"Galan Trio - Kinesis" program

Galan Trio Part of the 24th Annual New Music Festival Wednesday, April 24, 2024

C AL STAT E FULLER TON

C S U F S C H O O L O F M US IC

SYLVIA A. ALVA President, California State University, Fullerton

DR. RANDALL GOLDBERG Director, School of Music

AMIR H. DABIRIAN Provost and VP for Academic Affairs

KIMO FURUMOTO Assistant Director, School of Music

ARNOLD HOLLAND, EDD Dean, College of the Arts

BONGSHIN KO Assistant Director, School of Music

SCHOOL OF M U S I C F U L L-TI M E FAC U LT Y A N D S TA F F Faculty 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 Rodolfo Zuñiga – jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director Piano, Organ, Piano Pedagogy Ning An – piano Bill Cunliffe – jazz piano Alison Edwards* – piano, piano pedagogy, class piano Myong-Joo Lee – piano Dr. Robert Watson – piano Music Education, Teacher Training, and Teaching Credential Dr. Christopher Peterson – choral Dr. Gregory X. Whitmore* – instrumental Music in General Education Dr. John Koegel* Dr. Katherine Reed Music History and LIterature Dr. Vivianne Asturizaga – musicology Dr. John Koegel* – musicology Dr. Katherine Powers – musicology Dr. Katherine Reed – musicology

Strings Kimo Furumoto – Director of Orchestra Studies and University Symphony Orchestra conductor Bongshin Ko – cello Dr. Ernest Salem* – violin Theory and Composition Dr. Pamela Madsen – composition, theory Dr. Ken Walicki* – composition, theory Vocal, Choral, and Opera Dr. Robert Istad – Director of Choral Studies and University Singers conductor Dr. Kerry Jennings* – Director of Opera Dr. Christopher Peterson – CSUF Concert Choir and Singing Titans conductor Dr. Joni Y. Prado voice, academic voice courses Woodwinds, Brass, and Percussion Dr. Dustin Barr – Director of Wind Band Studies, University Wind Symphony, University Band Jean Ferrandis – flute Sycil Mathai* – trumpet Dr. Gregory X. Whitmore University Symphonic Winds conductor Staff Michael August – Production Manager Eric Dries – Music Librarian William Lemley – Audio Technician Jeff Lewis – Audio Engineer Chris Searight – Music Instrumental Services Paul Shirts – Administrative Assistant Elizabeth Williams – Business Manager

* denotes Area Coordinator

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Welcome to the Spring 2024 Performing Arts Season at Cal State Fullerton’s College of the Arts. Whether you are a first-time or long-time patron, a friend, or parent to one of our exceptional students, thank you for joining us. Your support makes all the difference to their success.

I am pleased to present another semester of programming powered by the incredible gifts of our Art, Dance, Music, and Theatre students. This spring, the School of Music starts the season with a trio of concerts February 16–18 by artists-in-residence Talich Quartet; faculty artist Damon Zick and his Quarteto Nuevo featuring fellow faculty artist Bill Cunliffe; and University Symphony Orchestra. In May, University Symphony Orchestra and Symphonic Chorus will close the concert season with a performance of Mozart’s emotionally charged “Requiem.” Begovich Gallery presents the Begovich Visual Arts Lecture Series with visiting artists’ talks throughout the semester, including multidisciplinary artist Hings Lim on February 22, whose work will also be exhibited at Grand Central Art Center. The Department of Theatre and Dance begins their season in March with “Marisol,” a darkly comedic fantasy where the title character must find hope in a post-apocalyptic Brooklyn where angels are taking up arms and coffee is extinct.

Hilarious, multiple Tony award-winning modern musical send-up “Urinetown” closes the theatre season just as CSUF’s dancers and choreographers take to the stage for “Spring Dance Theatre.”

