by Rodion Shchedrin, Ljoya, Veronika Krausas, Mayo Miro Johnson, Pamela Madsen, Jan Dreidlin, and Robert Schumann’s Symphonic Etudes
RONALD S. ROCHON
President, California State University, Fullerton
AMIR H. DABIRIAN
Provost and VP for Academic Affairs
ARNOLD HOLLAND, EDD
Dean, College of the Arts
DR. RANDALL GOLDBERG Director, School of Music
KIMO FURUMOTO
Assistant Director, School of Music
BONGSHIN KO
Assistant Director, School of Music
SCHOOL OF MUSIC FULL-TIME FACULTY AND STAFF
FACULTY
CONDUCTING
Kimo Furumoto instrumental
Dr. Robert Istad choral
Dr. Christopher Peterson 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
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
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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.
Voices: Sirota for piano and historical recording ..................................... Ljova Composed for Inna Faliks Commissioned by Spertus Institute and Milken Center
The Master and Margarita Suite ........................................... Veronika Krausas
1. Time To Go - a Sarabande
2. The 14th of the Month of Nissan
3. Night Streets of Moscow - a Polonaise
4. Yellow Flower Waltz
5. Have You Stopped Loving Me? - A Fantasia
6. Behemoth Somersaults into Cognac - a Bagatelle
7. Listen to the Silence - Epilogue Composed for Inna Faliks Commissioned by the Wende Museum
Manuscripts Don’t Burn ................................................... Maya Miro Johnson Composed for Inna Faliks Commissioned by the Wende Museum
Pamela Madsen (from Luminosity: The Passions of Marie Curie)
The Old Belltower ............................................................................ Inna Faliks
Ballade in Black and White ........................................................... Jan Freidlin Composed for Inna Faliks
Intermission *****
Symphonic Etudes, op. 13 .................................................. Robert Schumann
(Posthumous Variations included)
• Theme
• Etude I (Variation 1) – Un poco più vivo
• Etude II (Variation 2) – Andante
• Etude III – Vivacea
• Posthumous variations I and II
• Etude IV (Variation 3) – Allegro marcato
• Etude V (Variation 4) – Scherzando
• Posthumous Variation III
• Etude VI (Variation 5) – Agitato
• Etude VII (Variation 6) – Allegro molto
• Etude VIII (Variation 7) – Sempre marcatissimo
• Posthumous Variation IV
• Etude IX – Presto possibile
• Etude X (Variation 8) – Allegro con energia
• Etude XI (Variation 9) – Andante espressivo
• Posthumous variation V
• Etude XII (Finale) – Allegro brillante
PROGRAM NOTES
This program is a deeply personal expression of Inna Faliks’s experience as an artist, a traveller, an immigrant, a pianist, a writer.
Basso Ostinato
RODION SHCHEDRIN
The relentless, almost violent energy of Basso Ostinato leads into Ljova’s Sirota—a piece that evokes the cantor Gershon Sirota through a 1907 recording of his voice, during Rosh Hashanah prayer. Sirota, who perished in the Warsaw Ghetto uprising, was from Odesa, Ukraineand this pained, beautiful work was the composer’s way of bringing the pianist back to the place of her birth. This is especially poignant now, given that she is not likely to return there anytime soon. The piece was commissioned by Spertus Institute, in Chicago.
Voices: Sirota for piano and historical recording LJOVA
The Wende Museum commissioned The Master and Margarita Suite for Faliks’s Master and Margarita project; Veronika Krausas composed it for Faliks.
The Master and Margarita Suite VERONIKA KRAUSAS
Mikhail Bulgakov’s cult novel, “The Master and Margarita,” was banned in the Soviet Union at the time of its creation in 1929 and published posthumously in 1967. It is a deeply layered novel: a dark comedy, a tragic love story, satiric commentary on the horrors of Soviet life and its impact on artistic creation, a
retelling of the story of Faust, a dive into ancient Jerusalem into the time of Christ. Faliks first read it as a child, during her immigration from Ukraine, and reread it at key points in her life. It prominently figures in her own acclaimed memoir, Weight in the Fingertips-A Musical Odyssey from Soviet Ukraine to the World Stage. Krausas and Faliks picked meaningful phrases from the novel, to which Krausas responded with elegant, coloristic, humorous and wistful dances.
