Bill Cunliffe jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga* jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
PIANO, ORGAN, PIANO PEDAGOGY
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class piano
Dr. Robert Watson piano
MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL
Dr. Christopher Peterson choral
Dr. Gregory X. Whitmore* instrumental
MUSIC IN GENERAL EDUCATION
Dr. John Koegel*
Dr. Katherine Reed
MUSIC HISTORY AND LITERATURE
Dr. Vivianne Asturizaga musicology
Dr. John Koegel* musicology
Dr. Katherine Reed musicology
STRINGS
Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko cello
Dr. Ernest Salem* violin
THEORY AND COMPOSITION
Dr. Hesam Abedini composition, theory
Dr. Pamela Madsen composition, theory
Dr. Ken Walicki* composition, theory
VOCAL, CHORAL, AND OPERA
Dr. Robert Istad* Director of Choral Studies and University Singers conductor
Dr. Kerry Jennings* Director of Opera
Dr. Christopher Peterson CSUF Concert Choir and Singing Titans conductor
Dr. Joni Y. Prado* voice, academic voice courses
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis* flute
Sycil Mathai* trumpet
Ken McGrath* percussion
Dr. Gregory X. Whitmore
University Symphonic Winds conductor
Michael Yoshimi* clarinet
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 spring 2026 events season at Cal State Fullerton’s College of the Arts. We have been hard at work in every classroom, practice room, and studio across campus preparing to share new sounds and bold creativity with all of you. We are thrilled you are here.
Our students and their success form the core of our purpose in the College of the Arts but unlike their counterparts in other colleges, their paths are not solely formed through classroom learning; they are revealed in the moments when talent meets opportunity. Like when a dancer attends an intensive, or when a musician travels abroad on tour, or an actor or artist is mentored – this is where promise is transformed into possibility. The Dean’s Fund for Excellence gives students access to meaningful experiences like these and many more, including masterclasses, research opportunities, materials, and professional conferences. You can help ensure creativity isn’t limited by circumstance. Consider a gift of any amount to the Dean’s Fund for Excellence today.
This spring semester is brimming with performances and exhibitions for all to enjoy –some that will make you laugh and others that will make you think. In the School of Music, Sibarg Ensemble, featuring our own Hessam Abedini, explores the musical intersections of Iranian music and jazz on February 20. In April, Benjamin Britten’s comic opera “Albert Herring” follows the shy, virtuous title character as he rebels against his prudish upbringing. Join us in the Little Theatre beginning March 5 for the musical “Once Upon a Mattress” – an uproarious sendup of Hans Christian Anderson’s fairytale, “The Princess and the Pea.” If you’re craving something completely different, Eugène Ionesco’s “Rhinoceros” opens March 19 to hold a mirror to the absurdity of mob mentality and the struggle to maintain individuality in the face of mass hysteria. And in late spring, our dancers and choreographers return to demonstrate their inimitable power and grace in “Spring Dance Theatre.”
Across the walkway from where you’re seated are the College of the Arts Galleries. You can still catch exhibitions from Soo Kim and Carol Caroompas until May, or stop by the galleries on Wednesdays for our bi-weekly Student Galleries opening receptions. They are always full of energy, and you might even find student artwork to purchase and take home!
Whether you’re returning to our venues or here for the first time, we are so excited to present another season to you. Thank you for joining us.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
SCAN THIS QR DONATE TODAY TO THE DEAN’S FUND FOR EXCELLENCE
CSUF NEW MUSIC SERIES
presents
This year the New Music Series celebrates “The Space Between”—between genre, gender, form, instrumentation, venue, and medium. We launch the series with a concert of Approaches and Departures, featuring Molly Pease, vocalist and composer, with extraordinary CSUF alumni pianist David Bergstedt premiering a new work by faculty composer Pamela Madsen. The season includes a tribute to founding guest composer-Deep Listener Pauline Oliveros.
The genre and time period spanning season features ModernMedieval vocal trio; pianist Inna Faliks; Brightwork newmusic “Ring of Fire” Quartet for the End of Time ensemble; Sarah Cahill, pianist, in celebration of Terry Riley’s 90th birthday with CSUF New Music Ensemble; Nicholas Isherwood, bassbaritone, in an experimental concert of The Electric Voice; and Sibarg Ensemble, directed by our new faculty composer Hesam Abedini, exploring intercultural music as wide as Persian music, jazz, and free improvisation.
