"The Future of Opera: Alumni Concert" program

CSUF SCHOOL OF MUSIC presents

The Future of Opera: Alumni Concert Part of the 20th Annual New Music Festival

Reimagining Opera in the 21st Century Pamela Madsen, artistic director

May 14, 2021

California State University, Fullerton

UNIVERSITY CREDITS Framroze Virjee, President, California State University, Fullerton Carolyn Thomas Provost and Vice President for Academic Affairs Danny C. Kim, Vice President, Administration and Finance/CFO David Forgues, Vice President, Human Resources, Diversity & Inclusion Amir H. Dabirian, Vice President, Information Technology Tonantzin Oseguera, Vice President, Student Affairs Gregory J. Saks, Vice President, University Advancement

C OL L E G E O F T H E AR T S Dale A. Merrill, Dean Arnold Holland, Associate Dean Maricela Alvarado, Assistant Dean Christopher Johnson, Budget Coordinator Heather Guzman, Assistant to the Deans Jade Jewett, Chair, Department of Visual Arts Dave Mickey, Chair, Department of Theatre & Dance Katherine Powers, Director, School of Music Jennifer Frias, Director, Nicholas & Lee Begovich Gallery John Spiak, Director, Grand Central Art Center - Santa Ana Lara Farhadi, Senior Director of Development Ann Steichen, Director of Development Alaidrian Clark, Support Group Coordinator Julie Bussell, Director, Marketing & Patron Services Stephanie Tancredi, Box Office Manager Heather Richards-Siddons Marketing & Communications Specialist Alvin Chiu, Graphic Designer Jason Pano Social Media Strategist

WELCOME Hello, and welcome to the School of Music’s latest streaming presentation. We are so excited to share this performance with you! First, I want to thank all of the students, faculty, and staff who have worked tirelessly to make this possible. As

our college continues to rise to challenges, our performing arts students thrive and deliver some of the most heartfelt and thought-provoking performances of their academic careers. We are demonstrating one thing loud and clear: the arts are active, vibrant, and resilient here at Cal State Fullerton.

Just as the arts continue to adapt and evolve, so are our students. These Titans of the Arts – unwavering in their passion and commitment to their craft – are the reason we do what we do as educators, administrators, and staff. I look forward to seeing theatre, dance, and music students rehearsing throughout the performing arts building, and visual arts students creating in the breezeways and art courtyard once again. It’s so quiet here without them! Until we see each other again face-toface, stay safe and stay strong. We hope you enjoy the show!

Sincerely,

Dale A. Merrill Dean, College of the Arts

Dr. Katherine Powers - School of Music director Bongshin Ko - School of Music assistant director FULL-TIME FACULTY

Theory and Composition Dr. Pamela Madsen - composition, theory Dr. Ken Walicki* - composition, theory

Conducting Kimo Furumoto - instrumental Dr. Robert Istad - choral Dr. Dustin Barr - instrumental Jazz and Commercial Music Bill Cunliffe* - jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director Piano, Organ, Piano Pedagogy Ning An - piano 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. Dennis Siebenaler* - general Dr. Gregory X. Whitmore - instrumental

Vocal, Choral, and Opera Dr. Mark Goodrich* - voice, academic voice courses Dr. Robert Istad - University Singers Dr. Christopher Peterson - CSUF Concert Choir and Men’s Chorus conductor Patricia Prunty - voice, academic voice courses Woodwinds, Brass, and Percussion Dr. Dustin Barr - Director of Wind Band Studies; University Wind Symphony Jean Ferrandis - flute Sycil Mathai* - trumpet Håkan Rosengren* - clarinet Dr. Gregory X. Whitmore Symphonic Winds conductor

SCHOOL OF MUSIC STAFF

Music in General Education Dr. Nicole Baker Dr. John Koegel* Katherine Reed

Michael August - Production Manager Eric Dries - Music Librarian

Jeff Lewis - Audio Engineer

Music History and Literature Dr. Nicole Baker - musicology Dr. John Koegel* - musicology Dr. Katherine Reed - musicology

Chris Searight - Musical Instrument Services Paul Shirts - Administrative Assistant Elizabeth Williams - Accountant

Strings Kimo Furumoto - Director of Orchestral Studies Bongshin Ko - cello Dr. Ernest Salem* - violin

Sue Winston - Office Coordinator

* denotes Area Coordinator

facebook.com/CSUFMusic Twitter | @CSUFMusic Instagram | @csufmusic soundcloud.com/csufmusic music.fullerton.edu The School of Music at California State University, Fullerton has been fully and continuously accredited by the National Association of Schools of Music since 1966

PROGRAM

WEEK 5: THE FUTURE OF OPERA ALUMNI CONCERT May 14, 2021

WEEK 4:

Entr’acte for six horns BRIGHTWORK ENSEMBLE CONCERT CAROLINE SHAW ARR.May JEFFERY 7,GUMPERTZ 2021

Jeffery Gumpertz, horn

featuring A visual poem with for video, music, text Brightwork Ensemble Stacey Fraser, soprano Deiner Augen Light STEVEN HOMESTEAD

withEbb works by CASSANDRA VENAGALIA Somei Satoh, George Crumb, Vera Ivanova, Cassandra Venaglia, voice and electronics Ian Dicke, and Pamela Madsen Contrapunctus Faseteladi JON BRENNER with

electric piano, analogue synthesizer, poet/video artist Quintan Ana Wikswo bass viola da gamba, electric guitar, theremin and Jentubalon, Kutler, electric electronics bass

PROGRAM P ROGRAM

Digital Environment DAVID STEVENS

Sean Mix, soprano saxophone Andy Wilds, alto saxophone Scott Chamberlin, tenor saxophone David Stevens, baritone saxophone Josh Verdejo, Grace Smith, Qiantan Hong, and Jerry Zhang, MIT Laptop Ensemble All The Remains

CRAIG MICHAEL DAVIS

Craig Michael Davis, piano Choreographed and Danced by Carly Liegel and Corie Jones Audio and Video Recording & Editing: Davenport Records The Middle Pigeons INEZ S. MCCOMAS

Jordan Wainright, Trombone Andrew Odonez, tuba electronics

Covering Us Like Willow Branches GEOFFERY MUNGER

Budapest Recording Orchestra Zoltan Pad, conductor Brain Curry

KRISTIAN DE LEON

JACK Quartet Christpher Otto, violin Austin Wulliman, violin John Pickford Richards, viola Jay Campbell, cello The Empress

CHASE CHANDLER

Peter Traver, tenor Drug Trip (from Sock Town)

A Film Noir Sock Puppet Musical ANDREW WILCOX

PROGRAM PR O G R A M NOTES NOTES

Entr’acte CAROLINE SHAW ARR. JEFFREY GUMPERTZ Entr’acte by Caroline Shaw was originally written for string quartet in 2011. The piece drew inspiration from a performance of Hayden’s op. 77, no. 2. “I love the way some music (like the minutes of op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition,” Shaw wrote.

This arrangement, written and performed by Jeff Gumpertz, is for six horns and much like the original composition, explores the varied colors and qualities of the instrument.

-Jeff Gumpertz

Deiner Augen Light STEVEN HOMESTEAD Artists can reimagine the future. And the virtual spaces we have pivoted to over the past year of distance have opened our eyes even more to the abundance of available online resources that can connect us around the globe. Moving into the future, I think we can hold onto aspects of these global connections even as we re-emerge to make in-person creative work.

Responding to this year’s festival theme, I created a visual poem based on a song I composed from my set, “Three Songs in Stylistic Quotation,” particularly one set to a text by Adolf Friedrich von Schack (1815-1894). I used this song as the basis for what I call a visual poem (which pairs video, music, and text) because of its themes of desire. I linked these themes of desire to our present felt need for connection. As a reimagined creative work, both the visual poem’s thematic imagery and construction via virtual resources speak to our hoped-for future of both local and global connection.

In the work, I use images of the night sky and stars in counterpoint to images of the body, linking the distance and inaccessibility of space with the immediacy of skin and bodies. These images also develop a sensuality within the piece. The images of space also pair with passages in the piano used to represent light and stars.

Inspired by the text, I bring forth themes of desire, mystery, and yearning through a harmonic language that incorporates mediant key relationships and augmented intervals. These themes are furthered by sounds and images from misty and rainy forests, bringing tactile and auditory connections.

PROGRAM PR O G R A M NOTES NOTES

Light, the color spectrum, hands reaching out to nature, and other layers of images haunt each other as two people navigate their distance.

Will they melt into darkness and connection in their minds, or in reality?

The visual poem pulls the song into the midst of our times and connects it with the hope of human connection.

-Steven Homestead

from “Breit’ über mein Haupt”

by Adolf Friedrich von Schack (1815-1894) Breit’ über mein Haupt dein schwarzes Haar, Neig’ zu mir dein Angesicht, Da strömt in die Seele so hell und klar Mir deiner Augen Licht.

Spread your dark hair over my head, Lean your face toward me, Let flow into my soul so bright and clear, The light of your eyes.

Ich will nicht droben der Sonne Pracht, Noch der Sterne leuchtenden Kranz, Ich will nur deiner Locken Nacht

I don’t want the splendor of the sun above, Nor the star-luminous wreath

Und deiner Blicke Glanz.

I want only your alluring locks of night And your radiant gaze.

