"Brightwork Ensemble" program

CSUF SCHOOL OF MUSIC presents

Brightwork Ensemble Part of the 20th Annual New Music Festival

Reimagining Opera in the 21st Century Pamela Madsen, artistic director May 7, 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

WEEK 4:

WEEK 4:

BRIGHTWORK ENSEMBLE CONCERT May 7, 2021 featuring Brightwork Ensemble with Stacey Fraser, soprano

BRIGHTWORK ENSEMBLE CONCERT with works by George Crumb, Vera7, Ivanova, May 2021Somei Satoh, Ian Dicke, and Pamela Madsen

Brightwork

with featuring poet/video artist Quintan Ana Wikswo and Jen Kutler, Ensemble withelectronics Stacey Fraser,

soprano

with works by George Crumb, Vera Ivanova, Somei Satoh, Ian Dicke, and Pamela Madsen with poet/video artist Quintan Ana Wikswo and Jen Kutler, electronics

PPROGRAM ROGRAM

Dream Sequence (Images II)

for violin, cello, piano, and percussion [with offstage glass harmonica] GEORGE CRUMB (b. 1929)

Electrostatic Whale

for bass clarinet and sound track VERA IVANOVA

Birds in Warped Time II for violin and piano SOMEI SATOH

Isla

for flute, vibraphone, and live audio processing IAN DICKE

—Intermission— Selections from Eleven Eleisons from East to West

for soprano, piano, bass clarinet, with electronics, and video PAMELA MADSEN (Based on Quintan Ana Wikswo’s texts © 2019-2021 ELEVEN ELEISONS, first published in Conjunctions Magazine: 2021) I. Echo: Empathy Superimposition for soprano, piano, with CSUF New Music Ensemble, electronics, and video II. The Necessary for spoken voice, piano, electronics, and video Pamela Madsen, piano III. Owl’s Breath for bass clarinet, electronics, and video IV. The Birds Here for soprano, piano, spoken voice, electronics, and video

PROGRAM PR O G R A M NOTES NOTES

Dream Sequence (Images II) GEORGE CRUMB

This extraordinary, quiet, mysterious piece is perhaps the most extreme of the explorations of composer George Crumb into his characteristic static realm of sound events. As usual he crafts these sounds with lapidary precision and exceptionally subtle distinctions.

The sound world Crumb has created since the 1950s is suggested by a perusal of his list of works. Nocturnes, Night-Music, Zodiac musings, Dreams, Images, Sleep. Apparitions and hauntings, voices from the past, and voices from nature dominate the catalog.

The instrumentation of Dream Sequence is essentially a piano trio plus percussion, though the percussion and piano make one discrete group, and the two strings play as a duo. The percussion is typically exotic: The pianist plays three water-tuned crystal goblets and a Thai wooden buffalo bell. The percussionist has Japanese temple bells, crotales (finger cymbals), sleigh bells, maraca, and suspended cymbals. In addition, there are two more players who remain offstage, continually playing a glass harmonica -- four more crystal goblets tuned to the chord C sharp, E, A, D. These notes hang in the air continually throughout Dream Sequence and are marked “quasi subliminal.”

Dream Sequence appears to be an attempt to capture the elusiveness of dream. While nearly all music is linear, with a melodic line moving in a perceptible flow across time, this work (and much of Crumb’s other music) is not. What melodies there just float, seemingly disconnected from time. The music hangs in one place rather than moving. It does not move in a straight line, but circularly.

This is not just a metaphoric description. Most of Dream Sequence is, literally, written in circles rather than on straight staff lines. Crumb developed this special “circular notation” earlier and used it in parts of such works as his orchestral Echoes of Time and the River and the song cycle Ancient Voices of Children.

None of his other works use circular notation as much as this one.

Players begin playing at a point on a system of staves that is drawn in a circular shape, and play around the circle. There is a varying amount of freedom as to how to move and the manner of playing. Except at the very beginning and the end, the piano and percussion move around their own circle, while the cello and violin have their own, independent circle.

