track (2020).................. Brian Sadler Paul De La Rosa, contrabasstrombone Ozån (2021)............................................................................. Hesam Abedini* Composition no. 56 (1976) and .............................................Anthony Braxton Composition no. 142 (1988)

*CSUF Faculty

PROGRAM NOTES

IONE

The Memory of Now The Memory of Now for harmonium with sonic vocals was commissioned from author/poet IONE by pianist Jacob Greenburg. It is a text score that invites musical improvisation in a ritual manner.

As the voice intones directions for interior reflection, it reacts spontaneously to the resulting sounds that portray states of memory. IONE says, “The player or players are invited to listen to external and internal sounds without judgment, while allowing momentary states of being to flow freely.”

Anthony Davis Of Blues and Dreams

Of Blues and Dreams by Anthony Davis is a lead-sheet style composition with a melody and chord progression in ternary form. The first section is slower and more dream-like followed by the faster second section with an underlying “off-kilter Latin groove” and then returns to the first slower section. It has been performed in various instrumental combinations including solo piano, duo for piano and tenor saxophone and duo for piano and flute.

This performance was arranged by the CSUF New Music Ensemble.

Pauline Oliveros The Well and The Gentle

The Well and The Gentle are two pieces that are usually performed together and are both examples of Pauline Oliveros’ text-based scores, improvisational settings based on the concepts of Deep Listening. The Well provides a scale of pitches and five different guidewords: listen, merge, match, support, and listen, with the Well as a central resource of resting and silence to return to between

each guideword. The Gentle gives a rhythm pattern from which performers improvise 1-3 note patterns based on a scale of pitches.

Anton Webern Drei kleine Stücke for Cello and Piano, op. 11

Webern’s Drei kleine Stücke, op. 11 are masterpieces of extreme brevity and concentrated expression from 1914, showcasing his aphoristic, pointillistic style, exploring atonality and foreshadowing 12-tone techniques through sparse, meaningful notes, with each piece developing distinct moods from mystery and fragility to intense emotion, demanding meticulous craftsmanship from performers to reveal their profound depth.

Alban Berg

Vier Stücke for Clarinet and Piano, op. 5 Vier Stücke, op. 5 are intense, brief miniatures exploring atonality, emotional depth, and unique timbres (flutter-tonguing, pitch bending) within concise forms.

The pieces move from stillness to nervous energy and complex textures, showcasing extreme dynamics, rapid changes, and surprising tonal echoes, all within a single-movement structure. These are Berg’s only true miniatures, composed in 1913, a pivotal year following a critical meeting with his teacher, Arnold Schoenberg, who encouraged larger forms. Tonight’s performance will feature the first two of the four pieces.

Brian Sadler

Concerto for Contrabass Trombone and Track Brian Sadler’s Concerto for Contrabass Trombone and Track is a bold exploratory work that places one of the orchestra’s

PROGRAM NOTES rare instruments into a solo spotlight.

Composed with both virtuosic demands and lyrical depth, the piece showcases the contrabass trombone’s surprising agility and emotional range. Written during the pandemic, this piece was designed for performers to continue the art of making music through backing tracking, since we could not meet in person. Since then, this piece has been updated to be performed, with orchestra and trombone quartet.

Sadler conceived the concerto as a dialogue between two realms, The subterranean resonance of the contrabass trombone and the ethereal textures of the orchestra. This piece follows a strict Concerto sonata form put into a “one movement” work. The main theme is introduced early in the piece in heroic fashion. It then goes through a few variations ultimately leading to a cadenza.

The piece ends in an epic recapitulation of the original theme.

Hesam Abedini Ozān

Ozān is shaped by rhythmic patterns drawn from classical Persian poetry.

These meters serve as a source of both rhythmic material and musical character for the improvisors. The score uses the syllables Ta (short) and Tan (long) to outline these patterns, encouraging performers to think of rhythm as a continuum rather than as fixed, isolated durations. Through this approach, the piece invites an exploration of timing, phrasing, and nuance informed by the subtle motion of poetic rhythm.