Dr. Pamela Madsen, director
Dr. Hesam Abedini, assistant director
Dr. Eric Dries, new music ensemble director
Dr. Ken Walicki, composers forum director
Ring of Fire:
Music from Around the Pacific
California sits on the eastern edge of the Pacific Ring of Fire, a vast circle of volcanoes and seismic energy encompassing nearly 75% of the planet’s active volcanoes. Brightwork embarks on a musical voyage across this ring—from Peru to Cambodia—revealing the interconnected voices and rhythms of cultures that share this dynamic boundary.
Hilos
I. Canto del Altiplano
II. Zapatos de Chincha
III. Charanguista Viejo
IV. Danza de los Diablos
V. Zumballyu
VI. Juegos
VIII. Bombines
Starry Adventure: Andromeda .............................................................Pamela Madsen with the CSUF New Music Ensemble
Starry Adventure: Ad Astra (to the stars) ..............................................Pamela Madsen with the CSUF New Music Ensemble
I. Prelude
II. Undone
III. Interlude. Molto espressivo
IV. In Place(s)
Gabriela Lena Frank
PROGRAM NOTES
Spiral VI
CHINARY UNG
Spiral VI is the sixth work in succession that follows a metaphorical spiral through a multiple series of manipulations if the two versions of Grand Spiral (for symphonic band and later for orchestra) are counted as two separate pieces. It is scored for violin, clarinet, cello, and piano, and was commissioned by Harold Newman for the Aeolian Chamber Players in 1992. It had its world premiere that same year by this group in Strasbourg, Germany. Each of Ung’s spiral pieces is similar in that they all have individual notes or phrases that are constantly being reworked, but each is unique and, according to where they fall in the color spectrum (blue-yellow), display different shades of “green.” Both Asian and Western elements are readily discernible in Spiral VI, probably one of Ung’s best examples of achieving a true integration of these ideas. Spiral VI begins with a rapid series of intervals outlining a diminished seventh, establishing a firm ground on C-sharp. This pattern is heard once more toward the end with a softer perfect fifth interval and a cadence on G. From the initial C-sharp the piece moves forward through a progression of pitches, enunciated by the piano, that function as harmonic spheres. It is no accident that this progression outlines a diminished fifth, an interval used repeatedly in Spiral VI. A soulful violin solo that briefly recalls pre-atonal Schoenberg (Verklärte Nacht comes to mind) winds sinuously over a veiled heterophonic texture and is eventually picked up by both the clarinet and cello. There are just enough exotic sonorities to add an interesting contrast to the traditional Western notation. Most of these effects occur in the violin and piano. For example, the piano player is directed to “scrape” the ground string on several occasions. Playing near or over the bridge, occasional note bending,
and the use of high harmonic glissandos are part of this exotic mix. Spiral VI is constantly changing, expanding, or contracting, and has been described as having a “floating” feeling despite its precise rhythmic notation.
-John Kays
Hilos
GABRIELA LENA FRANK
Hilos (Threads, 2010), written for the ALIAS Chamber Ensemble, is scored for clarinet, violin, cello and piano. Alluding to the beauty of Peruvian textiles, both in their construction and in their pictorial content of everyday life, the short movements of Hilos are a kind of Peruvian “pictures at an exhibition.” Players are mixed and matched in various combinations, and draw on a myriad of sounds evocative of indigenous music. These include fanciful pizzicatos and widely-spaced tremolos suggesting guitar-like instruments, strong attacks and surging releases suggesting zampona panpipes and quena flutes, glissandi and scratch tones suggesting vocal coloristic effects, and so forth. The movements are:
1. Canto del Altiplano (Songs of the Highlands): A bold piano opening of tremolos sets up rhapsodic lines decorated with the strong attacks and releases one would hear in highland wind instruments.
2. Zapatos de Chincha (Shoes of Chincha): This light-footed movement is inspired by Chincha, a southern coastal town known for its afro-peruano music and dance (including a unique brand of tap). The cello part is especially reminiscent of the cajon, a wooden box that percussionists sit on and strike with hands and feet, extracting a remarkable array of sounds and rhythms.