When our students demonstrate their talents on stage and in the studio, their creative energy is undeniable, but the sacrifice and struggle it took to get there is often less perceptible. We can’t see the hours spent creating, the days of rehearsals, and the years of practice. For many students, the sparks of innovation and artistry that drove them to pursue the arts are often diminished by the high cost of an education. The Dean’s Fund for Excellence provides support for students in need through scholarships, artist residencies, and other financial assistance, ensuring them the opportunity to thrive in the arts. If you believe in their sparks of brilliance, please consider a donation of any amount to the Dean’s Fund for Excellence.

Thank you again for joining us this season and for championing the arts in higher education.

I hope to see you at one of the college’s many performances and events this spring.

Sincerely,

Arnold Holland, EdD Dean, College of the Arts

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PROGRAM

Kinesis Pastoral.....................................................................................................Robert Denham From Here to There............................................................................... Deborah Kavasch I. From here to there II. Reflection III. Snow IV. As Goes the River Far Beyond..........................................................................................Joao Pedro Oliveira Syneche........................................................................................................ Ines Thiebaut Fragment from the Wasteland.................................................................. Pamela Madsen Death by Water

***** Intermission ***** Trio Omaggio..................................................................................... Patricia Alessandrini Sifting Chaparral.........................................................................................David S. Carter Placed in a Puzzling Light, and Moving......................................................... Kevin Zhang La mar amarga (2007)....................................................................................... Cindy Cox II. Expressive but very deliberate I. Supple, mysterious, and very fast Shadow Play (2015)............................................................................Christopher Dobrian

PROGRAM NOTES Pastoral is certainly not an original title, as it is one of the most common titles in the repertoire. Although Beethoven’s Symphony No. 6 immediately comes to mind, I am drawing more specifically from a group that I will term the British “idyllists,” which to me include names like Bax, Bridge, Butterworth, Delius, Vaughan Williams, Warlock, and the like. With obvious exceptions, the music of these composers evokes a sense of country meadows, brooks, stone fences, livestock, and of course birds.

Their music is often not for show, and if it is programmatic beyond its title, it certainly is most often not epic in terms of its ambitions; much the opposite. Its purpose is to provide moments of pause for reflection and meditation.

From Here to There, commissioned by the Galan Trio for their Kinesis project, is a piano trio in four movements inspired by poems of Salvatore Salerno, Poet Laureate of Modesto, California. The four movements bear the same names as the poems from Salerno’s Hello, Posterity, and all depict some aspect of water and its movement: roaring ocean waves, a rippling pool and waterfall, dancing snowflakes, and the forceful flow of snowmelt forming a river that spreads into the sea.

FROM HERE TO THERE The waves roar in and hiss themselves away.

Because I walk on enameled sand, There is no doubt at the edge of the sea, The waves ride in and scrape themselves away.

Because I turn my back to land, There is no deceit at the edge of the sea.

The waves reach in and whisper themselves away.

I hear it say when I stop to stand, There is no fear at the edge of the sea.

REFLECTION On a shaded ledge by a waterfall I watch trout flurry, coved by a granite wall.

Winds ripple down the pool, turn my thoughts To three far friends whom I have fought: One who has my smile each day, but not my heart Coiling in envy; I play the cheater’s part Of teasing another’s love to hook him; and a third Whose calm offends, I bait with a well-barbed word.

The trout waver, swirl in a pool of sun, Showing rainbow sides.

I think in their slow run, How could I have poisoned you so long?

Forgive, though you can’t see me I was wrong The four trout slip in a current, flicking fins.

They stream by weeds; I take them in.

Swim closer, silver.

Will you deliver my wish?

Speak louder, white water Is this the meaning of fish?

SNOW Snowflakes milling in a curdled sky Fall to the level of things, Locking farm, homes and factories With the silence only clouds can bring.

The tracks of the bobcat are filled, The cries of birds are stilled, When onto roofs and burrows and trees There drops a sovereign chill.

PROGRAM NOTES Each flake unique, but all when frozen rules; Snow is a white democracy, A heaven’s vestibule.