Manurscripts Don’t Burn
MAYA MIRO JOHNSON
Manuscript’s Don’t Burn is the title of Inna’s most recent CD on Sono Luminus, named after the most iconic quote from The Master and Margarita. It is also the title of Maya Miro Johnson’s wild adventure of a piece. The scene portrays Margarita flying naked on a broom over Moscow toward Satan’s Ball. Then, she walks to a slice of light in the door that leads to the Devil’s chamber. The piece uses extended techniques, speaking phrases from the book (in Russian), aleatoric elements, and challenging virtuoso writing. Maya was only 19 when she wrote it—a strong example of her unbound, bold imagination.
PROGRAM NOTES
Luminous Etudes (from Visions of the Black Madonna of Montserrat) Riverly is the Moon Ah-mm
PAMELA MADSEN
These works are from the collection of Luminous Etudes: Visions of the Black Madonna of Montserrat for piano, voice, projected images investigating sound and healing through creating a sense of vibration and acoustic resonance in music performance. Based upon materials from the 14th century Llibre Vermell, Pamela Madsen’s encounter with the icon of the 4th century icon of the Black Madonna during her artist residency at the sanctuary of Montserrat, in Catalonia, Spain.
Polonium (from Luminosity: The Passions of Marie Curie)
PAMELA MADSEN
Inna is honored to be performing the luminous music of Pamela Madsen—she connects to its world of color and light, its pained, elegant sincerity and its autobiographical nature.
Polonium is from Pamela Madsen’s opera Luminosity: The Passions of Marie Curie, a monodrama for soprano, flute, percussion, piano, chorus, electronics and video projection. This work was commissioned by soundSCAPE in collaboration with pianist/composer, Pamela Madsen. Polonium unfolds to reveal the passion of the Nobel prize-winning chemist Marie Curie’s quest in the early 20th century to overcome the darkness of
disease through the discovery of radioactivity—only to succumb to its dangerous effects.
The Old Belltower INNA FALIKS
The Old Belltower Inna Faliks composed this work when she was ten years old. It is on my her forthcoming album called “Stranger Things.” It is featured here before the Freidlin work, because he was Falik’s composition teacher.
Ballade in Black and White JAN FREIDLIN
Ballade in Black and White was composed for Inna Faliks by Jan Freidlin, a noted Ukrainian composer who was her composition teacher in Odesa. As a child, Faliks composed many piano works, songs and an opera, but stopped composing at sixteen. She recently returned to composition. Inna is currently recording some of her music, alongside Schoenberg and Brahms, for an album called “Stranger Things.” She reconnected with her composition teacher twenty years later, and he composed Ballade in Black and White for her to mark their reunion.
Symphonic Etudes, op. 13
ROBERT SCHUMANN
Robert Schumann composed the Symphonic Etudes, op. 13, in 1834, at the age of 24. He was briefly engaged to a young woman named Ernestine von Fricken at that point. Using a melody composed by her amateur composer father, Baron
PROGRAM NOTES
von Fricken, he created this dark journey. This new work was more orchestral, more Beethovenian in scope, more fiercely dramatic and more structurally and pianistically complex than his charming, whimsical Carnaval, op. 9, which used coded musical references to both Ernestine and the new romantic presence in his life, Clara. The original, tragic theme doesn’t just change character with each new variation and etude, but develops new counter-themes, textures, voices and personalities, always increasing in excitement as the work progresses from total darkness to the ebullient light of the finale.
At the time of publication, the work was attributed to Schumann’s two alter egos–Florestan (the tempestuous one) and Eusibius (the wise calm one). Five variations, more lyrical and searching in character (the Eusibius variations), were rejected for the initial publication of the work,
and published by Johannes Brahms almost 20 years after Schumann’s death. In my view, these posthumous variations are some of the most moving music Schumann has ever written for the piano. How does one decide where to place them, within the large-scale canvas? Every pianist does it differently, for this very personal and creative decision impacts the emotional arc of the entire piece. For example, for me, one cannot reach the D-Flat Major finale without first experiencing the transcendent D-Flat Major posthumous Variation No. 5. The posthumous Variation No.4 sounds like Lacrimosa, a lame nt that goes hand in hand with the proceeding variation – a Baroque-tinted funeral march. The posthumous Variation No. 3 is a mad waltz, and No. 2 a feverish dream. They appear within the story, in places where they are needed –or at least, in places where I, as a performer, feel they will speak most powerfully and dramatically.
Inna Faliks
“Adventurous and passionate” (The New Yorker) Ukrainian-born pianist Inna Faliks has established herself as one of the most communicative, and poetic artists of her generation. She is renowned internationally for her commanding performances in standard piano repertoire, as well genre-bending projects, and work with contemporary composers.