3. Charanguista Viejo (Old Charango Player): The charango, a ukulele-like instrument traditionally constructed with
an armadillo shell, is evoked through tight broken chords and odd tremolos in the piano part alongside quick pizzicato notes in the violin. The violin also has a highly emotional melody line decoration with hints of scratch tones to convey the sounds of an old man’s voice as he accompanies himself singing.
4. Danza de los Diablos (Devil Dance): A tribute to the devil dances of the southern Puno regions of Peru, this movement features “stompy” rhythms, quick dissonant grace notes and a general boldness of spirit.
5. Zumballyu (Spinning Top): A musical depiction of a popular children’s toy in Quechua Indian culture.
6. Juegos (Games): A romp inspired by the teasing games that children play.
8. Bombines (Bowler Hats): A humorous dance in homage to the ubiquitous bowler hats worn by mountain women. The “karnavalito” rhythm punctuates throughout.
Starry Adventure: Andromeda (2026)
PAMELA MADSEN
Starry Adventure is a collection of works for Brightwork newmusic and HEX Vocal Ensemble, slated for completion in 2026-2027. This composition evolves from my NEA Awarded Oratorio for the Earth (2022) and Opera America Awarded Why Women Went West (2022-2023), drawing inspiration from the life and writings of Mary Hunter Austin, an American pioneer, mystic,
and author. The work delves into mystical visions, sonic revelations, and spiritual insights, inspired by Austin’s book “Christ In Italy” (1912). Her travels to Italy prompted a re-evaluation of her approach to art, religion, and spirituality in the American Southwest. Starry Adventure retraces this journey through the visions of American creative artists, connecting Austin’s fiction, spiritual insights from Italy, and the New Mexican modernism/primitivism movement in the arts. This exploration focuses on the “optic of enchantment,” a visual and auditory experience of the divine in the West through image, music, and text.
This work is based upon star map of the skies I observed in the desert over Anza Borrego State Park on the dark skies nights. I took photos of the Andromeda constellation, along with broad sweep of the Milky Way to create the graphic mapping of this score.
This work tells the story of Andromeda (violinist) in chains: the Angry Poseidon (pianist), imprisons her as sacrifice to Cetus the Sea-monster (cellist) who threatens her and Perseus, the heroic suiter (clarinet) who rescues her and escapes to Greece to marry her.
The graphic star map score is a realtime starry adventure—a drama created for Brightwork quartet to choose their own pathways on a star-map score to enact the story of Andromeda’s rescue. The stars are created from viewing the
Adromeda constellation and Milky Way and drawing this star map on manuscript paper to serve as grid for unfolding drama.
“Andromeda” is a star map composition, created by tracing a sonic map of star points of the constellation Adromeda
Andromeda
by Gerard Manley Hopkins
Now Time’s Andromeda on this rock rude, With not her either beauty’s equal or Her injury’s, looks off by both horns of shore, Her flower, her piece of being, doomed dragon’s food. Time past she has been attempted and pursued By many blows and banes; but now hears roar A wilder beast from West than all were, more Rife in her wrongs, more lawless, and more lewd.
Her Perseus linger and leave her to her extremes?— Pillowy air he treads a time and hangs His thoughts on her, forsaken that she seems, All while her patience, morselled into pangs, Mounts; then to alight disarming, no one dreams, With Gorgon’s gear and barebill, thongs and fangs.
Starry Adventure: Ad Astra (to the stars) (2025)
PAMELA MADSEN
“Ad Astra (to the stars),” a sonic mandala composition creating a sonic map of stars points, exploring the concept of Deep Listening. initially
mapped on manuscript paper as a transcript of the stars during the Vernal Equinox in the Anza Borrego Dark-Sky Deserts, with a setting of opening text from Mary Austin’s final novel, “Starry Adventure”
-Pamela Madsen
From Starry Adventure (1931)
by Mary Hunter Austin
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.
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.
