University Symphony Orchestra program

CSUF SCHOOL OF MUSIC presents

University Symphony Orchestra Kimo Furumoto, conductor Saturday, October 2, 2021

California State University, Fullerton

UNIVERSITY CREDITS Framroze Virjee, President, California State University, Fullerton Carolyn Thomas Provost and Vice President for Academic Affairs Ron Coley, 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 Arnold Holland, Ed.D, Dean Dave Mickey, Associate Dean Maricela Alvarado, Assistant Dean Christopher Johnson, Budget Coordinator Heather Guzman, Assistant to the Deans Edward J. Fink, Ph.D, Director, School of Music Jade Jewett, Chair, Department of Visual Arts Jamie Tucker, Chair, Department of Theatre & Dance 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 Erika Garcia, 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 TO THE COLLEGE OF THE AR TS First, I’d like to start off by saying something I have looked forward to saying for a very long time: “Welcome back!” Welcome back to live performances and in-person exhibitions; welcome back to the thrill of sitting in a darkened theatre or concert hall, waiting with palpable anticipation as performers fill the stage; and welcome back to the very personal experience of being in the presence of an artwork that moves you or challenges your expectations. We’ve missed you.

While away from campus, our students continued to create, learn, rehearse, and perform – sometimes in the tiny boxes we’ve all grown accustom to viewing from home – as they prepared for the moment they would once again feel stage lights shining on them. As you can imagine, they are more than ready to perform in front of a live audience! This season, we are offering both on-campus and live streaming options for many of our Department of Theatre & Dance and School of Music performances to accommodate a variety of patrons. With enhancements to our HVAC and air filtration systems, we are also able to provide students with the full breadth of our first-rate performance facilities and numerous art galleries where they perfect their craft daily.

In returning to campus, we can once again deliver the full scope of immersive academic experiences and opportunities for cross-disciplinary collaboration that make our college a living laboratory for the arts. Here, success is measured in lines of dialogue, sheets of music, and slabs of clay as our students, faculty, and staff work together to present concerts, exhibitions, lectures, workshops, and performances to 40,000+ visitors annually.

This would not be possible without the support of our community. As a leading CSU in the arts, we are an essential part of the cultural fabric of Southern California, providing transformational experiences to our students, community, and beyond.

If ensuring the arts remain at the forefront of higher education in Orange County is a passion of yours, I encourage you to support the College of the Arts at any level by donating to the Dean’s Fund for Excellence today (arts.fullerton.edu/giving).

Thank you for joining us for another season of theatre, dance, music, and visual arts.

Our doors are open, and we can’t wait to put on a show for you!

Arnold Holland, Ed.D.

Dean, College of the Arts

Edward J. Fink, Ph.D - School of Music director (Interim) 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 Rodolfo Zuniga - jazz studies, jazz percussion, and music technology 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 Music in General Education Dr. Nicole Baker Dr. John Koegel* Dr. Katherine Reed

Vocal, Choral, and Opera Dr. Mark Goodrich* - voice, academic voice courses Dr. Robert Istad Director of Choral Studies; University Singers Kerry Jennings – Director of Opera Dr. Christopher Peterson - CSUF Concert Choir and Singing Titans 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 Michael August - Production Manager Eric Dries - Music Librarian

Jeff Lewis - Audio Engineer

Chris Searight - Musical Instrument Services

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

Paul Shirts - Administrative Assistant Elizabeth Williams - Accountant

Sue Winston - Office Coordinator

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

* denotes Area Coordinator

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

PROGRAM UI NV ERSIT Y SYMPHO NY O RCH ESTR A Kimo Furumoto, conductor Le Carnaval Romain, Op. 9 (Roman Carnival Overture)...........................Hector Berlioz (1803-1869) “Ride of the Valkyries” from Die Walküre..............................................Richard Wagner (1813-1833) Flying Theme from E. T. (The Extra-Terrestrial).........................................John Williams (b. 1932)

• • • I NTE R M I SSI ON • • •

Symphony No. 6 in B Minor, Op. 74 “Pathetique”...................Pyotr Ilyich Tchaikovsky Adagio – allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso

(1840-1893)

