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
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 Fall 2025 performing and visual arts season at Cal State Fullerton’s College of the Arts. Each new semester, our campus comes to life with the energy and creativity of thousands of arts students eager to share their unique visions. 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.
On October 12, the School of Music presents the interdisciplinary performance “Shakespeare in Sound,” featuring the University Symphonic Winds along with vocal and theatre students. Later in the semester, “Here’s Johnny!: Celebrating 100 Years of Johnny Carson” swings its way onto the stage with a program of jazzy favorites on November 16. More toe tapping is in order when the Department of Theatre and Dance presents their fall musical “9 to 5,” based on the hit 1980 film and featuring the music of Dolly Parton. To close the season, “Fall Dance Theatre: Tethered” returns to the Hallberg Theatre with a fully interactive stage set for our dancers and choreographers to explore.
If you haven’t yet visited the College of the Arts Galleries, join us for the October 4 opening reception for the exhibitions Soo Kim: “(Charlie sings in the quietest voice)” and Carol Caroompas: “Mystical Unions.” Kim is known for her intricately cut and layered photographic work while trailblazing alumna Caroompas is widely recognized for her layered visual narratives. Don’t forget to stop by our student galleries while you’re there!
There are so many exhibitions, concerts, and performances to experience across the college this season, but they wouldn’t be possible without you – our extended Titan community. In every class, every rehearsal and with every hour spent in the studio, our students are pushing creative boundaries, but they need your support to thrive. The Dean’s Fund for Excellence provides arts students with necessary funds for scholarships, off-campus opportunities, and so much more. Help transform their potential into possibility by making a gift of any amount to the Dean’s Fund for Excellence today.
Thank you for joining us for this performance. Our students are ready to make the Fall 2025 season unforgettable, and we are so proud to share their artistry with you.
James M. David (b. 1978) Emma Johnson Miranda, graduate student conductor
The Time Traveler (2024) Patrick Harlin (b. 1984) Lost to Time
1808: Time Spy
1957: Hello, Sputnik
1969: Feverdream
1781: Unpartita
1101: Reflection of the Living Light
1996: Nonstop News
2037: Lightspeed Present Moment
Intermission *****
Poème du feu (1980) ...........................................................
Ida Gotkovsky (b. 1933) Majestuoso Prestissimo
Ecstatic Waters (2008) .......................................................... Steven Bryant (b. 1972)
Ceremony of Innocence
Augurs
The Generous Wrath of Simple Men
The Loving Machinery of Justice
Spiritus Mundi (epilogue)
PROGRAM NOTES
Urban Light
JAMES DAVID
James M. David is an American composer and professor of music theory and composition at Colorado State University.
As a native of southern Georgia, David began his musical training under his father Joe A. David, III, a renowned high school band director and professor of music education in the region. This lineage can be heard in his music through the strong influence of jazz and other Southern traditional music mixed with contemporary idioms. Dr. David received degrees in music education and music composition from the University of Georgia and the Florida State University College of Music. He studied composition with Guggenheim recipient Ladislav Kubik and Pulitzer recipient Ellen Taaffe Zwilich as well as jazz composition and arranging with Sammy Nestico.
David is particularly known for his works involving winds and percussion. His works have been performed and recorded by many prominent ensembles including the U.S. Air Force Band, the U.S. Army Band “Pershing’s Own,” the U.S. Army Field Band, the Des Moines Symphony Orchestra, the Showa Wind Symphony (Japan), the Osaka Shion Wind Orchestra, and the North Texas Wind Symphony. His music has been performed at more than sixty national and international conferences including the Midwest Clinic, the College Band Directors National Association Biennial Conference, the American Bandmasters Association Convention, and the World Association for Symphonic Bands and Ensembles Conference.
David was the winner of the 2022 William D. Revelli Composition Contest, a three-time finalist for the Sousa-ABA Ostwald Award, winner of an ASCAP Morton Gould Award, and won national contests sponsored by the Music Teachers National Association and the National Association of Composers (USA). Commissions include projects for the National Band Association, the Atlantic Coast Conference Band Directors Association, Joseph Alessi (New York Philharmonic), John Bruce Yeh (Chicago Symphony), James Markey
(Boston Symphony), Zachary Shemon (Prism Quartet), and hundreds of university faculty and ensembles. His works are represented on over twenty commercially released recordings.