Lost on Chiaroscuro Street ANDY
AKIHO
Commissioned for Music@Menlo by Trine Sorensen in celebration of Michael Jacobson’s 60th birthday. It had its World premiere performance at Music@ Menlo in Atherton, California, on May 21, 2017, by Wu Qian, Alexander Sitkovetsky, Mihai Marica, and David Shifrin.
ABOUT THE COMPOSERS
Chinary Ung
Born in Cambodia in 1942, Chinary Ung came to the US in 1964 and received a Bachelor’s and Master’s degree in clarinet and conducting from the Manhattan School of Music. He later studied with Chou Wen-Chung and received a DMA in composition from Columbia University in 1974. He has been Professor of Composition at The University of California at San Diego since 1995, but he has previously taught at Northern Illinois University, Connecticut College, University of Pennsylvania, and Arizona State University.
Ung’s work has been honored by multiple institutions, including The Academy of Arts and Letters, Meet the Composer/Reader’s Digest Commissioning Program, The National Endowment for the Arts, and the Guggenheim, Koussevitsky, Ford, Rockefeller and Barlow Foundations. In 1989, Ung was the first American to receive the international Grawemeyer Award for his orchestral tone poem Inner Voices. Many chamber ensembles have commissioned and performed Ung’s works, and he has received performances by the Philadelphia, Louisville, Pittsburgh, and National Symphonies as well as the American Composers Orchestra and the symphonies of Tokyo, Sydney, and Basel, Switzerland. Ung is a scholar on the traditional music of Cambodia and Southeast Asia and lectures widely across the country and abroad on both his native music and his compositions. He is the founder and President of The Khmer Studies Institute which has sponsored publications, videotapes, as well as several recordings put out on the Folkways label. Ung has had compositions recorded on the CRI, New World, and Argo labels. His most recent works include Rising Light, a large work
for double choruses, piano, soloists and orchestra and commissioned by the International Festival-Institute at Round Top, Texas; and Radiant Samadhi, a choral work for the Tokyo Philharmonic Chorus.
Gabriela Lena Frank
Included in the Washington Post’s list of the 35 most significant women composers in history, cultural heritage has always been at the center of composer/pianist Gabriela Lena Frank’s music. Born in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/ Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Bela Bartók and Alberto Ginastera, Frank is something of a musical anthropologist. She has traveled extensively throughout South America and her pieces often reflect and refract her studies of Latin American folklore, incorporating poetry, mythology, and native musical styles into a Western classical framework that is uniquely her own.
Pamela Madsen
Pamela Madsen is a composer, performer, writer and curator of new music. From massive immersive concertlength projects, solo, chamber music to multi-media opera collaborations her work explores issues of social change, image, music, text and the environment. With a Ph.D. in Music Composition from UCSD, Yale University, Deep Listening with Pauline Oliveros, her research focuses on the evolution of compositional thought, improvisation, electronic music, and women in music. With commissions and premieres by
ABOUT THE COMPOSERS
Brightwork newmusic, HEX, JACK, Ethel, Lyris, Formalist, Arditti string quartets, Los Angeles Percussion Quartet, Bugallo-Williams Piano Duo, Ashley Bathgate, Claire Chase, Anne LaBerge, Jane Rigler, Eleonor Sandresky, Kathy Supove, loadbang, Bent Frequency, ModernMedieval, Galan Trio, Stacey Fraser, Molly Pease, Nicholas Isherwood, ISCM League of Composers Orchestra, and Opera Laguna, multi-media collaborations with Quintan Ana Wikswo, Camille Seaman, Jimena Sarno and Judy Chicago.
Madsen’s major concert-length projects include her Opera America, National Endowment for the Arts, and New Music USA Awarded Opera Why Women Went West, and Oratorio for the Earth. Selected as Huntington Library Mellon Fellow, Alpert Award Panelist, Creative Capital artist “on the radar,” with Residency awards from Copland House, American Scandinavian Foundation, MacDowell, UCross, Women’s International Studies Center, Wurlitzer, she is Professor of Music Composition, Director of New Music Series at Cal State Fullerton.
www.pamelamadsenmusic.com
Andy Akiho
ANDY AKIHO is a “trailblazing” (Los Angeles Times) Pulitzer Prize finalist and seven-time GRAMMY®-nominated composer whose bold works unravel intricate and unexpected patterns while surpassing preconceived boundaries of classical music. Called “increasingly indemand” by The New York Times, Akiho has earned international acclaim for his large-scale works that emphasize the natural theatricality of live performance. He is the only composer to be nominated for a GRAMMY® in the Best Contemporary Classical Composition category in 2022, 2023, and 2024.