P RPROGRAM O G R A M NOTES NOTES The freedom of movement this gives the two duos means that the groups of circles will never line up with each other the same way in any two performances.

- Joseph Stevenson

Electrostatic Whale VERA IVANOVA

Electrostatic Whale was composed in 2016 for the Moscow Contemporary Music Ensemble’s clarinetist Oleg Tantsov. The piece is written for bass clarinet and is accompanied by a pre-recorded soundtrack; its main source comes from the sound sample of a whale song, manipulated and transformed through the use of various software to create an image of a creature, a digitized sea mammal, submerging into the deep ocean and emerging to a digitized surface.

I have chosen to work with the sound of a whale song as it is as expressive as a human voice, and some of its timbral characteristics are reminiscent of bass clarinet. What inspired me to write a piece about the whale was a snapshot from my memory. As I was taking off on a plane and looked down through my window, I saw in the crystal clear waters of the Pacific Ocean hundreds of whales, swimming as a pod on their migration path. The surreal beauty of this moment – seeing these majestic creatures from the sky above – ignited the idea of writing this piece for bass clarinet and pre-recorded soundtrack, based on the whale song.

- Vera Ivanova

Birds in Warped Time II SOMEI SATOH In Birds in Warped Time II, Somei Satoh emphasizes the balance between lyrical lines and rests in the violin, treating the two as equals, the notes signifying life and the rests, death. All the while the distant sounds of birds relay the eternal qualities of nature, persisting even when the violinist can play no more.

Isla

IAN DICKE Isla is a remix of Isla de Niños by Elisa Ferrari.

- Ian Dicke

PROGRAM PR O G R A M NOTES NOTES

Selections from Eleven Eleisons from East to West PAMELA MADSEN Eleven Eleisons from East to West is a collaborative work in progress, created over the past year during the Covid Pandemic. The composition

by Pamela Madsen is based on a collection of poetry by Quintan Ana Wikswo, which documents her harrowing journey from East to West.

Themes resonate concerning marginalization of indigenous cultures, desecration of women and nature and women’s escape from conventions—created in collaboration with composer, Pamela Madsen, poet, video artist Quintan Ana Wikswo, and Jen Kutler, electronics.

Eleven Eleisons unfolds as a series of works which constitute a multi-media dark dream sequence which will be juxtaposed against the live historical drama of “Why Women Went West: I Mary, Mary by Herself.” This multi-layered, multi-media opera explores controversies over human rights, water wars, and early 20th-century feminist artist communities through writer Mary Hunter Austin’s quest for the American Southwest, which parallel the drama of contemporary women’s quest to escape by going west.

This current performance is a “work in progress” a snapshot of our collaborative process we achieved over time and space during the Covid Pandemic. Left intentionally raw to reveal our method of collaboration and the layers of the work, now put together in time. Commissioned by Brightwork newmusic (flute, clarinet, violin, cello, piano, percussion), Stacey Fraser, soprano, with Quintan Ana Wikswo, librettist/video artist and Jen Kutler, electronics, with support from CSUF New Music Festival, Women’s International Studies Center, Santa Fe, New Mexico, Wurlitzer Foundation, Taos, New Mexico and National Endowment for the Arts with support from Creative Capital the work will premiere in 2022-2023.

Kutler’s electronics for these pieces was generated from physiological data collected and analyzed for markers of empathetic responses while listening to Pamela Madsen’s compositions. Kutler was outfitted with sensors reading electrodermal activity, breath and heart rate. The sensor data was converted into MIDI files which was given synthetic voices. The timbres and textures draw from heavily processed recordings of Wikswo’s text performance and sine waves. This sound practice is an extension of the album Physiological Indicators of Empathy by Jen Kutler released in 2021 on Cacophonous Revival Recordings.

