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
STAFF
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
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
Folk Dances (1942/1979).......................... Dmitri Shostakovich (1906-1975) arr. Vakhutinskii, trans. H. Robert Reynolds
October (2000).......................................................... Eric Whitacre (b. 1970) Emma Johnson, graduate student conductor
Light the Night Sky (2024) (Premiere)
Larry Tuttle (b. 1955)
Let My Love Be Heard (2014/2018)...................... Jake Runestad (b. 1986)
Symphony for Winds (2021) Samuel Coleridge-Taylor (1875-1912) arr. Brian Morales
PROGRAM NOTES
Folk Dances (1942/1979)
DMITRI SHOSTAKOVICH
Dmitri Dmitriyevich Shostakovich) was a Russian composer who lived under the Soviet regime. He had a complex and difficult relationship with the Soviet government, suffering two official denunciations of his music, in 1936 and 1948, and the periodic banning of his work. His response to official criticism and, more importantly, the question of whether he used music as a kind of abstract dissidence is a matter of dispute. It is clear that outwardly he conformed to government policies and positions, reading speeches and putting his name to articles expressing the government line. It is also generally agreed that he disliked the regime, a view confirmed by his family and his letters to Isaak Glikman.
Shostakovich prided himself on his orchestration, which is clear, economical, and well-projected. This aspect of his technique owes more to Gustav Mahler than Rimsky-Korsakov. His unique approach to tonality involved the use of modal scales and some astringent neo-classical harmonies à la Hindemith and Prokofiev. His music frequently includes sharp contrasts and elements of the grotesque.
Shostakovich’s most popular works are his 15 symphonies and 15 string quartets. His works for piano include 2 piano sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include 2 operas, 6 concertos, and a substantial quantity of film music. - Program Note from Windrep.org
On Folk Dances:
Shostakovich wrote the suite op. 63, Native Leningrad, in 1942 as a tribute to the courage of the citizens of Leningrad. This suite was culled from the incidental music for a “concert play spectacle” entitled Native Country or Motherland. It was scored for tenor and bass soloists, choir and orchestra, and was premiered on November 7, 1942, at the Dzerzhinsky Central Club. The suite has four movements: Overture – October 1917, Song of the Victorious October (Song of the River Neva), Youth Dance (Song of the Sailors), and Song of Leningrad. The Youth Dance is the movement transcribed as Folk Dances. It first received this name when transcribed for piano by Lev Solin. The name stuck when retranscribed for military band by M. Vakhutinsky. H. Robert Reynolds rescored Vakhutinsky’s transcription, making it suitable for American wind bands. While the melodies used in Youth Dance are reminiscent of folk tunes, Shostakovich’s work is original. Considering the programmatic nature of the work, it is justifiable to assume Shostakovich wished to evoke an overt Russian sentiment in the same way that Gustav Holst’s First Suite in E-flat and Gordon Jacob’s An Original Suite sound and feel distinctly British.
- Program Note from State University of New York, Potsdam, Symphonic Band concert program, 13 April 2017
October (2000)
ERIC WHITACRE
Eric Whitacre is an American composer, conductor and lecturer. His first musical experience was
PROGRAM NOTES
singing in his college choir. Though he was unable to read music at the time, he began his full musical education at the University of Nevada, Las Vegas, eventually getting a bachelor’s degree in music composition. He wrote his first concert work, Go, Lovely, Rose, at the age of 21. He went on to Juilliard, earning his Master of Music degree and studying with John Corigliano and David Diamond. At the age of 23 he completed his first piece for wind orchestra, Ghost Train, and his popular wind piece Godzilla Eats Las Vegas stems from this period. He graduated in 1997 and moved to Los Angeles to become a full-time professional composer.
Whitacre’s first album as both composer and conductor, Light & Gold, won a Grammy Award in 2012, and became the No. 1 classical album in the U.S. and UK charts. His second album, Water Night, featured performances from his professional choir, the Eric Whitacre Singers, the London Symphony Orchestra, Julian Lloyd Webber, and Hila Plitmann.