Anthony Braxton Composition No. 56 (1976) Composition no. 142 (1988)

(Notes from the essay The Music of Anthony Braxton: A System of Possibilities (2020) by Carl Testa)

The music of composer Anthony Braxton presents a whole universe of possibilities in sound, theater, electronics, narrative, and philosophy. Braxton has referred to this composite body of work as a “Tri-Centric Thought Unit Construct Entity.” Conceptually, his music could easily go on forever, or the entirety of his composed and recorded output could be experienced as a blip of noise lasting less than a second, and everything in between. In the Introduction to Catalog of Works, Braxton lays out four fundamental postulates for the interpretation and performance of his music. These include: I.

All compositions in my music system connect together II. All instrumental parts in my group of musics are autonomous III. All tempos in this music state are relative (negotiable) IV. All volume dynamics in this sound world are relative

Braxton has a term he uses called the “friendly experiencer” which is often thought of as relating to the general concept of the audience experiencing the music. However, my feeling has always been that the “friendly experiencer” encompasses the audience, musicians, and composer as one unit experiencing and creating the music together.

Braxton writes in the liner notes to Six Compositions (GTM) 2001 “the system I am building (sensing) leaves room for the friendly experiencer to have a viewpoint that makes sense from that person’s own individual perspective and proclivitieshaving nothing to do with my disposition and/or presence...the Tri-Centric method (idea) is conceived as a system of ‘possibilities’ that can be used to facilitate agency-depending on the needs of the moment.” Braxton goes further and describes the system as “’alive’ in itself (as an entity with its own interests separate from mine) with its own agenda to fulfill.”

CSUF NEW MUSIC ENSEMBLE

Eric Dries, director • Pamela Madsen, artistic director CSUF New Music Ensemble, under the direction of Pamela Madsen and Eric Dries focuses on the instruction in the techniques of contemporary concert music, and preparation of performances of contemporary instrumental, vocal, improvisational and electroacoustic music literature from the Twentieth and Twenty-First Centuries. We study and perform a wide range of repertoire from the contemporary period: from, experimental, atonal, to extended tonal, minimalism, post-minimalism, post-modernism to multi-media collaboration, film music, deep listening and improvisational forms to explore both the repertoire and performance practice in New Music. As part of the New Music Series we work with guest composers, performers and perform with contemporary New Music Ensembles. Chosen by Los Angeles Audience Choice Award as the Best New Music Ensemble in 2022, we have worked with guest ensembles Los Angeles based Brightwork newmusic, Stacey Fraser, HEX Vocal Ensemble and guest artists Jean Ferrandis, and Dominique Williencourt last season.

Cooper Koerner, alto saxophone Giovanni Guillean, guitar Shannon Hayden, cello Luke Templeman, piano Christian Polo, voice John Gerling, clarinet Jonathan Binns, guitar Daniel Meyers, Clavinova

Scott Dilbeck, voice Beatriz Gongora, tenor saxophone Paul De La Rosa, trombone, contrabass trombone Julia Craft, keyboard Julio Hernandez, alto saxophone Cruz Boschini, trombone Ethan Gutierrez, keyboard

ABOUT THE FACULT Y COMPOSER Hesam Abedini is an Iranian–American composer, performer, and educator whose work interweaves classical Persian music, jazz, computer music, and contemporary composition through polystylistic and improvisatory approaches. His music has been performed by ensembles including the JACK Quartet, Del Sol Quartet, and Hypercube. As the founding member of the Sibarg Ensemble, he explores new models of intercultural music-making. Hesam holds a Ph.D. in Integrated Composition, Improvisation, and Technology from UC Irvine and is Assistant Professor of Composition and Assistant Director of the New Music Series at California State University, Fullerton.

ABOUT THE DIRECTORS

Pamela Madsen, artistic director

Pamela Madsen is a composer, performer, theorist, writer and curator of new music. From massive immersive concertlength projects, solo works, chamber music to multi-media opera collaborations her work focuses on issues of social change, exploration of image, music, text and the environment. With a Ph.D. in Music Composition from UCSD, studies with Brian Ferneyhough, Mellon Foundation Doctoral Research Award in theory at Yale University, Post- Doctoral research in Music Technology at IRCAM, Paris, and Deep Listening Certificate with Pauline Oliveros, her creative projects and research focuses on the evolution of compositional thought, improvisation, electronic music, and women in music.

