"InterArts Collaborative Projects" program

INTERARTS COLLABORATIVE PROJECTS SYMPOSIUM Pamela Madsen, director Interstitial Projects featuring

Brightwork newmusic and HEX Vocal Ensemble with new works by

The Art of Song Seminar Projects and CSUF Composers

6:00-9:00pm • Tuesday, May 13, 2025 • Recital Hall

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 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 Myong-Joo Lee 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 Powers musicology Dr. Katherine Reed musicology

STRINGS Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor Bongshin Ko cello Dr. Ernest Salem* violin THEORY AND COMPOSITION 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 Dr. Gregory X. Whitmore University Symphonic Winds conductor 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 College of the Arts Spring 2025 Season. As we come together to enjoy incredible art, dance, music and theatre programming from across the college, I know we are all still reeling from the recent fires that tore through the communities of Altadena and Pacific Palisades. In many ways, we are all Angelenos and when our city breaks, we break. Many of our students, faculty, and staff are finding comfort in processing complex thoughts and emotions the only way we know how: through the arts. It is our calling and what ties us to our community. Through our programming, we hope to provide a bit of respite to all of you during this time of regrouping and rebuilding.

In the College of the Arts, every note, every movement, and every word spoken on stage brings opportunity for discovery and connection. Whether you are a fellow Titan, family member, or community supporter, we are thrilled to have you here. You are now part of something much larger than this single performance. You are joining a vibrant and diverse collective of artists and technicians working together to push the boundaries of their craft.

Spring 2025 brings us a season of fresh programming to challenge our perceptions and immerse us in new perspectives. Later this month, the School of Music presents “Hajar,” a contemporary opera synthesizing ancient Jewish and Islamic stories into a modern immigration tale. Theatre begins their season with “Significant Other,” a heartfelt tale of love and longing in 21st century New York City. If you haven’t yet seen our spectacular new gallery building, make time to see “Chris O’Leary: Gravity Well” – an exploration of the cosmic phenomena of gravitational waves using video, sound, and images. In May, our dancers and choreographers return to the intimate Hallberg Theatre in “Spring Dance Theatre: From All Sides,” where viewers will experience a variety of dance forms from every angle of the stage.

It takes more than just the emotional support of friends, family, professors, and mentors to enable students to take creative risks of expression. As a college, we remain committed to providing these aspiring arts professionals with scholarships, financial assistance, and the industry-ready equipment, facilities, and opportunities to further develop their skills outside the classroom. Our resolve is steadfast, but we need your continued support to sustain and expand our educational mission, ensuring our students have the tools necessary to succeed. Please consider a donation of any amount to the Dean’s Fund for Excellence today.

I thank you for being here, for your ongoing support, and for your conviction in the power of the arts. Together, we can accomplish the extraordinary.

Sincerely,

Arnold Holland, EdD Dean, College of the Arts

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INTERARTS COLLABORATIVE PROJECTS SYMPOSIUM Pamela Madsen, director Interstitial Projects featuring Brightwork newmusic and HEX Vocal Ensemble with new works by The Art of Song Seminar Projects and CSUF Composers

Los Angeles is a magnet for diverse individuals who embrace, explore, and celebrate their unique and intersectional identities. For Interstitial: A Book of (Musical) Stories, noted composers and librettists are teaming up to create six original pieces inspired by and amplifying the in-between cultures of the city, which will be performed by the nationally recognized chamber ensemble Brightwork newmusic and renowned vocal sextet HEX. Topics of this extraordinary, multi-part concert will include migration, gentrification, community, and more.

Featuring Interstitial Projects by CSUF InterArts Collaborative Projects Graduate Students in The Art of Song Seminar and works by CSUF students composers: Julia Craft, Scott Dilbeck, Lucas Edwards, Janae Harabedian, Emerson Kimble, Alejandro Matamoros, Ivan Parga-Renteria, Luke Templeman, and faculty composer Pamela Madsen

PR OG R A M

6:00-7:30pm

Music 524 Class presentations for Brightwork newmusic and HEX critique I. El Sendero del Alma, Ivan Parga-Renteria, composer/librettist Tim Cervantes, bass-baritone • Scott Dilbeck, baritone

Emma Johnson, bassoon • Tyler, electric guitar • Cana Kashima, piano

II.