Many of Whitacre’s works have entered the standard choral and symphonic repertories. His works Water Night, Cloudburst, Sleep, Lux Aurumque and A Boy and a Girl are among the most popular choral works of the last decade, and his Ghost Train, Godzilla Eats Las Vegas, and October have achieved success in the symphonic wind community. As a conductor, Whitacre has appeared with hundreds of professional and educational ensembles throughout the world. He has conducted concerts of his choral and symphonic music in Japan, Australia, China, Singapore, South America and much of Europe, as well as dozens of American universities and colleges. Online, Whitacre›s massed choral music has reached a worldwide audience. His 2007 musical Paradise Lost: Shadows and Wings, combining trance, ambient
and techno electronica with choral, cinematic, and operatic traditions, won the ASCAP Harold Arlen award and the Richard Rodgers Award for most promising musical theater composer.
Whitacre’s virtual choir projects began in 2009 with Sleep and Lux Aurumque. In virtual choirs, singers record and upload their individual videos from all over the world. The videos are then synchronized and combined into one single performance to create the virtual choir. Though 2020, six virtual choirs have been formed, the last featuring more than 17,000 singers.
Deep Field: The Impossible Magnitude of the Universe is a 2018 audiovisual collaboration between Whitacre, NASA, the Space Telescope Science Institute, Music Productions and 59 Productions. The soundtrack for the film, inspired by the Hubble Space Telescope and its pioneering deep field image, features the Virtual Choir 5, representing 120 countries: more than 8,000 voices aged 4 to 87, alongside the Royal Philharmonic Orchestra and Eric Whitacre Singers.
Whitacre has won awards from the Barlow international composition competition, American Choral Directors Association, American Composers Forum and in 2001 became the recipient of The Raymond W. Brock Commission given by the American Choral Directors Association. The album Cloudburst and Other Choral Works received a Grammy nomination in 2007 for Best Choral Performance. Later, his album Light & Gold won a Grammy for Best Choral Performance in 2012.
Whitacre is a founding member of BCM International, a quartet of composers consisting of himself, Steven Bryant, Jonathan Newman, and James Bonney, which aspires to “enrich the wind ensemble
PROGRAM NOTES
repertoire with music unbound by traditional thought or idiomatic cliché.”
- Program Note from Windrep.org
On October:
October is my favorite month. Something about the crisp autumn air and the subtle change in light always make me a little sentimental, and as I started to sketch I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English romantics (Vaughan Williams and Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season. I’m quite happy with the end result, especially because I feel there just isn’t enough lush, beautiful music written for winds.
October was commissioned by the Nebraska Wind Consortium, Brian Anderson, Consortium Chairman. October was premiered on May 14th, 2000, and is dedicated to Brian Anderson, the man who brought it all together.
- Program Note by composer
Let My Love Be Heard (2014/2018) JAKE RUNESTAD
Jake Runestad is an American composer Considered “one of the best of the younger American composers” (Chicago Tribune), he holds a master’s degree in composition from the Peabody Conservatory of the Johns Hopkins University where he studied with Pulitzer Prize-winning composer Kevin Puts. He has also studied extensively with acclaimed composer Libby Larsen
Runestad is an award-winning and frequently-performed composer of “highly imaginative” (Baltimore Sun) and “stirring and uplifting” (Miami Herald) musical works. He has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio
Choir, the Dallas Symphony Orchestra, the Santa Fe Desert Chorale, Seraphic Fire, the Louisiana Philharmonic Orchestra, the Philippine Madrigal Singers, Craig Hella Johnson and Conspirare, and many more. His visceral music and charismatic personality have fostered a busy schedule of commissions, residencies, workshops, and speaking engagements.