Ebb CASSANDRA VENAGLIA In early 2019, I newly discovered poet Edna St.Vincent Millay’s work and almost immediately after discovering the poem “Ebb,” knew I had to use those words. I was struck by the imagery of the tide pools in and how she uses them as a metaphor for dying love. Tide pools, unlike the ocean, are inconsistent, constantly being emptied and filled. In this poem, the speaker is passively dying on the inside, watching the love of her life fall out of love with her as she holds on in deep sadness.

When creating this work, I sought to juxtapose the introspective sadness between an improvisatory vocalize and distorted words from the poem.

The clear glass bowl represents the tide pool and I dip my hands in and out, refilling and filling the jars, symbolizing the dissipation of love.

-Cassandra Venaglia

PROGRAM PR O G R A M NOTES NOTES

Ebb Edna St. Vincent Millay I know what my heart is like Since your love died: It is like a hollow ledge Holding a little pool Left there by the tide, A little tepid pool, Drying inward from the edge.

Contrapunctus Faseteladi JON BRENNER Contrapunctus faseteladi 1-9 is a set of nine counterpoint modules based on the cantus firmus “Fa, Se, Te, La, Di.” Each module, or section, consists of the cantus firmus and three or four lines of counterpoint. The modules can be organized in any order, and orchestrated for a number of types of ensembles. Each module should be stated at least twice when performed. In this version, the piece is structured as a mirror. This realization is orchestrated for electric piano, analogue synthesizer, bass viola da gamba, electric guitar, theremin, tubalon, and electric bass. It should be noted that both the theremin and the tubalon were built by the composer, and have made appearances at this festival in previous seasons.

These counterpoint modules were written between March 29 and April 3, 2021. It was recorded over the following 10 days, and was edited in the last week of April. This recording is available at www.jonbrenner.bandcamp.com.

Digital Environments DAVID STEVENS David Stevens and Ian Hattwick: Digital Environments for saxophone quartet and laptop performers (world premiere). Performed by the Jamaica Plain Saxophone Quartet and MIT Laptop Ensemble When conceiving a virtual concert that draws on themes of climate models, adaptations necessary to climate change, and human interactions with environments terrestrial (Dicke’s Drill Baby Drill) and extra-terrestrial (Wiese’s Wither Away), we wanted to construct an open concept piece that directly interacts with climate and weather modeling datasets.

The end result, Digital Environments, is based on climate data from the four hometowns of our quartet members—coincidentally in each of the

PROGRAM PR O G R A M NOTES NOTES

four quadrants of America. We used the data from five years between 1897 and 2100 to guide the ensemble through varied rhythmic, pitch, and lyrical cells in relation to a drone (D4).

The source data includes daily precipitation (blue graph), wind speed (yello graph), and average temperature (red graph) drawn from the Community Earth System Model (CESM). Different elements of this data were used as guides for the ensemble, such as the saxophone players using the daily temperature to guide them through pitch and rhythm material.

Each saxophonist is paired with a performer from the laptop ensemble, who influence the saxophonists’ journeys by providing real-time manipulation and control through the interpretation of wind and precipitation data. The resulting composition is therefore more inspired by the climate data as opposed to being a sonification of it.

Nonetheless, the sonic result clearly reflects that the experience of climate and climate change varies widely depending upon location.

Much of the form and character of the piece is driven by the unique qualities of each location, with North Andover dominating the winter seasons, while Bakersfield and Temple perform duets during the summer months.

Much as you might expect, Corvallis seems to play the role of the mediator throughout the piece, providing a constant and lyrical thread around which the other performers’ intersect.-David Stevens.

Selected years featured in “Digital Environments”: 1897: Arrhenius publishes first calculation of global warming from human emissions of CO2 1988: Intergovernmental Panel on Climate Change (IPCC) established 2021: “Digital Environments” was recorded 2060: Atmospheric Carbon Dioxide concentration likely to exceed 500 ppm 2100: The final date of most climate projections: See levels could rise 2-3 feet, CO2 concentration could reach 540-970ppm, and global surface temperatures could exceed 1.5-2.0 degrees Celsius above 1850-1900 (WG1AR5)

-David Stevens

All That Remains CRAIG MICHAEL DAVIS As a composer, spanning back to my years at Cal State Fullerton, I always enjoyed collaborating with dancers above all else. So, when I was invited to participate in this concert, I wanted to share a recent

P ROG RAM PR OGR A M NOT N OETSE S

collaboration that was commissioned for Modern Dance: “All That Remains.” As we grow distant from each other because of smartphones, social media, and now COVID restrictions, this work explores what connects us as humans and asks the question, “is the separation that modern technology causes really worth the cost?”