Regarding Urban Light, he writes:
Urban Light (2021) is a brilliant display of colors, forward momentum, and intertwining rhythmic layers that is inspired by the iconic Los Angeles landmark of the same name. Created by conceptual art pioneer Chris Burden in 2008, the original work is an assemblage of historic streetlamps that were transplanted from various cities in California and also Portland, Oregon. The tight spacing and repetitive forms interact with the famously dynamic LA sunlight transitioning to the exciting nighttime glow of the city.
Primary melodic and rhythmic motives are derived from Morse code for the word “California,” creating an asymmetrical and syncopated groove that continuously builds in energy.
Parallel “barre” chords reveal a classic rock/metal influence that reaches its zenith with a heavy percussion backbeat. Polyrhythmic layers and prismatic colors move over, around, and under each other, leading towards a hopefully thrilling and intense finale.
This work was commissioned by the National Band Association for its 60th anniversary and is dedicated to my wife who introduced me to the West Coast’s beauty and spirit.
The Time Traveler
PATRICK HARLIN
Patrick Harlin’s “aesthetics capture a sense of tradition and innovation…” (The New York Times). His music is permeated by classical, jazz, and electronic music traditions, all underpinned with a love and respect for the great outdoors.
Recent premieres include The Fourth Pedal, a piano concerto written for and premiered by Cliburn finalist Clayton Stephenson, BLOOM for orchestra, Time Lapse for
PROGRAM NOTES
solo harp, The Wilderness Anthology for string orchestra and pre-recorded soundscapes, and Earthrise for orchestra.
Harlin’s works have been performed by the St. Louis Symphony, Kansas City Symphony, the Rochester Philharmonic, the Reno Philharmonic, Lansing Symphony, Kinetic Ensemble, Alarm Will Sound, ROCO Houston, Calgary Philharmonic Orchestras, Collegium Cincinnati, Salina Symphony, NW Florida Orchestra, Calidore and ConTempts string quartets among others. He recently finished as the inaugural composer in residence with the Lansing Symphony Orchestra (2019-2023), where he collaborated extensively with conductor Timothy Muffitt.
Harlin’s interdisciplinary research in soundscape ecology—a field that aims to better understand ecosystems through sound—has taken him to imperiled regions around the world, including the Amazon rainforest and the Book Cliffs of Utah. His baseline recordings for ecological impact studies are also the fodder for artistic inspiration. These pieces draw parallels between the sounds of the natural world and those of the concert hall, seeking to bring awareness to the importance of sound in our environment.
Harlin’s work in this field has been supported by a Graham Sustainability Institute Doctoral Fellowship, Theodore Presser Award, and a University of Michigan Predoctoral Fellowship, resulting in an ongoing body of works called The Wilderness Anthology
CD releases include American Rapture by the Rochester Philharmonic, Wind Cave on GVSU’s Dawn Chorus Album, My Time is Now featuring #tbt and the premiere recording using George Gershwin’s Steinway piano, River of Doubt with the Atlantic Classical Orchestra, and Time Lapse on Yolanda Kondonassis’s album 5 minutes for earth. Upcoming recordings include The Wilderness Anthology commissioned and premiered/ recorded by the Kinetic Ensemble. Harlin holds a B.Mus from Western Washington University, and an M.M. and D.M.A. from the University of Michigan. He has studied with Alexei Girsh, Roger Briggs, Evan Chambers, Bright Sheng, and Michael
Daugherty. He was raised in Seattle, Washington, and moonlights as an adjunct faculty member at the University of Michigan.
The composer offers the following remarks about his work on tonight’s program:
While other musical works may evoke imagery of specific places, The Time Traveler explores time. It asks the listener, “When do you wish to go, historically?” This celebration of the wind ensemble sends a singular musical theme to some of the best-known eras in the development of concert music and band repertoire, as well as a few time periods that just seem like fun to visit. The theme takes on the stylistic guises and tropes of each era it visits, rather than trying to recreate that era. Every musical idea in The Time Traveler relates to the opening theme in some way.
I. “Lost in Time.” Time plays this trick where the older you get, the faster it goes. So goes this movement, continually speeding up until we land somewhere back in time.
II. “1808: Time Spy.” What might it be like to attend a concert when hearing music live was nearly the only way to experience it?