- Program Note from Windrep.org
On Let My Love Be Heard:
Originally a choral work written for Choral Arts Northwest, this work has taken on a new life in light of the 2015 atrocities in Paris and Beirut. Jonathan Talberg, the conductor of the choir at Cal State Long Beach, led his singers in a performance during the memorial vigil for Nohemi Gonzalez, a Long Beach student who was killed in the Paris attacks. The day after the vigil, the choir was supposed to begin rehearsing holiday music; however, Jonathan felt that was not appropriate and wanted time for the singers to grieve this loss. So, at the beginning of rehearsal, he passed out a brand-new piece of music (Let My Love Be Heard), rehearsed it, and then recorded it. It was posted on SoundCloud and shared in memory of Nohemi and as a plea for peace. Their musical offering is a powerful outpouring of grief but also a glimmer of light. I am honored that this piece, Let My Love Be Heard, has helped to provide hope in the darkness of our world.
This work is based on the following poem:
A
Prayer by Alfred Noyes Angels, where you soar Up to God’s own light, Take my own lost bird On your hearts tonight; And as grief once more Mounts to heaven and sings, Let my love be heard Whispering in your wings.
- Program Note by composer
ABOUT THE COMPOSERS
Brian Morales
Brian Morales is a composer, producer (and closet sound designer) who thrives when collaborating with other musicians and creatives. He is most widely known for his orchestration of The Color Purple, which featured Cynthia Erivo and was directed by John Doyle (and also garnered him a nomination for an Olivier Award at the age of 24).
From a young age, Brian had a keen ear for music and media; the combination of expressive and extroverted visuals mixed with dynamic, melodramatic music in Disney’s Fantasia remains a steadfast inspiration for much of his creative output.
His chamber ballet, Strangers, was his first serious large-form work for woodwind quintet, percussion and four dancers -- completed during the pandemic with choreographer and collaborator Julia Bengtsson (album now streaming everywhere). This collaboration with Julia has culminated over multiple projects including Of Love, a ballet setting of his violin sonata for three dancers which was premiered at The United Palace and House of Mercy, a dynamic ensemble piece that examines the harrowing history of an asylum in uptown Inwood.
Brian actively writes and produces music for Film and TV and was recently announced as a 2025 Fellow for the Los Angeles Film Conducting Intensive. He received his M.M. in composition from the Manhattan School of Music, a B.M. from California State
University Fullerton and attended the European American Musical Alliance (EAMA) where he realized his lifelong dream of studying counterpoint in Paris, France. His teachers have included Philip Lasser (theory/composition) Richard Danielpour, Pamela Madsen (composition), Lloyd Rodgers (counterpoint/orchestration), and Bill Cunliffe (commercial arranging).
Brian’s self-produced a recording of his folk song cycle, Wild Axiom, with text by Grey Grant. In 2020, he was chosen as an Academic Fellow for the Alba Music Festival and was one of a handful of composers who participated in the inaugural Composition program as part of the Cascade Conducting Workshop. In 2019 he was an Academic Fellow at the Talis Festival & Academy in Sarajevo where his oboe quartet, Visions of Sacrifice, was premiered (with Celia Craig on oboe and Beatriz Blanco on cello). He was the winner of the 2018 Pittsburgh Philharmonic EQT Young Composer Contest, resulting in the premiere of his orchestral piece Arrivals and was also selected as a winning composer for the 2019 Stradella Baroque Festival’s NEWTRACKS @FBS series with a performance of Una Macchina Per Rosa premiered by the Bryggan Ensemble.
Morales’s orchestrations for Gregory Nabours’s Ovation Awardwinning song cycle, The Trouble With Words (Couerage Theatre Company, LA). He composed the original score, conducted and produced music for the indiefilm Transcendence (CSM Films). Other film work includes scores for
ABOUT THE COMPOSERS
numerous independent shorts and first prize at the 2018 Yorkshire Film Scoring Competition.