-Craig Michael Davis

The Middle Pigeons INEZ S. MCCOMAS Birds on a wire Talking with tails Chattering Chortling Like middle-school girls before class Each one is a flutter But dare not get out of sync Duos Trios They trade spaces with stories while moving together Others join Swaying the swayed Tittle Tattle These doves they squabble, but dare not move ...That is until they move together Birds of a feather Fly This is the poem found in the score to The Middle Pigeons, which composer Inez S. McComas describes thusly: “[The piece] is an auditory journey that harmonizes the life of pigeons to the likeness of middle-school girls. The inspiration for this piece began with observing a row of pigeons situating themselves on an electrical line, sawing their tails in tandem to counteract the effects of the wind.

They were sitting two by two by four, with a small space in-between.

This grouping is the opening melodic rhythm of the piece. With further thought, the above poem was born and other similarities emerged: each group a bit odd-looking, they flock together, they strut, they are used as go-betweens, and they chatter and cry.

P ROG PR O G RRAM A M NNOT OETSE S

“[These] musing [...] resulted in a piece in ABA form. The A section giggled and coos with the trombone and tuba playing along. The tuba turns to a more somber melody in the B section, but before long what was once somber becomes dramatic; worthy of a middle- school girl huddle, with all the squawking and fluttering of wings that one should expect. As all the drama eventually dies down, here too the A section returns to bring The Middle Pigeons to rest.”

-Jordan Wainright

Covering Us Like Willow Branches GEOFFREY MUNGER “This is the second movement to my larger work for wind ensemble, Shooting Stars Over City Cars. The piece is inspired by community and the celebrations that occur throughout the summer months - particularly the fireworks of Fourth of July. This movement is about the stillness that occurs during moments of respite throughout the night of the Fourth and the imagery of cascading fireworks that are so reminiscent of willow trees. There is also a playful quality to the music as I wanted to capture the essence of the light dancing on the ever-changing cityscape. This wonderful performance is by the Budapest Recording Orchestra under the baton of Zoltan Pad.” Geoffery Munger is a Southern California based composer, multi-instrumentalist, and educator.

Brain Curry KRISTIAN DE LEON Brain Curry is a three-course tasting meal featuring a trio of Thai curries in various colors. A tasting guide has been included for convenience: I. Red - A classic blend of sweet, savory, and spicy herbs and aromatics. Much of its robust flavor profile comes from a mix of red chilis and sometimes tomato paste. Red curry features a complex and rich palette that varies in intensity with a balance of natural flavors.

II. Yellow - A less spicy and far more rich alternative to red curry, based instead in turmeric, cumin, and mustard seed. Coconut milk plays a large role in contributing to this curry’s natural thickness, mild spice, and overall sweetness.

III. Green - Fresher and sweeter than the other flavors due to its main

GRAM P PRO ROG R A MN O NTOETS E S

ingredients of fresh cilantro, lime, and lime leaf. However, the inclusion of particularly tiny yet potent young green chilis may make this curry burst unexpectedly with pops of heat.

All curries will be served with a light side of fresh steamed rice and the service will conclude with an offering of light desserts.

-Kristian De Leon

The Empress CHASE CHANDLER The pull for inner resolution is immediately illustrated at the start of this piece. An unresolved emphasis of the leading tone, a pitch not traditionally left unresolved, hangs tentatively in the air and it’s unsettling function is consistently revisited. The interval presented by the opening phrase continues to develop throughout the work with only it’s very repetition (by way of direct reference, transposition, or intervallic inversion) as a source of comfort to the listener. Large vocal leaps in the main line and elongated unisons in the accompanying vocal duo, that toy with the main vocal line’s consonants, are all meant to portray a lingering pain longing for confrontation and resolve.

Long pauses between the text where broadening moments evolve and shift invoke a quiet solitude around changing circumstances that neither gain concrete direction nor feelings of momentous progress.

Many opposing forces weave and dance throughout this piece, painting an emotional landscape of vivid imagery and uncontrolled impulses expressed by the character.

As the piece continues to uncover a conflicted acceptance of ongoing pain, whether or not there is a perceived solution to the situation presented by the text, the importance of “home” is meant to leave the listener in a state of bitterwsweet resolve. Rarely, if ever, is the opening conflict ever settled. The only resolution for this piece is ending in a similar way as its troubled opening, by approaching the leading tone by downward descent (which is also inverting the opening interval of a major-7th). And the very familiarity of th is pitch’s dorant function relsuctantly acts as a sliver of calm to both the character and the listener.

-Chase Chandler

Drug Trip (from Sock Town)

the very familiarity of th is pitch’s dorant function relsuctantly acts as a sliver of calm to both the character and the listener.