III. “1957: Hello Sputnik.” The space race heats up, music takes notice.
IV. “1969: Fever Dream.” This fever dream takes advantage of the even bigger big band forces than those of the 50s-70s. This movement starts in an elevator, returns to the elevator and ends in that elevator. This music takes inspiration from some of Quincy Jones Big Band Bossa Nova music of that era.
V. “1781: UnPartita.” Next destination, Mozart an unwelcome guest crashes the party, and one of most
PROGRAM NOTES
beloved works ever written for wind ensemble.
VI. “1101: Reflection of the Living Light.” The theme is presented symmetrically, reflected from a center point. The polymath composer and naturalist Hildegard of Bingen claimed for her entire life to have visions of the living light. In a letter, she writes: “The light which I see thus is not spatial, but it is far, far brighter than a cloud which carries the sun And as the sun, the moon, and the stars appear in water, so writings, sermons, virtues and certain human actions take form for me and gleam.”
VII. “1996: Nonstop News.” As the world becomes more connected, author Neil Postman observes that we are quite literally amusing ourselves to death. The nonstop news cycle has little to do with our lives or our communities but centers on a larger narrative, one that becomes increasingly difficult to tune out.
VIII. “2037: Lightspeed.” If you travel fast enough, time slows down.
IX. “Present Moment. We return to the present moment. All concerts are a form of time travel, and tonight›s concert is no different. Except, you are the only people to hear this piece performed during tonight’s show.
Poème du feu
IDA GOTKOVSKY
Ida-Rose Esther Gotkovsky is a French composer. Her father was violinist Jacques Gotkovsky of the renowned Loewenguth Quartet, and her mother also played the violin. Both her brother Ivar (piano) and her sister Nell (violin) became accomplished musicians, and Ida began composing at the age of eight. She entered the National Conservatory of Music in Paris and studied counterpoint under Nöel Gallon, harmony and analysis under Olivier Messiaen, and composition under Tony Aubin and Nadia Boulanger. Showing promise as a young, gifted composer, she entered compositions
in numerous contests and won many awards of distinction including the Prix Blumenthal (1958), the Prix Pasdeloup (1959), the Prix de Composition International de Divonne les Bains (1961), the Medaille de la Ville de Paris (1963), the Prix Lily Boulanger (1967), and many others.
Through Messiaen’s tutelage, Gotkovsky showed a pronounced interest in his techniques of composition through mode usage and additive meter. Featuring lyric melodic ideas, her compositions range from pensive and introspective to brilliant and virtuosic. She boasts a varied catalogue of works that include chamber works; symphonic works; soloist with piano as well as large ensemble accompaniment; and even an opera.
Gotkovsky became one of a singular list of women composers that helped to carry the mantle of prominent female composers of the 20th Century begun under Cecile Chaminade, Melanie Bonis and Nadia Boulanger.
Of Poème du feu, Gotkovsky writes:
Ever since the beginning of man, fire has been particularly revered. Legends on its origin abound, each one conferring upon it a sacred feature; legends making of fire a link between creature and his creator.
Thus, the Celtic tradition brings us a myth close to Zarathustra’s: During the ceremonies heralding in the new year, men would light two hearths. The first one, which had been watched and honored all the year round, would be coming to its end, while the second, according to the memorial and magic process composed by the two celestial and earthly elements, gave birth to the new Fire.
When the two glowing furnaces were blazing in all their splendor, the entire village, men, flocks, and herds, in a long procession passed between the two Fires: The two movements of the poem. Everyone rejoiced to have mastered this divine gift.
The first movement—Majestuoso—is a fire of gigantic proportions, the
PROGRAM NOTES
spring of life which makes us relive the first moments of creation.
The second movement— Prestissimo—being at the heart of human achievement, is a power of revelation, an impetuous power which raises man to the level of demiurge and which finishes in the Fire apotheosis and, in this way, grants Prometheus’s wish.’
Ecstatic Waters
STEVEN BRYANT
Steven Bryant’s music is chiseled in its structure and intent, fusing lyricism, dissonance, silence, technology, and humor into lean, skillfully crafted works that enthrall listeners and performers alike. His seminal work Ecstatic Waters, for wind ensemble and electronics, has become one of the most performed works of its kind in the world, receiving over 250 performances in its first five seasons. In 2015, the orchestral version was premiered by the Minnesota Orchestra to unanimous, rapturous acclaim. The son of a professional trumpeter and music educator, he strongly values music education, and his creative output includes a number of works for young and developing musicians.