Orchards, Scott Dilbeck, composer, Dominic Preston, librettist

Fernando Munoz, bass-baritone • Scott Dilbeck, voice Margaret Wu, violin • Kevin Phan, piano/organ

III. My mother crossed in quiet dusk Luke Templeman, composer,

Natalie Saucedo, librettist Emily Nelms, voice, Luke Templeman, piano IV. Everyday, Alejandro Matamoros, composer/librettist Margaret Wu, violin • Dominic Preston, voice

Fernando Munoz, voice • Scott Dilbeck, voice

V. War?: Eve Rowed in Paradise and Star (2024) for Wind Quartet + Percussion + SATB choir Emerson Kimble, composer

VI.

Johnston Nguyen, conductor

Myself in this Moment, Julia Craft, composer, Electronics

Jacqueline Beckoff, piano • Bekka Knauer, voice

7:30-9:00pm

Brightwork newmusic and Hex workshop, performance I.

Ave Maris Stella & I am a Distant Flame for SATB, violin, cello

Scott Dilbeck, composer/librettist

II. What if There Was an Edge and We Fell Right Off, 5. lost to the whirl for soprano, clarinet, cello, piano

Janae Rose Harabedian, composer, Trianne Harabedian-Flores, text

III.

A Dream Pang for SATB, clarinet, violin, cello

IV.

Cosmic Dust for SATB, and piano

V.

Starry Adventure: Spinning for SATB, clarinet, violin, cello, piano

VI.

Starry Adventure: AD ASTRA (To the Stars) tutti

Lucas Edwards, composer, Emily Dickinson, text Emerson Kimble, composer/librettist

Pamela Madsen, composer, Edna St. Vincent Millay, Federico Lorca, Emily Dickinson, Ezra Pound, texts Pamela Madsen, composer, Mary Hunter Austin, text

PR OG R A M NOT E S

Art of Song Class Interstitial Projects Ocean Litany-El Sendero del Alma Ivan Parga-Renteria, Composer/Librettist This piece is a guided improvisation based on deep listening, textual response, and unpredictable texture. It mimics the ocean’s randomness, with moments of stillness, turbulence, layering and silence. The ensemble is collaborative. Music arises from the text, environment and spontaneous reaction among players. There is no fixed tempo, key or meter. The speakers/vocalists determine the form of the piece, base upon additional notations/markings made on the text for the reader to perform.

Orchard Scott Dilbeck, composer, Dominic Preston, librettist “’Orchard’ is the first of a multimovement work that focuses primarily on my own musical journey as it relates to identity and my experiences as a first-generation Asian American. The work combines elements of melodrama and American Art Song to tell the story of my childhood through music, vignettes, and song. Paralleling my own musical journey, the work uses violin, piano, and organ to represent my experiences in music as a child. It begins with a solo violin playing a musical theme that symbolizes a heartbeat, with the piano layering in before the final addition of the singer. Nostalgic vignettes of my childhood are placed in between the different sections of the work, adding to the tenderness and warmth that encompasses the work. The piece concludes with an organ arrangement of the hymn, “Here I Am, Lord,” a hymn that I fondly remember singing all over the house as a child. This piece reminds me of the innocence of childhood and the captivating effect of music.”

-Kevin Phan

My mother crossed in quiet dusk Luke Templeman, composer Natalie Saucedo, librettist A tale of sacrifice and endurance, a daughter reflects on her parents’ sacrificial choices to emigrate to the United States of America. As she reflects on her upbringing, the daughter describes in depth the everyday sacrifices and realities that her parents faced in order to give her a better life. While experiencing intense emotion and turmoil, she wrestles with her success and comes to the brutal realization that her parents’ dreams were the chance that she could live out her dreams. This piece is a love letter and a dedication of gratitude to the sacrifices that our immigrant families gave us in order to pursue our dreams and the guilt we feel in realizing that they will never experience the dreams they wanted for themselves.

Everyday (2025) Alejandro Matamoros, composer/librettist This piece is a small collection of my time in California. As a music student, I have spent the majority of my time in California inside the walls of the practice room, on the third floor of the music building, in a corner of a large state university. I am from El Paso, Texas and moving to California, in the eyes of my friends and family, was supposed to be a big change for me. To us California is the land of palm trees and prosperity. Instead of going to the beach or walking down Hollywood Boulevard I have spent my time time practicing Bach alone. This isn’t to say it without its joys.