PROGRAM NOTES PROGRAM NOTES

-Chase Chandler

Drug Trip (from Sock Town) ANDREW WILCOX

Sock Town: A Film Noir Sock Puppet Musical is my Master’s Thesis, an examination of noir musical tropes, and a collaboration between the Bob Cole Conservatory and the Long Beach theater community. “The Drug Trip” happens late in the musical, where a vial of an experimental drug is unleashed into the room, turning all of the room’s inhabitants into sock puppets. In noir fiction, there are multiple examples of a character being drugged by one of the villains of the story. In Sock Town, I wanted to extend one of these sequences musically into a mini multi-movement work which spans around seven minutes altogether. Because it revolves around a serum focusing on transformation into a piece of clothing, each of the movements is based around the wash and dry cycle for laundry.

The first movement is based on the wash cycle, and is largely improvisatory based on a few simple ideas in the score. The second movement is based on the lathering of the clothes, and is nearly completely notated with the exception of a vocal solo. The final movement represents the drying cycle, and like the first movement, consists mostly of guided improvisation, but with a couple notated elements taken from the previous movement. The music inevitably falls into madness at the end, before suddenly stopping. The last thing we hear is the fading trumpet march from the second movement.

In order to record this during COVID-19, it was necessary to carefully plan a live recording. Using a combination of Zoom and Cleanfeed, I was able to successfully record all of the players individually at a high quality while still being able to conduct them. It was later edited to become more tight, and to implement both electronics and found sounds. Sock Town is a completed work, and can be accessed at the following link: https://www.youtube.com/watch?v=dXjDa3jcflo

- Andrew Wilcox

OU HE E CCOOMM PO RE SRS A BAOBU T T TTH PSOES

Jeff Gumpertz Jeff Gumpertz is an American horn player currently residing in Glasgow. He received a Bachelor of Music degree from California State University, Fullerton in 2019 and a Master of Music degree from the Royal Conservatoire of Scotland in 2021. As well as performing, Jeff is an avid educator and arranger, working to bring music into the community through public performances and outreach programs. In the summers, Jeff returns to his hometown in the San Bernardino Mountains at Arrowbear Music Camp, where he inspires young people to find community through music.

Steven Homestead Steven Homestead brings genre-spanning creativity to life, whether composing music, leading community art projects, writing and speaking on creativity, or curating generative events. Overall, Steven works to promote honor, give voice, share wonder, and develop unity.

Recent performances include choral premieres under the direction of Dr. Christian Guebert, chamber work performances with Newgate Orchestra and Chase Chandler, and vocal collaborations with soprano Linda Jackson.

As an arts leader, Steven has served as the President of the American Composers Forum of Los Angeles over the past four years, during which he helped to launch the inaugural Compose LA Festival. Additionally, he served as a board member for Choral Arts Initiative, one of the nation’s premiere new music choirs.

Steven has led numerous community art projects that have engaged participants at the Festival of Arts in Laguna Beach, at the Santa Ana Art Walk, on the streets of Altea, Spain, and in spaces of Berlin, Germany.

Solo art projects have been featured at Fuller Theological Seminary, TEDxMission Viejo, and across Southern California.

Most recently, Steven was the guest curator for the Boca de Oro Festival, Orange County’s literary arts festival, where he welcomed Marc Bamuthi Joseph and numerous other guests to share creativity, place, and voice.

Discover more at stevenhomestead.com and on Instagram: @scubahomie.

A BABOUT O U T TTHE H E COMPOSERS COMPOSERS Cassandra Venaglia Cassandra Venaglia is a Latinx Los Angeles-based interdisciplinary composer and vocalist. Venaglia is known for her integrated use of theatre, spoken word, guided improvisation and evocative sound worlds.

In the past couple years, she’s added performance art as part of her practice. She is inspired by the work of Ulay and Marina Abramovic and the 20th century multi-genre art group known as Fluxus. In early 2019, Venaglia participated in renowned living Fluxus artist Allison Knowles’ rendition of “Make a Salad” as part of the LA Phil’s Fluxus Fest and made a giant salad on the Walt Disney Concert Hall stage for 400 people. Venaglia’s recent notable performances include “Experiment with Haikus,” selected as part of the Genre Lines concert for the Nief-Norf Festival in Knoxville, TN and “Ebb” at Art-Share Center in Los Angeles, CA. Venaglia received her MM in composition and theory from NYU Steinhardt in 2018. When she’s not creating, she’s playing with her two kittens, practicing yoga, cooking, and gardening.

Jon Brenner Jon Brenner is a composer and musician who specializes in both new and old music. His works include music for soloists, chamber ensembles, large ensembles, orchestra, film, television, theatre, and art installations.

Instrumentally, Jon plays primarily electric bass, and also plays all keyboard instruments, guitar, percussion, and viola da gamba, among other instruments. Jon holds degrees in Music Composition and Theory from Mills College, and California State University, Fullerton. In addition to music, he enjoys art, cooking (and eating), and making wine with his beloved. Jon is also the resident Music Director for Lesser-Known Players. His work is self-published through klomp music (ASCAP). Jon currently resides in Washington.