John Corigliano states Bryant’s “compositional virtuosity is evident in every bar” of his 34’ Concerto for Wind Ensemble. Bryant’s first orchestral work, Loose Id for Orchestra, hailed by composer Samuel Adler as “orchestrated like a virtuoso,” was premiered by The Juilliard Symphony and is featured on a CD release by the Bowling Green Philharmonia on Albany Records. Alchemy in Silent Spaces, commissioned by James DePreist and The Juilliard School, was premiered by the Juilliard Orchestra in May 2006. The Chicago Symphony Orchestra’s MusicNOW series featured his brass quintet, Loose Id, conducted by Cliff Colnot, on its 2012-13 concert series.
Bryant’s evening-length work for the Pittsburgh New Music Ensemble, The Treachery of Sounds, based on several images of René Magritte, uses a live application of binaural technology by placing every member of the audience in headphones to
create an immersive experience that defies the listener’s sense of reality. Other recent commissions include Zeal for Leonard Slatkin and the Detroit Symphony Orchestra, a large-scale intermedia project for Arizona State University, the Concerto for Trombone for Joseph Alessi and the Dallas Winds, as well as works for the Gaudete Brass Quintet (Chicago), cellist Caroline Stinson (Lark Quartet), pianist Pamela Mia Paul, the Amherst Saxophone Quartet (funded by the American Composers Jerome Composers Commissioning Program), the University of Texas – Austin Wind Ensemble, the US Air Force Band of Mid-America, the Japanese Wind Ensemble Conductors Conference, and the Calgary Stampede Band, as well as many others.
Bryant was Distinguished Visiting Professor of Composition at the University of North Carolina Greensboro for the 20142015 academic year. He studied composition with John Corigliano at The Juilliard School, Cindy McTee at the University of North Texas, and Francis McBeth at Ouachita University, trained for one summer in the mid-1980s as a break-dancer (i.e. was forced into lessons by his mother), was the 1987 radio-controlled car racing Arkansas state champion, has a Bacon Number of 1, and has played saxophone with Branford Marsalis on Sleigh Ride. He resides in Durham, NC with his wife, conductor Verena Mösenbichler-Bryant (Duke University).
Steven offers the following remarks about his work on the program:
Ecstatic Waters is music of dialectical tension—a juxtaposition of contradictory or opposing musical and extra-musical elements and an attempt to resolve them. The five connected movements hint at a narrative that touches upon naiveté, divination, fanaticism, post-human possibilities, anarchy, order, and the Jungian collective unconscious. Or, as I have described it more colloquially: W.B. Yeats meets Ray Kurzweil in The Matrix.
The overall title, as well as Ceremony of Innocence and Spiritus Mundi,
PROGRAM NOTES
are taken from poetry of Yeats (News for the Delphic Oracle, and The Second Coming), and his personal, idiosyncratic mythology and symbolism of spiraling chaos and looming apocalypse figured prominently in the genesis of the work. Yet in a nod to the piece’s structural reality—as a hybrid of electronics and living players—Ecstatic Waters also references the confrontation of unruly humanity with the order of the machine, as well as the potential of a post-human synthesis, in ways inspired by Kurzweil.
The first movement, Ceremony of Innocence, begins as a pure expression of exuberant joy in unapologetic B-flat Major in the celesta and vibraphone. The movement grows in momentum, becoming perhaps too exuberant —the initial simplicity evolves into a full-throated brashness bordering on dangerous arrogance and naivete, though it retreats from the brink and ends by returning to the opening innocence.
In movement II, Augurs, the unsustainable nature of the previous Ceremony becomes apparent, as the relentless tonic of B-flat in the crystal water glasses slowly diffuses into a microtonal cluster, aided and abetted by the trumpets. Chorale-like fragments appear, foretelling the wrathful selfrighteousness of movement III. The movement grows inexorably, spiraling wider and wider, like Yeat’s gyre, until “the center cannot hold,” and it erupts with supreme force into The Generous Wrath of Simple Men.