Madsen’s works have been commissioned and premiered world-wide by such artists as Los Angeles Percussion Quartet, Brightwork newmusic, ModernMedieval, Moscow Contemporary Music Ensemble, Tony Arnold, Nicholas Isherwood, Stacey Fraser, Claire Chase, Jane Rigler, Anne LaBerge, Brian Walsh, Lisa Moore, Vicki Ray, Aron Kallay, Bugallo-Williams Piano Duo, Ashley Bathgate, Trio Solisti, New York New Music Ensemble, Either/Or, yesaroun’ duo, California Ear Unit, Verdehr Trio, Zeitgeist, JACK, Ethel, Lyris, Formalist and Arditti string quartets with multimedia collaborations with visual artists Quintan Ana Wikswo, Camille Seaman, Jimena Sarno and Judy Chicago.

Major concert-length projects include Madsen’s Opera America and National Endowment for the Arts Funded Opera: Why Women Went West, National Endowment for the Arts and New Music USA supported Oratorio for the Earth; Luminous Etudes: Visions of the Black Madonna of Montserrat; Luminosity: Passions of Marie Curie multi-media opera; Melting Away: Gravity for orchestra, with Arctic photographer Camille Seaman; We are All Sibyls-Envisioning the Future Project multi-media opera installation with visual artist Judy Chicago. Selected as Huntington Library Mellon Research Fellow, Alpert Award Panelist, Creative Capital artist “on the radar” with awards from Opera America, National Endowment for the Arts, New Music USA, Meet the Composer, American Scandinavian Foundation, artist residency fellowships at MacDowell Colony, UCross, Wyoming, Women’s International Studies Center, New Mexico, Wurlitzer Foundation Award, with international Russia/Siberia Concert tour, featured composer at Pulsar Festival, Denmark, she is a frequent guest artist at festivals and universities worldwide. She is Director of the Annual New Music Festival, InterArts Collaborative Projects at Cal State Fullerton where she is Professor of Music Composition, Music Theory and Director of the New Music Ensemble.

Eric Dries, director

Eric Dries is a pianist, improviser, composer and educator who explores the innovative fields between traditional jazz, free improvisation, and contemporary classical music. His work explores a wide range of stylistic practices from jazz and contemporary music worlds in diverse performance situations. Dries is interested in expanding experimental ideas while honoring the fundamental tenets of the jazz tradition. His solo piano performances reinterpret and invigorate the tradition of jazz standards with a foundation of rhythmic experimentation and harmonic and melodic expansion.

Dries has performed and recorded with some of the top studio and freelance musicians in southern California where he is in high demand at high profile performance venues, and jazz festivals. Dries early notated compositional works explore virtuosic solo instrumental experimentation and unusually orchestrated chamber ensemble combinations. His current compositional work combines the rigor of compositional technique with improvised frameworks of traditional jazz and experimentalism of new music to create systems of group dynamics that encourage performer-composer collaboration and new sonic exploration in each performance. He holds a Ph.D. in Composition and M.A. in Music Theory from University of California San Diego, where he studied with Rand Steiger, George Lewis, Anthony Davis, Roger Reynolds and Brian Ferneyhough, with postdoctoral studies and research in Music Technology at IRCAM. He studied jazz improvisation and composition with bassist Richard Davis and saxophonist Les Thimmig at University of Wisconsin Madison where he received his BM in Music Composition, studying with Stephen Dembski. Dries currently is a Lecturer in Music composition, theory, jazz, and music technology at California State University Fullerton School of Music.

DONOR APPLAUSE $500,000 + Mrs. Junko Klaus $100,000-$499,999 Johnny Carson Foundation $50,000-$99,999 CSU Northridge Foundation Leo Freedman Foundation Ms. Susan Hallman in Memory of Ernie Sweet ‘77 Mr. Matthew Scarpino & Ms. Karyn Hayter Mr. Steve & Mrs. Robin Kalota Dr. Sallie Mitchell* Dr. Tedrow & Mrs. Susan Perkins Mrs. Louise Shamblen $25,000 - $49,999 Mr. Darryl Curran Mrs. Lee C. Begovich Mrs. Marilyn Carlson Ms. Mary A. and Mr. Phil Lyons Mr. Bob & Mrs. Terri Niccum Mr. Ernest & Mrs. Donna Schroeder Dr. Ed & Mrs. Sue Sullivan $10,000-$24,999 Dr. Joseph & Dr. Voiza Arnold Mr. John Aimé & Ms. Robin de la Llata Aimé Dr. Marc Dickey Mrs. Evelyn Francuz Mr. Edward & Mrs. MaryLouise Hlavac Ms. Kathleen Hougesen Ms. Kathy Mangum Mr. James & Mrs. Eleanore Monroe Mrs. Norma Morris Mr. John Brennan & Ms. Lucina Moses $5,000-$9,999 Mr. Nick & Mrs. Dottie Batinich Continuing Life LLC Ms. Harriet Cornyn Mr. William S. Cornyn Dedicated 2 Learning Mr. Richard & Mrs. Susan Dolnick Ebell Club of Fullerton Friends of Jazz, Inc. Dr. Margaret Gordon