Collaborations with Swedish choreographer/dancer Julia Bengtsson, include Brian’s ambitious 35-minute ballet, The Ears Have the Wall, for piano quintet and four dancers which premiered at The Tank NYC in 2019, and Blank Space (for violin, clarinet, bassoon, violoncello, and piano) which was performed at the 2018 Fast-Forward Festival. Was it a Dream? (duo for violin and cello) with choreography by Temple Kemezis, was featured at the 2016 New York 10 Dance Festival.
Recent performances of Brian’s concert works include To This Great Land (piano trio) at the English Music Festival in Yorkshire; Autumn Chrysalis (violin, violoncello, clarinet, pipa, and yangqun) performed by the Sforzando Collective; and Kyrie (SATB) from his Missa Brevis, which premiered at the 2017 European American Musical Alliance Nadia Boulanger Institute in Paris.
On the podium, Brian was founding music director of the Orange County Collegiate Orchestra, and he has appeared as guest conductor for the Novus et Antiquus Orchestra, the Orchestra Society of Philadelphia and the Amadeo Philharmonic. A participant in the 2018 New York Conductor’s Workshop, he worked with the Chamber Orchestra of New York and received additional training in orchestral conducting at the Juilliard Evening Division. He served as the assistant conductor for Kimo Furomoto and the CSUF Symphony Orchestra and the conductor for the CSUF New Music Ensemble, working alongside Paola Prestini, Missy Mazolli, Conrad Pope, and Nicole Mitchell.
Brian currently is an active chorus member for the acclaimed, award-winning Cantori di NY choir where he sings Tenor 2 under the baton of Maestro Mark Shapiro. www.brianmorales.net
Larry Tuttle
Larry Tuttle writes iconic and optimistic music with a strong sense of story and narrative arc. He is the winner of the Pittsburgh Symphony’s Audience of the Future Composition Competition, and his concert overture BY STEAM OR BY DREAM won second prize at the Keuris Composers Competition in The Netherlands. He is an often-commissioned composer in the world of wind ensemble and concert band. Recent commissions include the University of Michigan Symphony Band (honoring the 90th birthday of H. Robert Reynolds), the Pacific Symphony Youth Wind Ensemble, California State University at Fullerton, the University of North Carolina at Greensboro and the University of Southern California, among others. His latest orchestral work, UNREASONABLE DREAMS, was just completed and premiered on a commission from the San Fernando Valley Symphony.
Larry is also known as one of the world’s foremost composers, teachers and performers of music for the Chapman Stick, a hybrid instrument that combines qualities of guitar, bass and piano. His solo album of compositions for The Stick, THROUGH THE GATES, is considered to be one of the landmark recordings of that instrument. www.larrytuttle.com
UNIVERSITY
Flute
Kimberly Areas
Harold Boche Castro
Nadia Fowler
Shawnee Herrera
Evan Posadas Miller
Alma Salazar
Aydan Soo-Hoo
Oboe
America Dionati
Johnston Nguyen
Bassoon
Rekha Michael
Adrian Wu
Clarinet
Susan Aguilar
Jonathan Bass
Shawn Bryant
Cara Connelly
Christopher Cordero
John Gerling
Eric Gong
Olivia Hirsch
Christy Nguyen
Ryan Nguyen
Mitchell Rhine
Monserrat Rodriguez
Joshua Schaefer
Nicholas Wilson
Saxophone
Drake Bolt
Citlali Gamez
Beatriz
Margareth Gongora
Miles Luong-Gonzales
Jon Salarda
Trumpet
Alonna Freeborne
Andrew Gonzalez
Isaiah Long
Adonai Mejia
Yasmin Olmos
Isaiah Soto
Horn
Alexis Chisolm
Andrew French
Anthony Olague
Adam Sevilla
Daniel Ward
Patrick Williams
Trombone
Jesus Amaro
Jordi Campbell
Rami El-Ghosssaini
Arnold Garcia
Bass Trombone
Nikolas Hernandez
Nicholas Perez
Euphonium
Stephen Lopez
Jackson Nguyen
Tuba
Gregory Barnes
Christopher Gallo
Fabiola Padilla
Percussion
Maritza Alejos
Jonathan Brown
Dan Angelo Esguerra
Gabriela Guzman
Diego Mendoza
Ziyania Monroe
Markie Rosas
Piano
Julia Chubb
Double Bass
Andrew de Stackelberg
Gregory X. Whitmore
Gregory X. Whitmore is Conductor of the University Symphonic Winds at California State University Fullerton (CSUF). In addition to this artistic responsibility, he is an Assistant Professor of Instrumental Music Education and serves as Area Coordinator of the CSUF Music Education Department. He is also in his 10th season as Music Director of the Pacific Symphony Youth Wind Ensemble, one of only a handful of youth wind ensembles connected to a group one professional symphony orchestra (Pacific Symphony) in the United States.