Quintan Ana Wikswo’s book-in-progress, The Necessary: Eleven Eleisons is a constellation of poetry, prose, and personal essay surrounding the nexus of women who seek to gain independence and escape

PROGRAM PR O G R A M NOTES NOTES

violence and exploitation as migrants, refugees, immigrants, or even as colonists. Selections from this manuscript—featured in Madsen’s opera Eleven Eleisons—have been published by Conjunctions Magazine.

Quintan Ana Wikswo directed, performed, and filmed the companion video works at sites in New York State where the French and Indian Wars, the Revolutionary War, and General Sullivan’s Campaign engaged in genocidal battle against the tribes and people indigenous to the area.

Following the murders and forced relocations, treaty violations and land theft, the sites where Wikswo filmed were awarded as farmland and hamlets to surviving soldiers of the Revolutionary War as payment for their service.

Wikswo created these text works on the traditional homelands of the Tewa (Pueblo) and Dine (Navajo) Nations, and the video works on the traditional homelands of the Gayogo̱hó꞉nǫ’ (the Cayuga Nation). The Gayogo̱hó꞉nǫ’ are members of the Haudenosaunee Confederacy, an alliance of six sovereign Nations with a historic and contemporary presence on this land. The Tewa, Dine, and Confederacy precedes the establishment of the State of New Mexico, New York State, Mexico, and the United States of America. Wikswo acknowledges the painful and ethical history of Indigenous dispossession, and honor the ongoing connection of Gayogo̱hó꞉nǫ’, Tewa, and Dine people, past and present, to these lands and waters, in all directions. This land acknowledgment has been reviewed and approved by the traditional Gayogo̱hó꞉nǫ’ leadership.

I. Echo: Empathy Superimposition Echo: Empathy Superimposition is a sonic meditation across time and space created by Pamela Madsen, composer and with Quintan Ana Wikswo, poet, video artist, and Jen Kutler, sound artist. This new work was begun during pandemic times in November 2020 as our response to invoke Empathy over distance as artists, musicians, and poets. Quintan Ana Wikswo and Jen Kutler were guest artists during December 2020 in my online new music ensemble, which I direct at Cal State Fullerton.

They shared their work as artists who work on Empathy, Grief, through demonstrations and workshops on electronics and text and presented the ensemble with a new text that Quintan wrote to engage us in their collaborative process for a future project. CSUF New Music Ensemble members created a layer of this work with image, music, text, voice, performance and electronics.

PROGRAM PR O G R A M NOTES NOTES

ECHO: EMPATHY SUPERIMPOSITION Quintan Ana Wikswo © 2021 ECHO: Who called down the echo The hollow in the rock That place I ran to I find me there half dead I send messengers I send emissaries Medics and rescuers They assure me all is good I know that we are We are we are we are Call down the echo It does not forget this life.

Under the tree with the largest eyes Why can I see you there Some witness to my funeral Some funerals need witnessing You saw it all pass by The dumb parade Undissuaded by my wailing My black dress You know I’m being born With the cuffs of heaven around my Wrists I’m good I’m good I want to hold. You Welcome to this birth As I knew you were here To see me come to life.

In my arms I hold myself in my arms The large is small and the small Large Together we are whole Seed sprout tree The bloodiness of it all Cannot be frightful

PROGRAM PR O G R A M NOTES NOTES

This woman thing We make ourselves from pieces of Ourselves Each one more impressive Than the last Listen to me sing my song Of shattered selves Assembled here and whole From EMPATHY SUPERIMPOSITION Quintan Ana Wikswo © 2019-2021 We, like ravens, consume rocks and stones to digest the indigestible.

These tools are grating. disintegrating. What binds us now is gravity.

Equations in the night will appear incalculable. Terror, desire, hope.

Loss. All things are frictive alongside that which is formed and formless.

Call the slips tears. Both tear and tear are accurate, whether they be, still clinging. Let tears and tears be allowed. Seek them while asleep.

Sympathy over space. Empathy under time. In the night equations will appear calculable.