PROGRAM NOTES War?: Eve Rowed in Paradise and Stars Emerson Kimble, composer Discussion of War? project in context of Interstitial Projects.

This work overall is meant to depict a symbolic depiction of War and repercussions that may incur because of it. It is a depiction that can be external or internal symbolically and not of any particular event. The texts are derived from poems from American New England poets; Emily Dickenson, Ralph Waldo Emerson, and Robert Frost. This is done in five movements (Bursting Rapture, afterflakes., Eve Rowed in Paradise, A Still-Volcano Life, Stars).

The third movement is titled “Eve Rowed in Paradise” and is meant to illustrate the previous movement afterflakes in a deeper level. It is meant to musically show paradise despite the conflict already established. It begins with a quick Morris inspired dance and the character within the movement is searching for paradise.

The movement then exhales when paradise is found. This final movement titled, “Stars” is meant to depict a changed life after the conflict has subsided. It is meant to depict how people move on from this and move forward. The music begins with a calming ballad that is started in the quartet. Then the choir enters emulating stars shimmering in the distance. Then the wind quartet continues this immersive environment as it evolves throughout the movement.

Eve rowed in Paradise Ralph Waldo Emerson, 1864 I’ve heard,With No more baggage than a bird; And Exiled,soon she was With garments that she carried; Devised in a valise and sack, And trunk and tray her weeds to pack, But with the hatbox she invented, Dear Eve declared herself contented; She thought the outer world disconnected; This stable cube of comfort is here.

Stars Robert Frost, 1949 How countlessly they congregate O’er our tumultuous snow, Which flows in shapes as tall as trees When wintry winds do blow! As if with keenness for our fate, Our faltering few steps on To white rest, and a place to rest Invisible at dawn, And yet, with neither love nor hate, Those stars like some snow-white Minerva’s snow-white marble eyes Without the gift of sight.

Myself in this Moment Julia Craft, composer/librettist, electronics Often, a piece that is performed live, with “unmediated” sound (no recording or amplification), is assumed to have a greater sense of authenticity than a mediated or delayed sound. This notion of “delay” can come in a variety of forms: the microsecond delay from voice to microphone to speaker, a delay effect that intentionally offsets the sound, and the extended delay of recording to playback. To illustrate this, consider how one talks about seeing “live” music, or how one often describes an un-amplified, acoustic tone, as “raw” or “exposed.” Myself in This Moment attempts to short circuit this locating of authenticity with the “immediate” present, by creating a space in which this delay or mediation is unable to be disambiguated from “live” sound. Through doing so, we attempt to create a space which exists as a melding of time between “past” (recorded), and “present” (live). The goal is thus to turn a sonic location usually deemed liminal or transient into a space where one pauses and dwells. While often being conceptualized as distinct, one’s past is continually melded into their present experience, forming the lens in which an individual navigates the world.

This is a view taken from the philosopher Henri Bergson, who posits that there is no “immediate present,” since any moment we may consider the present is only made intelligible by that which came before it.

This piece thus hopes to explicate which

PROGRAM NOTES is already implicate in our experience. We hope this encourages the listener to either de-value “authenticity” as a valuable aesthetic in regards to recorded sound &

past time, or alternatively, find an equal degree of authenticity in recorded sound & past time.

Works performed by HEX and Brightwork newmusic Ave Maris Stella / I Saw a Distant Flame Scott Dilbeck, composer/librettist This piece serves as a snapshot of my high school experience, capturing a transformative period when I felt caught between two very different musical worlds. Each morning, I would sit outside the choir room with my headphones on, immersing myself in metal bands like Tool, System of a Down, Godsmack, and Evanescence—music that resonated deeply with my adolescent angst, complicated feelings about the world, and questions about religion. Moments later, stepping into the choir room, I found myself singing Renaissance music by composers such as Josquin, Palestrina, Byrd, and Tallis.