PROGRAM NOTES In 1844 Berlioz composed the Roman Carnival overture using themes from his opera Benvenuto Cellini, first performed in 1838 without public success. Berlioz wrote in his Memoirs: “It is fourteen years since I was stretched on the rack at the Opéra. I have just reread my poor score [Benvenuto Cellini] carefully and with the strictest impartiality, and I cannot help recognizing that it contains a variety of ideas, an energy and exuberance and a brilliance of color such as I may perhaps never find again, and which deserved a better fate.” Berlioz most likely composed the Roman Carnival to popularize the opera’s content or as a brilliant prologue to Act II, but not as a replacement for the Benvenuto Cellini Overture. Although the opera was never popular during Berlioz’s lifetime, there were successful performances, particularly those under Liszt’s direction at Weimar. Both overtures met with a better fate: they were instantly successful as separate concert pieces and have remained so. The “exuberance” and “brilliance of color” that Berlioz mentioned in connection with the opera are abundant in the Roman Carnival. A brief “teaser” introduction is characteristic of most of Berlioz’s overtures, and this Overture springs to life with an energetic preview of the main section before the “real” slow introduction begins. The English horn “sings” the main theme of the introduction, derived from Benvenuto’s aria in Act I, and even before that from a cantata that Berlioz wrote in 1829—clearly he was partial to it. The saltarello (sprightly dance) theme of the Overture’s main body is an expanded treatment of the “Carnival Chorus” in Act II; into this texture the slow theme from the introduction eventually appears in ingenious counterpoint. It is interesting that Berlioz originally wrote the fast section in 3/8 time in the fashion of a scherzo, and only later rewrote it in 6/8. Although the music is for the most part simplified by this revision, certain sections that would have had 9-bar phrases now contain phrases of the unusual length of 4 1/2 bars. Berlioz was not only an inspired composer, but one of the wittiest and most articulate writers on music—his Evenings with the Orchestra and his Memoirs make highly entertaining reading. He recounts the following anecdote about the Roman Carnival in his Memoirs: “In Austria the Roman Carnival overture was for long the most popular of my compositions. It was played everywhere... One evening Haslinger, the music publisher, gave a soirée at which the pieces to be performed included this overture, arranged for two pianos (eight hands) and physharmonica [a kind of harmonium]. When its turn came, I was near the door which opened onto the room where the five performers were seated. They began the first allegro much too slowly.

The andante was passable; but the moment the allegro was resumed, at an even more dragging pace than before, I turned scarlet, the blood rushed to my head and, unable to contain my impatience, I shouted out: “This is the carnival, not Lent. You make it sound like Good Friday in Rome.” The hilarity of the audience at this outburst may be imagined.

It was impossible to restore the silence, and the rest of the overture was performed in a buzz of laughter and conversation, amid which my five interpreters pursued their placid course imperturbably to the end.”

– Jane Vial Jaffe No other figure in the history of music has proven more controversial than Richard Wagner, but there's no need to enumerate his many shortcomings here. His musical genius is absolutely without question, and few composers have had more impact on

PROGRAM NOTES their period in history, much less the ones that followed. His use of leitmotifs to provide thematic unity in his operas is a technique used by soundtrack and film score composers to this day; notable examples include Bernard Herrmann, John Williams, James Horner, and Jerry Goldsmith. Wagner was a native of Leipzig, Germany. He fell in love with the music of Beethoven as a teenager, and taught himself composition by studying orchestral scores. Though he was located during his lifetime in many of Europe’s great musical centers, he is probably most famously connected with Bayreuth, a small town in Bavaria, where a festival theatre was constructed to his specifications with the financial assistance of King Ludwig II. Bayreuth hosts an annual festival of Wagner's operas every summer. The famous cycle of four Norse mythology-based operas, Der Ring des Nibelungen, is produced every five to seven years. “The Ride of the Valkyries” occurs in Die Walküre, the second opera in the Ring cycle. Ask the uninitiated what opera is all about, and this is the image that will inevitably be returned to you: Teutonic blonde women with braids wearing winged helmets and metal breastplates, carrying spears, riding winged steeds, and “ho-jo-to-ho-ing” at the top of their lungs. To add insult to injury (though given Wagner’s character, one might think this was more a case of “turnaround is fair play”), there’s also Bugs Bunny and Elmer Fudd exploring at least six of Wagner's leitmotifs in “Kill the Wabbit!!!” of Looney Tunes fame! No matter: at least in the United States, the primary leitmotif from this number is probably Wagner’s greatest hit, and many of us heard it first watching those Saturday morning cartoons. This is a tour de force for the brass section; they carry the day with the exhilarating theme whilst the woodwinds and strings valiantly try to keep up with the arpeggiated figures that represent the flying Valkyries on their winged steeds, transporting the souls of fallen warriors to Valhalla. It is a true masterpiece that gives the listener a stunning sonic recreation of some of the most compelling visual imagery ever conceived.