II. The Necessary The Necessary, performed by composer/pianist Pamela Madsen, on her century-old Steinway Grand piano, which she brought with her from east to west. The piano resonates with the images of dust, mountains, and desert in the poem of Quintan Ana Wikswo’s spoken voice, video, and Jen Kutler’s evocative electronics created through a process of invoking empathy through listening.

THE FIRST NECESSARY Text from “The First Necessary” Quintan Ana Wikswo © 2019-2021 Among clouds of dust—only mountains, a garden.

We have dwelt here before, ὀποπάναξ in the dust, always obscured you wiped it from my eyelids with a fingertip roughed by salt and trigger the Khyber Pass, Oberjoch, just beyond Klaipaida, Valhall, we split open our mouths and taste spit, dust, iron, blood.

The Shema and Ne’ilah.

PROGRAM PR O G R A M NOTES NOTES

Ashes, soil, flesh, the burnt petals of climbing roses, attar, opopanax hebbakhade sealing the slit of the gate of the ridge of a pass not yet passed the scent of unfeathered birds who have flown here from what they fled there is salt on your fingers and my face, and dust, salted This garden is not as it seems. Galdhøpiggen. Janazah. Viryta.

Krupnikas.

In the land where nothing grows for the pleasure of the human, we find it.

This garden is πάναξ, is necessary, its iron and honey, roughened for touch.

Unseen, and unseeable, and yet here we dwell, spilt, again, and once again Again we speak of clouds as though they pass – as though they’re only passing we inhabit the dust that is a saddened manna, nourishing and unearned blessings exhumed between two rising flanks of stone, bruised, diluvial our skin torn and salted but we are even older than our skins, tears, dust when we first wiped each others’ eyes, this possibility did not exist

III. Owl’s Breath Owl’s Breath was created for URBAN BIRDS Project commission, Los Angeles, for bass clarinetist, Brian Walsh. Based on the sounds and sites of a family of barn owls that came to nest in the tall pine tree/wall outside my home composition studio window, which is on the edge of the Laguna Coast Wilderness Preserve. Owl’s Breath and the bass clarinet serve to connect the dark dream sequence side of the opera’s Eleven Eleisons, with the real world, acoustic space of Mary Hunter Austin’s story of Why Women Went West.

IV. The Birds Here The Birds Here was originally a piano piece created for Art of Virus collection of works based upon a 9-note theme (played in the right hand of the piano part), with text spoken by pianist Gabriella Smart, Australia.

PROGRAM PR O G R A M NOTES NOTES

THE BIRDS HERE Text from “The Birds Here” Quintan Ana Wikswo © 2019-2022 The birds here Have not changed They drop salt not seeds Into my open mouth Now - my back bare to the sky Breast buried in soil Thrust into the darkness of this Searching out each star The fat lips of my horse Taste my neck for food This must be morning A roughness, gathering speed The bird here Have changed

A BABOUT O U T TTHE H E ARTISTS ARTISTS

QUINTAN ANA WIKSWO “Author and visual artist Wikswo juxtaposes dreamy, surreal prose with shadowed, ambiguous, occluded dreamscapes to haunting effect—heady, euphoric, and full with loss.

Wikswo’s singular lines strike like the tone of a bell while her beautifully composed images echo the surprising twists of language. [Her work] defies genre or distillation and instead takes the reader/viewer on a journey where myth, mystery, and the impossible have never seemed more real.”

–Publisher’s Weekly Hailed as “heady, euphoric, singular, surprising”

by Publisher’s Weekly, “beautiful, horrifying, passionate, and bold,”

by Jeff VanderMeer in The Millions, “Rilke’s lost female shadow,”

by Conjunctions, and “universal and personal, comforting and jarring, ethereal and earthy,” by Electric Literature, Quintan Ana Wikswo has long been active in the collusion and collision of transdisciplinary art and human rights.

Quintan is recognized for innovative hybrid constellations of work that integrate their fiction, nonfiction, memoir, poetry and essay with their original photography, performance, audio, and video installation.