Mr. Norm & Mrs. Sandy Johnson Ms. Teri Kennady Mrs. Jill Kurti Norman Morningside of Fullerton Mrs. Bettina Murphy Mr. David Navarro Dwight Richard Odle Foundation Dr. Stephen Rochford, DMA Southern California Arts Council Swinerton Builders Mr. Framroze & Mrs. Julie Virjee $1,000-$4,999 Mr. John A. Alexander & Mr. Jason Francisco Mrs. Judy Atwell Mrs. Lois Austin Mr. Tod Beckett-Frank Ms. Karen Bell Mr. John & Ms. Shanon M. Fitzpatrick Dr. Keith & Mrs. Renae Boyum Mr. Allan & Mrs. Janet Bridgford Mrs. Marion Brockett Mr. James & Mrs. Diane Case Mr. Stephen Collier & Ms. Joann Driggers Mr. William H. Cunliffe, Jr. D Barry Schmitt Trust Ms. Jeannie Denholm Mr. Gordon & Mrs. Lorra Dickinson Mr. Kenneth & Mrs. Stacey Duran Mr. Greg & Mrs. Shawna Ellis Ms. Judi Elterman Dr. Anne Fingal Fullerton Families & Friends Foundation The Jane Deming Fund Mrs. Marsha Gallavan Mrs. Terie Garrabrant Dr. Leon & Mrs. Annette Gilbert Mrs. Janet M. Green Mr. James Henriques Mr. David & Mrs. Margret Hoonsbeen Mr. Mike Ibanez Mr. Darren & Mrs. Tatyana Jones Ms. Michelle H. Jordan Ms. Gladys Kares Ronald L. Katz Family Foundation

Very special care has been given to the prepartion of this donor list.

Questions or concerns, please contact: Dominic Mumolo | 657-278-7695

|

Mr. Raymond & Mrs. Masako Kawase Mr. Jeffrey & Mrs. Gayle Kenan Dr. Kristin Kleinjans & Mr. Anthony Dukes Mrs. Shirley Laroff Mr. Lynn & Mrs. Susan Lasswell Mrs. Marilyn Little Mr. Juan Lopez Mr. Paul Coluzzi & Mr. John Martelli Dr. George& Mrs. Karen Mast Mrs. Thelma Mellott Mr. Michael & Mrs. Mary Miguel Mr. Carl Mrs. Patricia Miller Stifel Nicolaus Mr. Ujinobu & Mrs. Yoshino Niwa Mr. Colin Connor & Ms. Debra Noble Dr. Arie & Mrs. Deanna Passchier Mr. Jarrold Petraborg Mr. John Phelps & Mrs. Kerry Laver-Phelps Mr. Jim Plamondon Mr. E. B. & Mrs. Linda Powell Mr. Robert Rennie & Mrs. Nancy Rennie Ms. Christine Rhoades Ms. Mary Rupp Mr. Thaddeus & Mrs. Eleanor Sandford Mrs. Rita Sardou Mr. D. Schmitt Mrs. Martha Shaver Mrs. Ingrid R. Shutkin Ms. Barbara Kerth & Ms. Lorena Sikorski Ms. Janet Smith South Coast Repertory Ms. Ann Sparks Mr. Robert & Mrs. Roberta Sperry Mr. Douglas Stewart Mr. Tom & Mrs. Carolyn Toby Liqi Tong Viet Tide Ms. Verne Wagner Dr. Sean & Dr. Tina L. Walker Dr. Robert & Mrs. Teri Watson Dr. Wayne & Dr. Ruth Zemke

*deceased

Gifts received from July 1, 2023 to December 31, 2024

ONTIVEROS SOCIETY The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts.