AS GOES THE RIVER With what power from the womb of snows Do the bright waters come, sweeping Downwards in a forceful flow; With what vigor the waters push, More of itself girded and gathering Strength to form a foaming rush; Then with what acceptance the river finds All of nature rendered in the raw, The gullies, boulders, debris rinds Of every obstacle, every chiseled flaw; Through the gravity of things through space, The river spreads itself into the sea.

As goes the river, so are we.

Poems by Salvatore Salerno from Hello, Posterity, reprinted with permission of the author.

Far Beyond, as the title suggests, tries to project the sound of the acoustic instruments beyond their normal boundaries, through the use of several special instrumental techniques. Using timbre and sound color changes, the instruments expand themselves into unusual sound combinations.

Syneche The historical discourse on continuity and discreteness, dating back to ancient Greek philosophy, encapsulates the tension between unity and plurality in understanding the nature of reality. Atomism, championed by figures like Democritus and Epicurus, posited that matter is composed of indivisible particles, challenging the idea of infinite divisibility inherent in continuity. In contrast, Aristotle and the Stoics upheld continuity, viewing space, time, and motion as continuous entities. Aristotle's concept of syneche, or continuity, emphasized

the interconnectedness of phenomena without reducing them to discrete units, allowing for potential infinite divisibility without requiring indivisible atoms. This philosophical debate continues to resonate in contemporary mathematics, where modern frameworks like nonstandard analysis and smooth infinitesimal analysis explore the synthesis of continuity and infinitesimals.

Fragments from the Wasteland (2024) is a collection of five works based upon the re-interpretation of the iconic poem

by T.S. Eliot: The Wasteland (1922), with texts by Walt Whitman, Elizabeth Barrett Browning, attesting to the rise and curiosity in spiritualism and mediums in mid 19th c. with a shared connection of communicating with the dead, and romantic/modernist fascination with death by water. The piece should be played as if drowning, overcome in the paroxysm of gasping for breath, and finally sinking to the depths of the sea--looking upward, transfigured.

The Wasteland: Death by Water (T.S. Eliot) 1922 IV. DEATH BY WATER “Phlebas the Phoenician, a fortnight dead, Forgot the cry of gulls, and the deep sea swell And the profit and loss.

A current under sea Picked his bones in whispers.

As he rose and fell He passed the stages of his age and youth Entering the whirlpool.”

Gentile or Jew O you who turn the whell and look to windward, Consider Phlebas, who was once handsome and tall as you.

PROGRAM NOTES from Leaves of Grass: Here, the frailest leaves of me (Walt Whitman) 1867 “Here the frailest leaves of me, and yet my strongest- lasting: Here I shade down and hide my thoughts—I do not expose them, And yet they expose me more than all (my other poems).” from Sonnets from the Portuguese (Elizabeth Barrett Browning) 1850 XLIII. “How do I love thee?

Let me count the ways. . . .

I shall but love thee better after death.”

Trio Omaggio is dedicated to the memory of Geoff Nuttall, violinist and cofounder of the Saint Lawrence String Quartet (SLSQ), with gratitude for having had the opportunity to collaborate from 2020 to 2022. Material for this hommage has been adapted from our workshop sessions during that time.

Sifting Chaparral was inspired by the dense chaparral shrub that is common in Southern California where I live and which has a counterpart in Greece (phrygana), where Galan Trio is based.

Both Southern California and much of Greece share a dry, mild climate where these plants can thrive in coastal areas.

The piece sifts through a thicket of loops and polyrhythms, finding legato melodies or pizzicato bits.

Placed in a puzzling light, and moving is a piano trio split into five miniature movements. The outer movements are scored for the full trio, while the inner ones progress though each duo combination of the instrumentation’s subsets. Its title comes from the concluding stanza of John Ashbery’s Some Trees, from which this piece takes inspiration.