– Michelle Pellay-Walker “In the film E.T. (The Extra-Terrestrial), director Steven Spielberg gives us scene after scene during which we willingly suspend our disbelief. Toward the end of the film, Spielberg has the group of youngsters featured in the story mount their bicycles and hurry to take E.T. back to his spaceship and safety. They’re hotly pursued by the local police, and a brilliant chase ensures.

The children accelerate their bikes to the point where gravity is neutralized…they reach ‘escape velocity’ and majestically soar over the moon. Watching all of this, we accept it as reality and fly along for the ride.

Of the countless scenes I’ve scored in films, I think that this one is perhaps my favorite of all. It continues to hold a very firm, fond and permanent place in my memory.”

– John Williams

PROGRAM NOTES “I love it as I have never loved any one of my musical offspring before.”

– Tchaikovsky, regarding his Sixth Symphony Pyotr Ilyich Tchaikovsky’s most controversial work continues to spark debate more than 100 years after its composition. Although Tchaikovsky declined to articulate the specifics of the program he attached to this symphony – “Let them guess at it!” he wrote to his nephew Vladimir Davidov – many scholars and critics agree that this passionate, highly emotional music is a declaration of forbidden love; namely, that of Tchaikovsky for Davidov. The title “Pathétique” supports this interpretation, as it suggests the grande passion pathétique of French opera. Biographer John Warrack writes, “The Russian word ...carries more feeling of ‘passionate’ or ‘emotional’ in it than the English ‘pathetic,’ and perhaps an overtone, which has largely vanished from our world . . . of ‘suffering.’”

Tchaikovsky died of unknown causes ten days after conducting the first performance of the “Pathétique.” Like his hero Mozart, the circumstances of Tchaikovsky’s death have sparked numerous rumors, and the cause of his death has never been definitively established. Tchaikovsky’s brother and first biographer Modest said Tchaikovsky died from cholera contracted after drinking tainted water; others claim he committed suicide to avoid the publicity of his advances to a male student. There is no clear evidence one way or the other, and debate will no doubt continue.

The Adagio—Allegro ma non troppo begins with a dark and forbidding bassoon solo, the primary theme of the first movement. After the slow Adagio, the strings burst in with an agitated restatement of the bassoon solo, followed by a contrasting theme full of melancholy nostalgia. The movement descends into chaos as the themes are developed, ripped apart, and tossed about in a tempest of sound. A solemn brass chorale with pizzicato string accompaniment draws the movement to a close. In the Allegro con grazia, Tchaikovsky presents a graceful waltz in the unusual meter 5/4, which sweeps through the strings like a gentle wind. Although the overall mood of this movement is lighter than that of the first, Tchaikovsky infuses the music with strong sense of sadness and hints of romantic despair. The vigorous march of the Allegro molto vivace offsets the melancholy of the first two movements. This powerful music boldly proclaims itself with insouciant swagger. The closing Adagio lamentoso begins with an anguished cry in the strings. This music succumbs to its own beautifully crafted fatalism, laden with pain and lamentation. The strings are interrupted by a blast from the brasses, after which the strings continue on their mournful way to a subdued conclusion, in which there is no hint of a happy ending.

Interestingly, the first performance of the Sixth Symphony was not a success, but after the second performance, just days after Tchaikovsky’s death, it was hailed as a symphonic masterpiece.

– Elizabeth Schwartz

ABOUT THE CONDUCTOR

KIMO FURUMOTO Kimo Furumoto is the Orchestra Director at California State University, Fullerton. He is also Music director and Conductor of the Huntington Symphony Orchestra (West Virginia) as well as the Whittier Regional Symphony. His guest conducting appearances have taken him throughout the United States and Europe with many stellar orchestras.