These pieces were beautiful, human, and calming—quite the opposite of the emotional turmoil captured by my metal playlist. Only in hindsight did I realize how formative both these musical experiences were for me, shaping not only my musical tastes but my emotional and personal identity. Surprisingly, I’ve come to see that metal and Renaissance music share more common ground than initially meets the eye: both are modal, emotionally intense, and complex in their own distinctive ways. Metal achieves complexity primarily through rhythm, while Renaissance music achieves it through textural intricacy and imitation. In combining these influences, this composition emerges as a kind of metal motet—a symbolic reaection rather than a literal depiction of my personal journey. The selected texts, “Ave Maris Stella” and my original metal-inspired lyrics, are chosen not to tell my story

explicitly but to evoke themes of identity, authenticity, and the coexistence of contrasting emotions and styles.

-Scott Dilbeck What if There Was an Edge and We Fell Right Off (2024) 5. lost to the whirl Janae Rose Harabedian, composer Trianne Harabedian-Flores, text A setting of a poem by the same name who’s vivid imagery takes your imagination on a captivating journey. The poem is by Trianne Harabedian-Flores (1995-), who holds a MA and a MFA in creative writing. Her pieces have been featured in literary publications such as West Trade Review, The Ear, and Transfer. bumble bees in the sea rockets, clump of green stretching limbs flowering white edges at the bottom of the sand dune how close do they fly to the foam crashed waves black wings swirl quick so quick but do they dare I never imagine insects at the ocean at the beachin the crawling groundcover fleshy green survives on sandy hills but always far from water how many things exist in places where they don’t belong how many glittering grains of sand turn dark sticks to my feet I run in and out of ice water

PROGRAM NOTES how many bumblebees are swept into the depths after wandering wondering too close how many of these deepened stones left after waves holding the sand down stitches in a satin duvet how many will eventually break loose be lost to the whirl -Trianne Harabedian-Flores A Dream Pang Lucas Edwards, composer Emily Dickinson, text I started writing this piece in early 2023.

My outlet for my personal struggles are usually kept in my songwriting journal that I don’t share with anybody. However, as I read the text by Robert Frost, I instantly connected. The notion of struggling with forgiveness and realizing that living in the mistakes of others is not worth the struggle put on oneself is beautiful to me.

Above that, it’s a withdrawal from oneself that ultimately leads to more suffering.

This realization in my personal life was not a sudden “Pang” for me. This is reflected in the music. To me, it was a changing, morphing thought process that eventually led me to forgiveness and a focus on myself.

-Lucas Edwards A Dream Pang Robert Frost I had withdrawn in forest, and my song Was swallowed up in leaves that blew alway; And to the forest edge you came one day (This was my dream) and looked and pondered long, But did not enter, though the wish was strong: You shook your pensive head as who should say, ‘I dare not—too far in his footsteps stray—He must seek me would he undo the wrong.’

Not far, but near, I stood and saw it all Behind low boughs the trees let down

outside; And the sweet pang it cost me not to call And tell you that I saw does still abide. But ’tis not true that thus I dwelt aloof, For the wood wakes, and you are here for proof.

Cosmic Dust Emerson Kimble, composer/librettist This work is meant to be a musical representation of a dream that I had as a child.

It is loosely inspired off a rollercoaster that I grew up going to at a local theme park.

The text is a poem that I wrote that I feel best describes by childhood intergalactic depiction of space.

The Light of Life Shimmering bright and large. Swimming in the endless void. Forever spans vast and wide At peace and softly Throughout space and time Starry Adventure: Spinning (2025) Pamela Madsen Starry Adventure: Spinning is the first work in collection of works for Brightwork newmusic, Aron Kallay, pianist, and HEX Vocal Ensemble and Partch Ensemble to be completed in 2026-2027, for premiere in 2027-2028 at REDCAT. Evolving from my NEA awarded ORATORIO FOR THE EARTH (2022) and Opera American Awarded Opera: Why Women Went West (2022-2023), about American pioneer, mystic and writer, this work explores mystical visions, sonic revelations and spiritual insights. Mary Hunter Austin’s book, Christ In Italy (1912) explored the revelations from her travels to Italy that informed her re-evaluation of her approach to art, religion, and spirituality in the west. I retrace this sojourn of through the visions of fellow American creative artists, based on Austin’s last novel, Starry Adventure (1931), connecting her fiction, spiritual visions of Italy and the New Mexican modernism/ primitivism movement in the arts, to explore the “optic of enchantment,” a visual experience of the divine in the west through image, music and text.