ANONYMOUS JOHN ALEXANDER LEE & DR. NICHOLAS A.* BEGOVICH MARC R. DICKEY JOANN DRIGGERS BETTY EVERETT CAROL J. GEISBAUER & JOHN* GEISBAUER SOPHIA & CHARLES GRAY MARYLOUISE & ED* HLAVAC GRETCHEN KANNE DR. BURTON L. KARSON ANNE L. KRUZIC* LOREEN & JOHN LOFTUS ALAN A. MANNASON* WILLIAM J. MCGARVEY* VERONICA MICHALOWSKI DR. SALLIE MITCHELL*

ELEANORE P. & JAMES L. MONROE LYNN & ROBERT MYERS BOB & TERRI NICCUM DWIGHT RICHARD ODLE* SHERRY & DR. GORDON PAINE DR. JUNE POLLAK & MR. GEORGE POLLAK* DR. STEPHEN M. ROCHFORD STAN MARK RYAN ‘75 MARY K. & WILLIAM SAMPSON LORENA SIKORSKI DOUGLAS G. STEWART ANDREA J. & JEFFREY E. SWARD RICHARD J. TAYLOR VERNE WAGNER RICHARD WULFF DR. JAMES D. & DOTTIE YOUNG*

We Proudly Recognize Our

VOLUNTEER SUPPORT GROUPS ART ALLIANCE promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.

Website arts.fullerton.edu/aa

MUSIC ASSOCIATES maintains a tradition of active involvement and community support and raises scholarship funds for School of Music students through annual fundraising events and membership dues.

Website arts.fullerton.edu/musicassociatesmembership MORE INFORMATION Dominic Mumolo, Senior Director | dmumolo@fullerton.edu

GET INVOLVED! GIVING.FULLERTON.EDU

*deceased

COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2025 *Molly Pease, mezzo-soprano, with David Bergstedt, piano September 19 • Meng Concert Hall Simon Shiao, violin October 2 • Meng Concert Hall Soo Kim: (Charlie sings in the quietest voice) and Carole Caroompas: Mystical Unions October 4, 2025 – May 17, 2026 College of the Arts Galleries University Symphony Orchestra October 4 • Meng Concert Hall University Wind Symphony & Alumni Band: Alchemy of Sound October 5 • Meng Concert Hall Caroline Chin, violin October 9 • Meng Concert Hall Men on Boats October 9–18 • Hallberg Theatre 9 to 5: The Musical October 23–November 1 • Little Theatre Shakespeare in Sound feat. the University Symphonic Winds October 12 • Meng Concert Hall University Singers and Concert Choir October 19 • Meng Concert Hall Fullerton Jazz Orchestra and Fullerton Jazz Chamber Ensemble October 24 • Meng Concert Hall Dr. Garik Pedersen, piano October 25 • Meng Concert Hall Advanced Vocal Workshop with Mark Robson, piano October 30 • Meng Concert Hall Ernest Salem, violin & Alison Edwards, piano November 1 • Meng Concert Hall

Irina Kulikova, guitar November 4 • Meng Concert Hall The House of the Spirits November 6–15 • Young Theatre Mackenzie Melemed, piano November 9 • Meng Concert Hall Opera Scenes November 14–16 • Recital Hall Fullerton Pops in Here’s Johnny: A Tribute to Johnny Carson feat. University Symphony Orchestra and Fullerton Jazz Orchestra November 16 • Meng Concert Hall Jazz Singers November 19 • Meng Concert Hall Cello Choir November 19 • Recital Hall University Symphonic Winds November 21 • Meng Concert Hall Fall Dance Theatre: “Tethered” December 4–13 • Hallberg Theatre Fullerton Jazz Orchestra December 5 • Meng Concert Hall University Wind Symphony December 7 • Meng Concert Hall Titan Voices and Singing Titans December 8 • Meng Concert Hall Fullerton Jazz Chamber Ensemble and Fullerton Latin Ensemble December 9 • Meng Concert Hall University Band December 10 • Meng Concert Hall Deck the Hall at Cal State Fullerton!

December 13, 14 • Meng Concert Hall

*Part of the 25th Annual New Music Series

S TAY CO N N EC T E D arts.fullerton.edu/connect

FULL CALENDAR arts.fullerton.edu/calendar

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