Previous positions include music director of the Concert Orchestra at the University of Cincinnati, College Conservatory of Music, conducting assistant with the Cincinnati Symphony Orchestra, and assistant conductor of the Cincinnati Chamber Orchestra. He has worked with noted conductors such as Leonard Bernstein and Robert Shaw. Furumoto holds degrees in conducting from Chapman University and the University of Cincinnati, College Conservatory of Music. His recent ballet “The Mandarin Ducks” has been enthusiastically received by audiences.

UNIVERSITY SYMPHONY ORCHESTRA Flute Michelle Chang Joel Charboneau Joseph Loi Kaylee Yeon Oboe Luke Dodson Emily Frank Victoria Solis Clarinet Eric Just Jongeui Kim Julian Rymar Duarte Vale Bassoon Gildardo Alvarado Carlos Cano Sloan Quessenberry Horn Peter Bement Alexander Delperdang Marissa Diaz Julianne Pritchford Sam Stevens Josiah Wallace Trumpet Carl Fong Taylor Shirley Isaiah Soto Hugo Tomas Brad Torres Trombone Jacob Marsh Sebastian Martinez Bryan Melchor Tuba Michael Salgado

Percussion Victoria Canonizado Daniel Garcia Isabell Liao Salvador Montano Galadriel Pokraki Violin Emily Arnold Charlotte Bouck Jen-Yan Chang Matthew Fang Emma Hill Tayler Hinrichsen Daryuish Khashayar Samuel Kim Israel Lizarraga Jonathan Nagano Soo Hyun Park Aaron Tam Isaac Visoutsy Szu-yun Wang Xiao Wang Shaochong Zhou Viola Joshua Allen Esra Arin Kyle Bague Yangyu Chen Valerie Jocson Zoe Lee Justine Williams Xinyi Yan Cello Sunghee Chang Ixchel Cisneros Jocelyn Francis Benjamin Her Jiyeong Im Michelle Jung Hyejin Lee Brett Phillips Ryan Phipps

Bass Ronald Allen Andrew De Stackelberg Nathan Eskridge Josia Sulaiman Keyboard Julia Jin Harp Brian Noel

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.** $1,000,000 + Anonymous

Terri and Bob Niccum Douglas G. Stewart

$100,000+ Chapman University The Andy Warhol Foundation

$1,000+ Judy L. Atwell Betsy and Eric Azariah Lucina and John Brennan Janet & Allen Bridgford Irene Chinn Stephen W. Collier and Joann Driggers William S. Cornyn CEC Artslink D. Barry Schmitt Revocable Trust Susan and Richard Dolnick Lisa M. Draskovich-Long Lucetta A. Dunn Shawna and Greg Ellis Dr. Anne Fingal Evelyn K. Francuz Fullerton Families and Friends Jacquelyn Garrabrant Annette L. and Leon J. Gilbert Susan-Ellen Gilmont Dr. Mark J. Goodrich Dr. Margaret F. Gordon Theresa Harvey James L. Henriques Trevor E. Illingworth Michelle Jordan Gladys M. Kares Gwendolyn and Carlos C. Leija John M. Martelli and Paul Coluzzi Karen and George Mast Thelma and Earl Mellott Sylvia Megerdichian Mary E. Moore Patricia and Carl Miller Betty Murphy Ann and Douglas Myles Yoshino and Ujinobu Niwa Debra L. Noble L. Palin Kerry and John Phelps The Presser Foundation Deanna and Arie Passchier

$25,000+ Anonymous Lee C. Begovich Johnny Carson Foundation Leo Freedman Foundation Frank and John Olsen Frank J. and Jean Raymond Music Associates Alliance for the Performing Arts $10,000+ Art Alliance Affordable Housing Access Inc. The Blackbaud Giving Fund Marilyn D. Carlson Darryl Curran Dwight Richard Odle Foundation Fidelity Charitable Gift Fund J.P. Morgan Charitable Giving Fund Ellen and Bill Groves Robin and Steve Kalota Eleanore and James L. Monroe Michael L. Mavrovouniotis Dr. Katherine S. Powers and Håkan O. Rosengren Raymond James Charitable Endowment Fund Sue and Dr. Edward A. Sullivan The Thorsen Family $5,000+ Drs. Voiza and Joseph Arnold Dr. Marc R. Dickey MaryLouise and Ed Hlavac Morningside of Fullerton Norma Morris Jill Kurti Norman Orange County Community Foundation