La mar amarga You may recognize the wonderful opening of Frederico García Lorca’s famous Romance sonámbulo, “Verde que te quiero verde” [Green I love you green]. The title of the work, la mar amarga [the bitter sea] comes from a later section of this poem; I loved the sound of the elided repetition of “(l)a mar” and found in it a strong relationship to the kind of covered repetitions in my own piece. But you probably don’t know of an oddball work called Sensitive Chaos (published by the Rudolf Steiner Press) by Theodor Schwenk. He wrote this study in the 1960s and subtitled it “The creation of flowing forms in water and air.” His mix of the poetic and the scientific, with chapter headings such as “Archetypal movements of water” and “The formation of vortices” was particularly inspiring as metaphors for my approach to musical shape and direction. Like the gorgeous pictures of water and wind patterns at the end of the book, my music strives to be in a simultaneously fluid yet architecturally static form.

Shadow Play originated from a graphical conception of music. The string instruments, which easily produce sustained tones, are treated as generators of linear and curvilinear motion, whereas the piano, which produces more percussive sounds, is used to generate articulatory points and groups of points that punctuate convergences and divergences in the melodic motion of the strings. (This approach was surely influenced by my reading, long ago, of Point and Line to Plane by painter/writer Wassily Kandinsky.) A variable sense of stasis and kinesis in the music is created by continual transfer of energy from one player to another, effectuated by changes in pitch register, dynamics, and rate of activity. The piano casts an harmonic aura or shadow around the string melodies, thus the title Shadow Play.

ABOUT THE GUEST ARTIST

GALAN TRIO Known for the passionate and energetic spirit of their performances, the Athensbased Galan Trio is active both in Greece and internationally. Focused mainly on presenting new compositions, Galan Trio creates original programs, the most recent being Kinesis. For this project, the trio commissioned five distinguished composers from the United States to compose on this theme, a collaboration that led to their first tour in October 2021. Since then, Galan Trio presented Kinesis in more than 20 US universities and many more have been scheduled until fall 2025. Their discography counts four albums by now; Switch (Akanthos Int. LTD), Ararat (Melism Records), Kinesis (Neuma Records) and De Chirico (Phasma Music).

In 2017, Galan Trio released their debut album Switch, a musical blend of cultures with works composed for and dedicated to them by Thomas Bramel (U.S.A.), David Haladjian (Armenia), Vincent Kennedy (Ireland), Vasco Pereira (Portugal), Harald Weiss (Germany), and Nikos Xanthoulis (Greece). The album presentation took place in Athens at Megaron Concert Hall. Switch received critical acclaim and was broadcasted on the radio in Greece, Switzerland, the United States, Portugal, Germany and Armenia.

In July 2016, the ensemble travelled to Gulangyu, China, the socalled “Piano Island”, for the series of concerts “Greek Inspirations in China,” the first festival in China that featured Greek music. Collaborations with other accomplished composers and musicians include the mezzo-soprano Alexandra Gravas, the flutist Jessica Quinones, and the composers Dirk Brosse, Igor Vorobyov, Yorgos Vassilandonakis, Paul Richards, Arthur Aharonian, Martin Gendelman, Philip Blackburn, and Richard Lavenda among others. In 2019, Galan Trio composed and recorded the original soundtrack for the documentary Y1: Silence of the deep directed by Philippos Vardakas. Schott Editions published Secret Dancing by Harald Weiss with a dedication to the Trio. Recently, the Trio presented their work in the USA, Spain, Italy, Armenia, the Netherlands and in Greece as the prestigious Athens & Epidaurus Festival, the Komitas Festival, the fourth online festival of the Greek National Opera, the Onassis Foundation’s Open Day and the Megaron Concert Hall series Music Portraits. In December 2021, Galan Trio premiered their project Ararat at the Archaeological Museum of Athens.