These projects interrupt sites and trajectories of human rights infractions, hate crime organizing, and global and local networks of the far right.

JEN KUTLER Kutler’s music is subdued and perilous, bolstered by fragments of prepared piano and vocals. The project’s search for empathy is a captivating story and the music doesn’t feel heavy-handed.

Each piece finds steady, subtle drones and icy melodic fragments, hanging in a constant stream of delicate tension.”

–Vanessa Ague, The Wire Jen Kutler is a multidisciplinary artist and performer. She modifies found objects that are cultural signifiers of power, gender, queerness and intimacy to create atypical instruments and sculptures. Her performances feature many of her instruments incorporated with immersive field

A BABOUT O U T TTHE H E ARTISTS ARTISTS recordings to explore common and discrepant experiences of familiar social tones in immersive sound and media environments. “I use sounds and objects that are considered sexual or feminine and build interactive electronic media systems for performance to modify, re-contextualize and transform these materials. I look to explore the degrees of separation between the feminine and neutral, hyper-sexualization and desexualization, and the intuitive vs. physical.”

PAMELA MADSEN

Pamela Madsen is a composer, pianist, theorist and curator of new music. From her massive concert-length projects, intimate solo and chamber works to multi-media opera collaborations her work focuses on intersection of image, music, text, deep listening, empathy and the environment. With a Ph.D. Music Composition, UCSD; Doctoral studies, Yale University, she has received awards from Mellon Foundation, Music USA, NEA, MacDowell, Ucross, American Scandinavian Foundation, Women’s International Studies Center, Wurlitzer Foundation, New Mexico, Creative Capital Artist On the Radar New. She is professor of Music Composition, Director of New Music Ensemble, New Music Festival, InterArts Collaborative Projects at Cal State Fullerton School of Music. www.pamelamadsenmusic.com

CCREDITS REDITS Brightwork Ensemble is Sara Andon, flutes Aron Kallay, piano Maggie Parkins, cello Nick Terry, percussion Shalini Vijayan, violin Brian Walsh, clarinets Stacey Fraser, soprano https://brightworknewmusic.com Aron Kallay & Jeff Gauthier, audio recording Aron Kallay, Jeff Gauthier, and Ian Dicke, audio editing Aron Kallay and Elisa Ferrari, video Aron Kallay and Ian Dicke, video editing Aron Kallay, producer

CSUF NEW MUSIC ENSEMBLE

Pamela Madsen, Eric Dries, and Charles Sharp, co-directors

CSUF student performers: Kevin Barba, voice Flynt Burton, voice Grande Sean Coles, voice Nina Crecia, voice Grant Escandón, voice, percussion Eric Fregoso, trumpet, voice Albert Godinez, bassoon Sean-Paul Guow, bass

Brightwork ensemble for Pamela Madsen’s work From Eleven Eleisons-from East to West: Stacey Fraser, soprano Aron Kallay, piano Brian Walsh, bass clarinet Original Texts - Quintan Ana Wikswo © 2019-2021 ELEVEN ELEISONS, first published in Conjunctions Magazine: 2021 Quintan Ana Wikswo, original videos Quintan Ana Wikswo, spoken voice Eric Grush, video editing Jen Kutler, original electronics Eric Dries, mixing and production Pamela Madsen, piano (for The Necessary) Recorded Steinway grand piano

Richard Greenwood, clarinet, bass clarinet Josiah Groot, piano Victor Gutierrez, voice, flute Kendrick Haskins, percussion Elias Iraheta, voice Lornajean Katz, flute, voice Xueying Li, violin Israel Lizarraga, violin Eduardo Madrigal, trombone Jacob Miles, saxophone Fabio Morales Reyna, flute AJ Stevens, voice

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*

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

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Special support and event underwriting Marilyn & Jack Carlson* Evelyn K. Francuz Sandy & Norm Johnson Marti & Bill Kurschat Karen & George Mast

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