Sheila Pinkle Sharon and Dr. Anil K. Puri Mary and Jerry R. Reinhart Renaissance Charitable Foundation Nancy and Robert Rennie Christine Rhoades Sandra and David Rhone Dr. Stephen M. Rochford Ann and Thad Sandford D. Barry Schmitt Louise P. Shamblen Marth Shaver Ingrid R. Shutkin Lorena L. Sikorski Carol Smith Sparkman Janet L. Smith Dodo V. Standring Robert Van Sternberg Verne Wagner Dr. Sean E. Walker Debra Winters Richard Wulff YourCause, LLC

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, 2020 through September 2021

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 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* Mary K. & William Sampson Douglas G. Stewart Andrea J. & Jeffrey E. Sward Richard J. Taylor Verne Wagner Richard Wulff Dr. James D. & Dottie Young* *deceased

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

VOLUNTEER SUPPORT GROUPS

ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.

Special support and event underwriting Fay Colmar John DeLoof

Joann Driggers & Steve Collier Loraine Walkington

ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.

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

Dr. Margaret Faulwell Gordon Norma Morris Richard Odle Estate

Kerry & John Phelps Jeanie Stockwell Verne Wagner

MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.

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

Thelma & Earl Mellott Bettina Murphy Grace & Ujinobu Niwa Kerry & John Phelps Mary & Jerry Reinhart

Ann & Thad Sandford Dodo V. Standring Carolyn & Tom Toby John Van Wey

MORE INFORMATION: Erika Garcia • 657-278-8683 There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts: Student Scholarships Unrestricted Gifts Designated Gifts

Endowment Support Planned Giving

Support Group membership Dean’s Fund for Excellence

GET INVOLVED GIVING.FULLERTON.EDU

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

COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2021 Kim Abeles: Smog Collectors, 1987-2020 Through December 18, 2021 Begovich Gallery

Alex McDonald, piano: Guest Artist Recital Wed., November 3, 2021 Meng Concert Hall

How I Learned to Drive September 29 – October 2, 2021 Arena Theatre

Almost, Maine November 3–6, 2021 Arena Theatre

University Symphony Orchestra Sat., October 2, 2021, 3 pm Meng Concert Hall

Opera Scenes: Opera Meets the Seven Deadly Sins November 4-6, 2021 Recital Hall

CSUF Wind Symphony & CSUF Smphonic Winds Sun., October 3, 2021, 3 pm Meng Concert Hall Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble Sat., October 8, 2021, 8 pm Meng Concert Hall Advanced Vocal Workshop with guest Mark Robson, piano Tues., October 12, 2021, 8 pm Recital Hall (Nickelodeon) The SpongeBob Musical October 13–16, 2021 Little Theatre Sonnets for an Old Century October 20 – 23, 2021 Arena Theatre University Singers & Concert Choir Sun., October 17, 2021, 3 pm Meng Concert Hall Within Reach October 27 – 30, 2021 Hallberg Theatre Rong-Huey Liu, oboe, & William May, bassoon: Faculty Artist Recital Tues., November 2, 2021, 8 pm Meng Concert Hall

University Symphony Orchestra feat. guest concertmaster Jorja Fleezanis Sun., November 14, 2021, 3 pm Meng Concert Hall Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble Tues., November 16, 2021, 8 pm Meng Concert Hall Fall Dance Theatre November 16 – 20, 2021 Little Theatre CSUF Wind Symphony Fri., November 19, 2021, 8 pm Meng Concert Hall Titan Voices & Singing Titans Mon., December 6, 2021, 8 pm Meng Concert Hall University Band Wed., December 8, 2021, 8 pm Meng Concert Hall The Wolves December 8 – 11, 2021 Young Theatre Deck the Hall at Cal State Fullerton!

December 11, 12, 2021 Meng Concert Hall

For complete information and tickets ArtsTickets.fullerton.edu • Box Office: (657) 278-3371 arts.fullerton.edu/calendar

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