For more info, visit www.jonbrenner.com. For recordings, please visit jonbrenner.bandcamp.com.

David Stevens David Stevens is a Boston-based saxophonist and multifaceted musician, with a diverse career as a performer, educator, and music administrator. As a saxophonist and woodwind doubler, he is active in classical, New Music, jazz, musical theater, and improvisation. He is a founding member of the Jamaica Plain Saxophone Quartet and performs regularly with this group in the greater Boston area. Notable

A BABOUT O U T TTHE H E COMPOSERS COMPOSERS performances include engagements at Boston Conservatory’s Guest Artist Series, the Museum of Fine Art, Jordan Hall, the Cambridge Science Festival, and the Boston New Music Festival. He has performed as a woodwind doubler at the American Repertory Theater, Wheelock Family Theater, The Company Theatre (Norwell), Boston Children’s Museum, and regional theaters throughout Massachusetts.

David is the saxophone instructor at Gordon College and has taught saxophone, flute, clarinet, music theory and composition at All Newton Music School, Powers Music School, and in his private studio. He has facilitated educational outreach with the Landmark’s Orchestra, Boston Philharmonic Orchestra, North End Music and Performing Arts Center (NEMPAC), and Eureka Ensemble. As an administrator, David has extensive experience in ensemble management, technical and concert production, and artist management. Currently, he works in MIT’s Music and Theater Arts Department, manages composer Robert Honstein, and assists Christopher Cerrone, Stratis Minakakis, and Charles Shadle. As a former live-in assistant to Gunther Schuller, David is active in preserving his legacy through writings, performing, and researching, and is one of the founding members of the Gunther Schuller Society.

David holds a Bachelor’s degree in music from California State University, Fullerton, where he was a President’s Scholar and graduated summa cum laude, and a Double Masters Degree in Saxophone Performance and Music Theory from New England Conservatory. His teachers include James Rotter (saxophone), Ken Radnofsky (saxophone and clarinet), Deborah Stein (theory), Brian Levy (jazz saxophone), Alan Durst (saxophone), Tracy Harris (flute), and Gary Scudder (saxophone).

Visit www.davidmonroestevens.com for more information.

Craig Michael Davis Craig Michael Davis, from the class of 2014. While he was a student, here, at Cal State Fullerton, he studied with the late, great Dr. Lloyd Rodgers, who taught him almost everything he knows about counterpoint and composing. After he left CSUF, he had a great opportunity to move to New York City, to pursue a Master’s Degree at NYU, and then a Doctorate at Indiana University’s Jacobs School of Music where he is now on faculty, teaching music theory, composition and film scoring.

A BABOUT O U T TTHE H E COMPOSERS COMPOSERS Jordan Wainright Jordan is a musician, arranger, and educator based in Southern California. She has a Bachelor of Music in Trombone Performance from the University of Southern California, and recently completed her Masters in Trombone Performance at California State University, Fullerton. She demonstrates great versatility in her trombone playing, performing in ensembles ranging from local orchestras and opera pits, to salsa bands, rock bands, and jazz groups.

Although she grew up in a musical household, Jordan had no intentions of becoming a musician...until the trombone chose her. In the years since, Jordan took advantage of unimaginable performance and work opportunities, from competing in international competitions, performing at Disney Hall, and recording at Capitol Records, to arranging music for professional theater companies and appearing in film and television.

Currently, Jordan works as an instrumental coach for multiple high school bands in the greater Los Angeles and Riverside metropolitan areas. She also teaches private trombone and euphonium lessons Geoffery Munger As a composer, Geoffery strives to combine his experiences, both spiritually and personally, to create music that is meditative, enticing and honest. Geoffery draws his musical inspiration from small, everyday instances and sounds. He also draws upon his upbringing in a lowerclass family on the Mexican border town of Holtville, California where the sounds of mariachi, jazz, and punk rock permeated his youth and influenced his musical palette. Munger has written for a wide range of performance forces from solo works to large, staged dramas and strives to meld the world of popular music with concert music.

He received his B.M. in Music Composition from Cal State, Fullerton in 2013, studying with the late Dr. Lloyd Rodgers and received his M.M. in Music Theory and Composition in 2016 from the same institution where he studied with composers, Dr. Pamela Madsen and Dr. Ken Walicki. He is currently finishing his DMA in Composition from Claremont Graduate University where he studies composition with Dr. Peter Boyer.

Geoffery resides with his wonderful operatic soprano/librarian wife and three cats in Fullerton, CA.