Whitmore’s previous appointments in higher education include tenure as Director of Bands at Irvine Valley College (Irvine, CA), Mt. San Antonio College (Walnut, CA), and College of the Desert (Palm Desert, CA). Prior to his work in higher education, he spent 13 years as Director of Bands at Cathedral City High School (Cathedral City, CA).
A proud Midwesterner and native of Ann Arbor, Michigan, Whitmore earned his bachelor’s degree in instrumental music education from The University of Michigan School of Music, Theater and Dance. While a student at Michigan, he performed in the University of Michigan Symphony and Concert Bands; and led the University of Michigan Marching Band as “Michigan’s Man Up Front” - Drum Major - from 1999 to 2001 – becoming the second Black Drum Major in the history of the University of Michigan. Dr. Whitmore received his master’s degree in music with an emphasis in wind conducting from California State University Fullerton. He holds a master’s degree, and a doctorate in music and music education from Columbia University (Teachers College) in the city of New York.
A Second Place Winner of the 2017 American Prize in Conducting, Whitmore has conducted ensembles around the world in such notable concert venues as The Golden Hall of The Musikverein (Vienna), The Wiener Konzerthaus (Vienna), The MuTh (Vienna), Renee and Henry Segerstrom Concert Hall (Costa Mesa), Symphony Hall (Chicago), The Kennedy Center (Washington, D.C.), Carnegie Hall (New York City), Walt Disney Concert Hall (Los Angeles), Meng Hall (Fullerton, California), Holy Trinity Church (Stratford, England), St. John’s Smith Square (London), Chateau Vaux le Vicomte (Paris), and Heidelberg Castle (Germany). Under his direction, the Cathedral City High School Symphony Band was selected to perform as the showcase ensemble during the 2008 California Band Directors Association Annual Convention. He is a conductor for the World Strides Honors Performance Series.
With a research interest in music educator values as operationalized into pedagogy, in addition to investigating the concert band as an artistic medium, Whitmore has presented research at music education symposia in the United States and abroad. He research has been published in Visions of Research in Music Education. He has been recognized in four editions of Who’s Who Among America’s Teachers and he has been included in the 2005/2006 Edition of the National Honor Roll’s Outstanding American Teachers. He was selected to represent the State of California by School Band and Orchestra Magazine in the 2008 edition of “50 Band Directors Who Make a Difference.”
Whitmore belongs to professional organizations that include College Band Directors National Association, Kappa Kappa Psi Honorary Band Fraternity, Alpha Delta Phi Fraternity, Phi Mu Alpha Sinfonia Fraternity, Pi Kappa Lambda Honor Society, The National Association for Music Education, Southern California School Band and Orchestra Association, and the California Music Educators Association.