Galan Trio’s future plans include a new project in collaboration with the flutist Rita D’Arcangelo and the Three Esential Elements organization, the release of their new album Kinesis Vol. 2 (Neuma Records) and the fifth Kinesis project in California. www.galantrio.com // https://www.facebook.com/galantrio/

COLLEGE OF THE ARTS • SELECT EVENTS | SPRING 2024 Talich Quartet February 16 • Meng Concert Hall

Ernest Salem & Hasse Borup, violins March 28 • Meng Concert Hall

Quarteto Nuevo February 17 • Meng Concert Hall

Nicholas Isherwood, bass/baritone* April 9 • Meng Concert Hall

University Symphony Orchestra with Talich Quartet February 18 • Meng Concert Hall

Gabriel Bianco, guitar April 10 • Meng Concert Hall

Brightwork Newmusic February 22 • Meng Concert Hall University Symphony Orchestra feat. Joseph Loi, flute February 25 • Meng Concert Hall

Urinetown the Musical April 12– 27 • Young Theatre High School Honor Band & CSUF Wind Chamber Ensembles April 13 • Meng Concert Hall

loadbang* February 27 • Meng Concert Hall

CSUF New Music Ensemble & Contemporary Chamber Ensemble April 17 • Meng Concert Hall

Advanced Vocal Workshop feat. Michael Schütze, piano February 29 • Recital Hall

Monteverdi’s The Coronation of Poppea April 18–21 • Recital Hall

Fabian Ziegler, percussion March 6 • Meng Concert Hall

CSUF Symphonic Winds April 21 • Meng Concert Hall

Enrico Elisi, piano March 7 • Meng Concert Hall

Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble April 23 • Meng Concert Hall

Marisol March 8– 23 • Little Theatre

University Band May 1 • Meng Concert Hall

Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble March 8 • Meng Concert Hall

Spring Dance Theatre May 2–11 • Little Theatre

Enrico Elisi & Mengyang Pan, duo piano March 10 • Meng Concert Hall Alumni Piano Recital March 14 • Meng Concert Hall 17th Annual Collage Concert March 16 • Meng Concert Hall Accidentally on Purpose March 22– 30 • Hallberg Theatre University Singers & Concert Choir March 24 • Meng Concert Hall

Fullerton Jazz Orchestra May 3 • Meng Concert Hall University Wind Symphony May 4 • Meng Concert Hall Jazz Singers May 6 • Meng Concert Hall Titan Voices & Singing Titans May 8 • Meng Concert Hall Symphony Orchestra & Symphonic Chorus Mozart’s “Requiem” May 11 • Meng Concert Hall

Brightwork newmusic* March 26 • Meng Concert Hall Minsoo Sohn, piano March 27 • Meng Concert Hall

*Part of the 24th Annual New Music Series

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Please contact Ann Steichen at (657) 278-7124 with questions or concerns. **Gifts received from July 1, 2022 through November 1, 2023

*deceased

ONTIVEROS SOCIETY The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts: ANONYMOUS JOHN ALEXANDER LEE & DR. NICHOLAS A.* BEGOVICH GAIL & MICHAEL COCHRAN MARC R. DICKEY JOANN DRIGGERS BETTY EVERETT CAROL J. GEISBAUER & JOHN* GEISBAUER SOPHIA & CHARLES GRAY MARYLOUISE & ED HLAVAC GRETCHEN KANNE

DR. BURTON L. KARSON ANNE L. KRUZIC* LOREEN & JOHN LOFTUS ALAN A. MANNASON* WILLIAM J. MCGARVEY* DR. SALLIE MITCHELL* ELEANORE P. & JAMES L. MONROE LYNN & ROBERT MYERS DWIGHT RICHARD ODLE* SHERRY & DR. GORDON PAINE DR. JUNE POLLAK & MR. GEORGE POLLAK*

DR. STEPHEN M. ROCHFORD MARY K. & WILLIAM SAMPSON LORENA SIKORSKI DOUGLAS G. STEWART ANDREA J. & JEFFREY E. SWARD RICHARD J. TAYLOR VERNE WAGNER RICHARD WULFF DR. JAMES D. & DOTTIE YOUNG*

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