Aron Kallay, piano and Artistic Director
Shalini Vijayan, violin
Brian Walsh, clarinet
Maggie Parkins, cello
Brightwork Ensemble is a classical new music septet based in Los Angeles, California. 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.
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special care has been given to the prepartion of this donor list. Questions or concerns, please contact: Dominic Mumolo | 657-278-7695 Gifts received from July 1, 2023 to December 31, 2024 |
ONTIVEROS SOCIETY
The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts.
ANONYMOUS
JOHN ALEXANDER
LEE & DR. NICHOLAS A.* BEGOVICH
MARC R. DICKEY
JOANN DRIGGERS
BETTY EVERETT
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GRETCHEN KANNE
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ANNE L. KRUZIC*
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STAN MARK RYAN ‘75
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SUPPORT GROUPS
ART ALLIANCE promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.
Website arts.fullerton.edu/aa
MUSIC ASSOCIATES maintains a tradition of active involvement and community support and raises scholarship funds for School of Music students through annual fundraising events and membership dues.
MORE INFORMATION Dominic Mumolo, Senior Director | dmumolo@fullerton.edu
shape the future of the arts
The College of the Arts at Cal State Fullerton is one of the largest comprehensive arts campuses in the CSU system. We proudly serve as an academic institution of regional focus with national impact that combines rigorous arts training with cross-disciplinary exploration to encourage the artistic expression and individual achievement of thousands of students throughout the arts every day.
Our students’ success increasingly depends on the support of our community. More of our students are facing significant challenges to their ability to continue their education. Be part of the solution! We invite you to support the Dean’s Fund for Excellence. Help provide students with the education, the tools, and the opportunities to succeed both on campus and off.
Empower our students to become the successful creative professionals our economy so desperately needs! Consider making a gift of any amount to the Dean’s Fund for Excellence today.
COLLEGE OF THE ARTS • SELECT EVENTS | SPRING
ModernMedieval Voices
February 14, 2026, at 8 PM
Meng Concert Hall
Sibarg Ensemble*
February 20, 2026, at 8 PM
Meng Concert Hall
Inna Faliks, piano*
February 25, 2026, at 8 PM
Meng Concert Hall
Joel Balzun, baritone
February 25, 2026, at 8 PM
Recital Hall
Haochen Zhang, piano
February 28, 2026, at 8 PM
Recital Hall
Brightwork newmusic: Ring of Fire
March 4, 2026
Meng Concert Hall
Once Upon a Mattress
March 5–14, 2026
Little Theatre
19th Annual Collage Concert & Benefit
March 14, 2026, at 3 PM
Meng Concert Hall
Sarah Cahill, piano*
March 18, 2026, at 8 PM
Meng Concert Hall
Rhinoceros
March 19–28, 2026
Young Theatre
Paul Galbraith, guitar
March 22, 2026, at 8 PM
Meng Concert Hall
Fullerton Jazz Chamber Ensemble feat. Ralph Alessi Quartet
March 24, 2026, at 8 PM
Meng Concert Hall
Talich Quartet
March 27, 2026, at 8 PM
Meng Concert Hall
University Symphony Orchestra with Talich Quartet
March 29, 2026, at 3 PM
Meng Concert Hall
Nicholas Isherwood, bass/baritone*
April 7, 2026, at 8 PM
Meng Concert Hall
X-out
April 9–18, 2026
Hallberg Theatre
High School Honor Band & CSUF Wind Chamber Ensembles
April 11, 2026, at 8 PM
Meng Concert Hall
Albert Herring
April 10–12, 2026
Recital Hall
Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble
April 21, 2026, at 8 PM
Meng Concert Hall
Cello Choir
April 22, 2026, at 6 PM
Recital Hall
Woodwind Chamber Orchestra
April 24, 2026, at 8 PM
Meng Concert Hall
University Symphonic Winds & University Wind Symphony