Learn more about Dr. Whitmore at gwhitmore.com
ABOUT THE GRADUATE STUDENT CONDUCTOR
Emma Johnson Miranda
Emma Johnson Miranda is a conductor, musician, and educator who was born and raised in Houston, Texas. She is currently a graduate student at California State University-Fullerton, studying instrumental conducting with Dr. Dustin Barr. Along with completing her degree in conducting, she is finishing her teaching credential under the guidance of Dr. Gregory Whitmore, all while playing bassoon in the University Wind Symphony and the University Symphony Orchestra. After graduating from Seven Lakes High School in Katy, Texas, Miranda moved to Provo, UT to study conducting with Dr. Shawn Smith and bassoon with Dr. Christian Smith at Brigham Young University. Two of her most impactful experiences there were touring to Spain and Portugal with the BYU Wind Symphony in May 2023 and performing with the Philharmonic Orchestra for Beethoven’s 9th Symphony. She graduated from BYU in April 2023 with a BA in Music and a minor in Family Life and moved to Southern California immediately after to start her studies at California State University-Fullerton. Miranda’s husband, EJ Miranda, is a musician from Southern California and together they live in Los Angeles, CA where they spend their free time freelancing, attending concerts, and visiting Disneyland.
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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
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& JOHN* GEISBAUER
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& MR. GEORGE POLLAK*
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LORENA SIKORSKI
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ANDREA J. & JEFFREY E. SWARD
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VERNE WAGNER
RICHARD WULFF
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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
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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
COLLEGE OF THE ARTS • SELECT EVENTS
College of the Arts Galleries Exhibitions
Vitae: A New Generation
Chris O’Leary: Gravity Well
Michelle Emami: Arcana Past Forward (Redux) Through May 17
Sergei Babayan, piano
February 16 • Meng Concert Hall
Sō Percussion*
February 20 • Meng Concert Hall
Hajar: Opera In Concert
February 21 • Recital Hall
University Symphony Orchestra feat. Music Associates’ Student Concerto/Aria Competition Winner February 23 • Meng Concert Hall
World Citizen Band with Fullerton Chamber Jazz Ensemble
February 26 • Meng Concert Hall
Advanced Vocal Workshop with guest Michael Schütze, piano
March 6 • Recital Hall
Significant Other March 6–15 • Hallberg Theatre
Collage: 18th Annual Benefit Concert Sponsored by Morningside
March 8 • Meng Concert Hall
Dr. Joni Prado, soprano & Dr. Kerry Jennings, tenor, with Michael Schütze, piano
March 9 • Meng Concert Hall
Mela Quartet
March 12 • Meng Concert Hall
University Singers & Concert Choir
March 15 • Meng Concert Hall
Bill Cunliffe & Alison Edwards, duo piano
March 16 • Meng Concert Hall
Tuesday Matinée
March 18 • Recital Hall
Ralph Farris, viola, with CSUF Wind Symphony and Rodolfo Zuniga, percussion
March 18 • Meng Concert Hall
Spring Awakening
March 20–29 • Young Theatre
Talich Quartet
March 28 • Meng Concert Hall
University Symphony Orchestra with the Talich Quartet
March 30 • Meng Concert Hall
Inna Faliks, piano
April 8 • Meng Concert Hall
Brightwork New Music and HEX Vocal Ensemble*
April 9 • Meng Concert Hall
Ernest Salem, violin and Alison Edwards, piano
April 13 • Meng Concert Hall
Mozart’s The Magic Flute
April 17–26 • Little Theatre
Fullerton Jazz Chamber Ensemble and Fullerton Latin Ensemble
April 22 • Meng Concert Hall
Cello Choir
April 25 • Recital Hall
University Symphonic Winds
April 27 • Meng Concert Hall
CSUF New Music Ensemble and CSUF Contemporary Chamber Music Ensemble*
April 30 • CPAC 119
University Band
April 30 • Meng Concert Hall
Spring Dance Theatre
May 1–10 • Little Theatre
Fullerton Jazz Orchestra
May 2 • Meng Concert Hall
University Wind Symphony
May 3 • Meng Concert Hall
Jazz Singers
May 5 • Meng Concert Hall
Titan Voices & Singing Titans
May 7 • Meng Concert Hall
University Symphony Orchestra and Symphonic Chorus