Faliks’s distinguished career has brought thousands of recitals and concerts throughout the US, Asia, and Europe. Recent seasons have included performances at the Ravinia Festival, National Gallery of Art, Alice Tully Hall, the Wallis Annenberg Center. And the Broad Stage. In China she has appeared at the most important concert halls: the Beijing Center for Performing Arts, Shanghai Oriental Arts Theater and Tianjin Grand Theater. She at the Festival Internacional de Piano in Mexico, the Fazioli Series in Italy, Israel’s Tel Aviv Museum, Portland Piano Festival, and Camerata Pacifica. She has performed at Carnegie Hall’s Weill Concert Hall, the
Metropolitan Museum of Art, the International Keyboard Festival in New York, Bargemusic Here and Now, and Chautauqua, the Salle Cortot in Paris, Moscow’s Tchaikovsky Hall and at many important festivals including Verbier, Mondo Musica Cremona, Brevard, Taos, Gilmore, Music in the Mountains, Brevard, Taos, and returns regularly to Newport Classical and the Peninsula Music Festival.
Since Faliks’ acclaimed teenage debut with the Chicago Symphony Orchestra, she has been a frequent guest soloist with symphony orchestras. 2024 brought debuts with Tokyo Sinfonia in Oji Hall and with the New Haven Symphony Orchestra under Perry So. She premiered Clarice Assad’s Lilith concerto with Richard Scerbo and Inscape at the National Gallery of Art with additional performances under Thomas Heuser with the San Juan Symphony. Fall 2025 brought her debut with the New West Symphony under Michael Christie in Beethoven’s Choral Fantasy and the premiere of Gabriel Prokofiev’s groundbreaking Concerto for Synthesizer and Orchestra with the Orquestra Sinfonica do Porto Casa da Musica in Porto, Portugal featuring her on the Minimoog, conducted by Andrew Gourlay.
Among many other performances with orchestra, Faliks has appeared with the Greensboro Symphony under Dmitry Sitkovetsky, the Memphis Symphony with Robert Moody, the Erie Symphony with Daniel Meyer, Santa Barbara Symphony with Nit Kabaretto, Williamsburg Symphony, the Wintergreen Festival, and in concerti under the batons of such renowned conductors as Leonard Slatkin, Keith Lockhart, Edward Polochick, and Neal Stuhlberg. A committed chamber musician, she has had notable collaborations with Gilbert Kalish, Ron Leonard, Fred Sherry, Ilya Kaler, Colin Carr, Wendy Warner, Clive Greensmith, Antonio Lysy, and Rachel Barton Pine.
Faliks has had a strong commitment to contemporary music giving premieres of works composed for and dedicated her by Billy Childs, Timo Andres, Richard Danielpour, Paola Prestini, Ljova, Clarice Assad, and Peter Golub. In her recording, “Reimagine Beethoven and Ravel,” contemporary composes respond to the Beethoven Bagatelles and Ravel’s Gaspard de la Nuit. In “13 Ways of Looking at the Goldberg” composers’ created variations based on Bach’s masterpiece. She performed and recorded unknown piano works of the Russian poet Boris Pasternak. A one-woman show led to “Polonaise-Fantaisie, Story of a Pianist,” an autobiographical monologue for pianist and actress, presented as a solo recital in New York’s Symphony Space, the Accademia Musicale Chigiana in Italy and for her London debut at JE3 Arts Centre. In 2023 her acclaimed memoir, Weight in the Fingertips: A Musical Odyssey from Soviet Ukraine to the World Stage was published by Backbeat / Globe Pequot.
ABOUT
Faliks has been featured on radio and television throughout the world. She co-starred with Downton Abbey’s Lesley Nicol in “Admission – One Shilling,” a play for pianist and actor based on the life of the great British pianist, Dame Myra Hess. Her most recent recording, “Manuscripts Don’t Burn,” was released in 2024 with premieres by Maya Miro Johnson and Veronika Krauss. Prior releases have received critical praise and named to annual “best of” lists. For her Beethoven CD release on MSR, WTTW called Faliks “High priestess of the piano, concert pianist of the highest order, as dramatic and subtle as a great stage actor.”
Faliks is founder and curator of Music/Words, now based at the Wende Museum in Los Angeles: an awardwinning poetry-music series in collaboration with some of the nation’s most distinguished poets, frequently.
A past winner of many prestigious competitions, Faliks is currently Professor of Piano and Head of Piano at UCLA. As a writer, she has been published by Los Angeles Times and Washington Post.
Faliks is a Yamaha Artist.
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