A BABOUT O U T TTHE H E COMPOSERS COMPOSERS Kristian De Leon Kristian de Leon (b. 1997) writes colorful works that explore the “in-betweens” in the world of contemporary classical music. Drawing from a wide mix of influences, he writes with a driving, spirited force that focuses on bringing a fresh perspective to the medium. Kristian graduated from the California State Fullerton, School of Music with a Bachelor’s of Music in Percussion Performance in 2019, and is currently pursuing a Master’s of Music in Theory and Composition at NYU Steinhardt, studying under Michael Gordon and Shelley Washington.

Chase Chandler Chase Chandler composes with a unique combination of beautiful color-timbres, fearless counterpoint, and organic musical development, drawing inspiration by challenging traditional melodic emphasis with functional dramatic texture and rhythmic integrity.

In recent years, Chandler’s works has been performed nationally and internationally by groups such as the PHACE Ensemble in Vienna, UNICAMP Percussion Ensemble in Sao Paulo, the Eclipse Quartet in Fullerton, CA, as well as the Humboldt Brass Chamber Music Workshop, the Aperture Duo, Divan Consort, and the CSUF Percussion Ensemble. In June 2019, while attending a masterclass hosted by the Vienna Summer Music Festival in Austria, Chandler’s violin solo, Shoreline Avulsion, was selected and performed by Irvine Arditti.

After leading the PSYWE as principal trumpet in 2008 and 2009, winning first place in POSA’s 8th Annual Vocal Competition in 2014, and gaining contemporary conducting and event organization experience through Newgate Chamber Orchestra (his own contemporary chamber group and 501(c)(3), non-profit organization in Southern California from 2016 to 2018), Chase was awarded the Area Award for Graduate Composition at CSUF in 2017. Recent projects include four selfpublished albums, a 2019 published 330-page SciFi novel, and a 4-movement string quartet entitled, Between the Far Spaces, recorded

by Esessions Strings set to release in 2021.

Chase graduated with an AA at Saddleback College, a BA at Concordia University, Irvine, and an MM at Cal State University, Fullerton and currently studies with Dr. Justin Dello Joio, professor at The Juilliard School and faculty Composer-in-Residence at NYU.

A BABOUT O U T TTHE H E COMPOSERS COMPOSERS Andrew Wilcox Andrew Wilcox was born into a non-musical family, but, after joining a choir in elementary school, he caught a love for the art of making music.

He would perform in various choirs and musicals until he reached Long Beach City College, where he studied with Dr. Roger Przytulski, and decided to take up composition.

He would continue his musical education at California State University, Fullerton, where he studied with Dr. Ken Walicki, Dr. Lloyd Rodgers, and Dr. Pamela Madsen. After graduating, he began a career as a composer and sound designer for theater, cartoons, and video games.

Andrew has had his music played by the Moscow Contemporary Music Ensemble, The CSUF New Music Ensemble, and the Newgate Ensemble.

He has also had his music frequently featured at the Long Beach Playhouse, STAGEStheatre, and All The World Wide Web’s A Stage for various productions.

Andrew is currently attending California State University, Long Beach, and will be graduating with a Master’s in Composition in 2021, after which he plans to study for his doctorate.

R E G I O N A L F O C U S | N AT I O N A L I M PA C T

INSPIRING TITANS TO REACH FORWARD The College of the Arts creates a unique learning environment, encouraging individual achievement and artistic expression in 2,700+ student artists, performers, and scholars.

As a college, we inspire our students to reach not only higher but forward as they take steps toward realizing their full potential as artists and innovators through a rich variety of artistic opportunities. This takes exceptional faculty members, state of the art facilities, and support from community members like you.

The Dean’s Fund for Excellence provides resources for students to engage with leading artists through masterclasses and artists’ residencies; travel to competitions and workshops; and the practical application of industry-standard technology and equipment in the classroom, all of which have a huge impact on the educational experience of our students.

Change the lives of these aspiring artists by making a gift of any amount to the Dean’s Fund for Excellence.

G E T I N V O LV E D . G I V E T O D AY !

Ann Steichen, Director of Development 657-278-7124 • asteichen@fullerton.edu Thank you for giving your time and financial support to the student artists who have created this performance for you.

G I V E O N L I N E arts.fullerton.edu/giving

California State University, Fullerton • College of the Arts

DONOR APPLAUSE

The College of the Arts extends its heartfelt gratitude to the following patrons who have supported our students and programs this past year through a generous gift of $1,000 or more to the College, the School of Music, Department of Theatre & Dance, and/or the Department of Visual Arts.** $50,000+ Anonymous Lori & John Loftus MAMM Alliance Music Associates Dwight Richard Odle Estate Orange County Community Foundation $25,000+ Art Alliance Lee C. Begovich Johnny Carson Foundation Leo Freedman Foundation Mary A. Lyons Alan A. Mannason Estate Terri & Bob Niccum Frank J. & Jean Raymond Andrea J. & Jeffrey E. Sward $10,000+ Affordable Housing Access Inc. Anonymous Brite Ideas, Inc. California Bank & Trust Marilyn Carlson Darryl Curran Friends of Jazz, Inc Michael Horn Isabel G. James Robin & Steve Kalota Morningside of Fullerton Eleanore & James L. Monroe Ann & Douglas Myles Dr. Katherine S. Powers & Håkan O. Rosengren Christine A. Rhoades Mary & William Sampson Ann & Thad Sandford Donna L. & Ernest W. Schroeder Sue & Dr. Edward A. Sullivan Dr. Marc R. Dickey $5,000+ Daniel Barsky Terry D. Ching Jones Edward