PROGRAM NOTES Spinning was inspired by the Interstitial Project, Los Angeles, which Brightwork newmusic and HEX vocal ensemble performed at CSUF during Spring 2025.

To depict this sense of the wanderer, I set the text of Lorca’s Poem of the Deep Song, and Poem of the Gypsy—for it resonated with that sense of journeying on—as in Henry Miller’s book: Big Sur and the Oranges of Hieronymus Bosch and the quote that inspired the unraveling and spinning nature of the piano part “if you don’t know where you are going any road will take you there”—the work begins with an urgent setting of an Edna St. Vincent Millay text, a recap of wandering theme from my Opera Why Women Went West and then a setting of these Lorca texts presses every forward, and along the way encounters desperation, cries of children’s voices and loss of innocence through the setting of Emily Dickinson’s Let Me Not Mar they Perfect Dream and Ezra Pound’s Empty are the Ways to arrive at the wonder and “optic of enchantment” of the setting sun, and the arrival of civil twilight—on the precipice of the earth horizon, when then stars just appear. This sense of awe and slippage of time fast unraveling is what I am seeking and perhaps I’ve found the road to take me there.

The work is followed by a coda—an overlapping arrival of Ad Astra (to the stars) as an optic of enchantment--a sonic mandala composition of strategic stars mapped on a manuscript paper this spring, setting the opening the text of Mary Austin’s final novel: Starry Adventure (1931).

From To Elinor Wylie (Died 1928) Edna St. Vincent Millay II. (1928) For there is no song . . . only the shaking of the voice that’s meant to sing; the sound of the strong voice breaking.

from Poem of the Deep Song Federico Garcia Lorca “Siguiriya’s Way” Among black butterflies A dark-haired girl Walks alongside a white serpent Of fog.

Land of light, Sky of the earth.

She’s tied to the tremor Of a rhythm that never arrives; She has a heart of silver And in her right hand a dagger.

Where are you going, (Siguiriaya), In such mindless rhythm?

Which moon will take in The white was and oleander of your pain?

Land of light Sky of the earth.

“And Then” The labyrinths that time creates disappear.

(Only the desert remains.)

The Illusion of dawn and of kisses disappears.

Only the desert remains.

A rippling desert.

“After Passing” Children look into the distance.

The oil lamps are extinguished. blind young women

PROGRAM NOTES question the moon, and spirals of crying rise into the air.

Mountains look into the distance.

“The Silence”

Let me not mar that perfect dream 1335 Emily Dickinson Let me know mar that perfect Dream by an Auroral Stain but so adjust my daily Night that it will come again.

Can you hear the silence, My son?

A rolling silence A silence, That leads valleys and echoes astray, And draws our foreheads To the ground.

Not when we know, the Power accosts--the Garment of Surprise was all out timid Mother wore at home –in Paradise

Empty are the Ways Ezra Pound

Lo, yonder, Lo Swiftly the rain rallied and blotted out the splendor, All but a thin slit through which a golden wing of light flew towards me.

It came, grew visible with nearness, and took shape against the tops of the yellowing Aspens.

Empty are the Ways of the land And the flowers Bend over with heavy heads, They bend in vain Empty are the ways of the land Where Ione walked once.

But now does not walk.

But seems like a person just gone.

from Starry Adventure (1931) Mary Hunter Austin

In the cienaga below the house, almost on a level with my wide-eyed starring, A glowing brightness like hot brass, like molten ends of rainbows, And in the midst, in the midst. . . out of this hushed wonder, I saw God.

BRIGHT WORK newmusic

Aron Kallay, piano Brian Walsh, clarinet Rachel Iba, violin Mia Barcia-Colombo, cello Brightwork newmusic was founded in 2013 by pianist and Pomona College faculty member Aron Kallay. The organization’s mission is to enliven and expand contemporary classical music with a focus on West Coast composers and performers. The members of the in-house ensemble, Brightwork, are among the best chamber musicians in the world. The ensemble strives to find new and exciting ways to connect with audiences in the US and abroad by presenting friendly and exciting concerts in both traditional and non-traditional spaces. Through its educational outreach program, ProjectBeacon, they work closely with young musicians and composers across Southern California. The goal is to empower the next generation of artists through residencies with youth orchestras and universities, student composer readings, masterclasses, and workshops.