MaryLouise & Ed Hlavac Ellen M. & William A. Groves Karen & Todd Miller Nancy J. & Robert F. Rennie Jeanie Stockwell OC Alumni Assoc Phi Mu Alpha Sinfonia $1,000+ Barbara Arms Drs. Voiza & Joseph Arnold Judy Atwell Lois Austin Katherine M. & David J. Baab Tanya Michnevich Bracco Janet & Allan Bridgford Jane & Vincent Buck Julia A. Christy Harriet & William S. Cornyn Wanda Lau & William H. Cunliffe Jane Deming Fund Susan & Richard Dolnick Lisa M. Draskovich-Long Lucetta A. Dunn Shawna & Greg Ellis Desiree Engel John R. Fisher Jacquelyn Garrabrant Annette L. & Leon J. Gilbert Dr. Mark J. Goodrich Barbara Gregory Jill & Christopher Gwaltney Theresa Harvey Bruce A. Healey James L. Henriques Dr. Dean W. Hess Patricia J. Hicks Frank A. Hinojoz Adleane & Dr. Jerome Hunter Beth & Robert Jahncke Catherine Jeckovich Michelle Jordan Sandy & Norm Johnson Joven Orozco Gretchen Kanne Gladys M. Kares Ray Kawase Barbara Kingsbury

Meredith Kleinman Eugene Laroff Marilyn Little John M. Martelli & Paul Coluzzi Karen & George Mast Irene & Mac McCormick Thelma & Earl Mellott Patricia & Carl Miller Mary E. Moore Norma Morris Lucina Moses Music Teachers’ Association of California Ujinobu Niwa Debra L. Noble Jill Kurti Norman Deanna & Arie Passchier Geoffrey S. Payne Kerry and John Phelps Phi Mu Alpha SinfoniaOmicron Pi Chapter The Presser Foundation Sharon & Dr. Anil K. Puri Mary & Jerry Reinhart Robin Riggle Dr. Stephen M. Rochford Sandra Rhone Cassandra Sanders-Holly Ann & Thad Sandford Jim & Lahoma Schulze D. Barry Schmitt Merle Sepel-Wagner Louise Shamblen Martha & Bill Shaver John Short Ingrid R. Shutkin Janet L. Smith Dodo V. Standring Douglas G. Stewart Elizabeth G. Stiles Dale Raoul & Raymond L. Thompson Tom & Carolyn Toby Tam T. Tran John Van Wey Verne Wagner Debra Winters Abel A. Zeballos Dr. Wayne Zemke

Very special care has been given to the preparation of this donor listing.

Please contact Ann Steichen at (657) 278-7124 with questions or concerns. **Gifts received from July 1, 2019 through October 2020

ONTIVEROS SOCIETY The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. Our deep appreciation is extended to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts: Anonymous Lee & Dr. Nicholas A. Begovich* Gail & Michael Cochran Marc R. Dickey 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 Dwight Richard Odle*

Sherry & Dr. Gordon Paine Dr. June Pollak & Mr. George Pollak* Mary K. & William Sampson Douglas G. Stewart Andrea J. & Jeffrey E. Sward Richard J. Taylor Verne Wagner Richard Wulff Dr. James D. & Dottie Young*

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

VOLUNTEER SUPPORT GROUPS

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 & Vincent Preece* John DeLoof

Joann Driggers & Steve Collier Loraine Walkington

MAMM ALLIANCE: The MAMM Alliance for the Performing Arts unites like-minded members who enjoy fun and fellowship, while benefiting the students through underwriting visiting artists, special theatre, dance and music performances, and other unique experiences.

Special support and event underwriting Judy Atwell Drs. Voiza & Joe Arnold Ebell Club of Fullerton

Dr. Margaret Faulwell Gordon Norma Morris Richard Odle Estate

Kerry & John Phelps Jeanie Stockwell Verne Wagner

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 & Jack 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: Ann Steichen • 657-278-7124 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: Student Scholarships Unrestricted Gifts Designated Gifts

Endowment Support Planned Giving

Support Group membership Dean’s Fund for Excellence

GET INVOLVED GIVING.FULLERTON.EDU

music.fullerton.edu