A flexible and fearless group of world-class musicians, Brightwork consists of piano, violin, soprano, cello, flute, clarinet, percussion (an instrumentation which is often called “Pierrot + percussion,” and which is to modern chamber music what the string quartet was to earlier centuries), and champions the best of the music that’s being written today, while continuing to play the classics of “new” music from the last hundred years.

We play the music we love, whether this is one of our favorite masterworks of the 20th century, or the latest dazzling score from a composer whose music we just discovered. What the listener can expect at a Brightwork concert–at the very least–is exciting, emotionally engaging music presented in state-of-the-art performances.

Brightwork seeks to draw the audience into the creative process.

HEX VOCAL ENSEMBLE

Molly Pease, soprano Lindsay Abdou, alto Fahad Siadat, tenor James Hayden, bass Described by the LA Times as “a luminous ensemble of singers,” HEX is an award-winning contemporary vocal sextet based in Los Angeles dedicated to performing new works that reimagine the expressive potential of the human voice.

The group features critically-acclaimed singers who have been featured soloists with LA Opera, LA Philharmonic, Long Beach Opera, Los Angeles Master Chorale, and Industry Opera. HEX has

performed with Brightwork newmusic, theatre dybbuk, and the Resonance Collective, and at venues such as the Broadstage, Meng Concert Hall, Tuesdays@Monk Space, HEAR NOW Music Festival, Sound and Fury Concert Series, and more. In 2022, HEX was nominated for the San Francisco Classical Voice Audience Choice awards in four categories and received the award for “Best Orchestral Performance” for their premiere performance of Oratorio of the Earth.

ABOUT THE ARTISTIC DIRECTOR

Fahad SIADAT A “fanciful and downright utopian artist and thinker” (LA Times), Fahad Siadat explores sound as spiritual practice, creating interdisciplinary pieces as a vehicle for unveiling the mystery of our interconnected world. His music is described as “evoking wonder, desire, and terror” (Off Broadway) with narratives that “border on being a spiritual journey” (LA Dance Chronicle). and has been presented by the L.A. County Museum of Art, Broadstage, and Museum of Contemporary Art. Working as a performer, composer, conductor, and curator, Fahad is the director of the Resonance Collective and the award-winning vocal ensemble HEX. His music has been performed in Europe, China, and across the United States.

ABOUT THE DIRECTOR

Pamela MADSEN Pamela Madsen is a composer, performer, theorist, writer and curator of new music. From massive immersive concert-length 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 multi- media 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.

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. SandyJohnson 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 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

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

For questions or concerns, please contact: Ann Steichen | 657-278-3347

|

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 GAIL & MICHAEL COCHRAN 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* DR. SALLIE MITCHELL* ELEANORE P. & JAMES L. MONROE LYNN & ROBERT MYERS MR. BOB & MRS. TERRI NICCUM DWIGHT RICHARD ODLE* SHERRY & DR. GORDON PAINE

DR. JUNE POLLAK & MR. GEORGE POLLAK* DR. STEPHEN M. ROCHFORD MR. 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*

*deceased

The College of the Arts Proudly Recognizes the 300+ Members of Our

VOLUNTEER SUPPORT GROUPS ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.

SPECIAL SUPPORT AND EVENT UNDERWRITING Judy Atwell Drs. Voiza & Joe Arnold Dr. Margaret Faulwell Gordon

Susan Hallman Norma Morris Richard Odle Estate

Kerry & John Phelps Jeanie Stockwell Verne Wagner

ART ALLIANCE: 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.

SPECIAL SUPPORT AND EVENT UNDERWRITING Fay Colmar John DeLoof

Joann Driggers & Steve Collier Loraine Walkington

MUSIC ASSOCIATES: 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.

SPECIAL SUPPORT AND EVENT UNDERWRITING Marilyn Carlson Evelyn K. Francuz Sandy & Norm Johnson Marti & Bill Kurschat Karen & George Mast

Thelma & Earl Mellott Bettina Murphy Grace & Ujinobu Niwa Kerry & John Phelps Mary & Jerry Reinhart

Ann & Thad Sandford Dodo V. Standring Carolyn & Tom Toby John Van Wey

MORE INFORMATION: Haley Sanford • 657-278-2663 There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts

GET INVOLVED GIVING.FULLERTON.EDU

music.fullerton.edu