Movement III is deceptive, musically contradicting what one might expect of its title. While it erupts at the outset with overwhelming wrath, it quickly collapses into a relentless rhythm of simmering 16th notes. Lyric lines and pyramids unfold around this, interrupted briefly by the forceful anger of a chorale, almost as if trying to drown out and deny anything but its own existence. A moment of delicate lucidity arrives amidst this back-andforth struggle, but the chorale ultimately dominates, subsuming everything, spiraling out of control, and exploding.
The Loving Machinery of Justice brings machine-like clarity and judgment. Subtle, internal gyrations between atonality and tonality underpin the dialogue between lyric melody (solo clarinet and oboe) and mechanized accompaniment (bassoons). An emphatic resolution in A-flat minor concludes the movement, floating seamlessly into the epilogue, Spiritus Mundi. Reprising music from movement I, this short meditative movement reconciles and releases the earlier excesses.
UNIVERSITY WIND SYMPHONY
Piccolo
Daniella Arditti
Crystal Lee
Flute
Dani Arditti
Harold Boche Castro
Roger Justo
Crystal Lee
Oboe
Brett Houston
Stephanie Marquez
Lilith Wathen
English Horn
Brett Houston
Bassoon
Nayalin Guzman
Emma Johnson Miranda
Rekha Michael
Adrian Wu
Contrabassoon
Adrian Wu
E-flat Clarinet
Myko Crisostomo
Clarinet
Grigorii Avetisian
Humberto Bravo
Myko Crisostomo
Oren Dror
Olivia Hirsch
Yilin Li
Michael Morales
Ryan Nguyen
Jonathan Recomanta
Christian Solis
Caleb Spivey
Bass Clarinet
Ryan Nguyen
Jesus Santiago
Contrabass Clarinet
Ryan Nguyen
Saxophone
Benjamin Jones
Adam Kummer
Joshua Lopez
Kimberly Orozco
Ariel Perez
Trumpet
Dominick Bonelli
Trevor Cannon
Isaac Montaño
Alex Santiago
Susanna Sun
Rudy Xool
Horn
River Ballantyne
Diego Campos
Samuel De los Santos
Andy French
Adam Sevilla
Tenor Trombone
Giovanni Gallegos
Isaac Leyva
Nathanael Peters
Samuel Song
Bass Trombone
Nikolas Hernandez
Nicholas Perez
Euphonium
Stephen Lopez
Jessie Romo
Samuel Song
Tuba
Zachary Arnold
Deandre Barlow
Eddie Bonilla
Double Bass
Angelina Salcedo
Percussion
Andrew Alvidrez
Ethan Greek
Brad Harris
Daniel La France
Diego Mendoza
Galadriel Pokracki
John Sunderman
Joshua Zepeda
Piano
Amelia Thompson
Harp
Brian Noel
Electric Guitar
Adam Nuccio
Music Librarians
Daniella Arditti
Emma Johnson Miranda
Christian Solis
Logistics Manager
Ryan Nguyen
Christian Solis
ABOUT THE GRADUATE STUDENT CONDUCTOR
Emma Johnson Miranda
Emma Johnson Miranda is a conductor, musician, and educator who was born and raised in Houston, Texas. Miranda is currently a graduate student at California State University-Fullerton, studying instrumental conducting with Dr. Dustin Barr. Along with completing her degree in conducting, Miranda is finishing her teaching credential all while playing bassoon in the University Wind Symphony and the University Symphony Orchestra.
As an undergraduate student, Miranda studied conducting with Dr. Shawn Smith and bassoon with Dr. Christian Smith at Brigham Young University. Additionally, Miranda played bassoon in the BYU Wind Symphony–a group that toured to Spain and Portugal in May 2023 and qualified to perform at the 2024 WASBE conference in South Korea. She graduated from BYU in April 2023 with a Music BA and a minor in Family Life.
Miranda and her husband, EJ Miranda, currently live in Los Angeles, CA, where they enjoy spending time at the beach, eating good food, and catching up on their favorite TV shows.
ABOUT THE CONDUCTOR
Dustin Barr
Dustin Barr is the Director of Wind Studies and Associate Professor of Music at California State University, Fullerton, where he leads the university’s comprehensive band program. He conducts the acclaimed University Wind Symphony and University Band, oversees the graduate wind conducting program, and teaches courses in conducting and music education. Prior experiences include appointments as Assistant Director of Bands at Michigan State University, Director of Bands at Mt. San Antonio College, and Assistant Director of Bands at Esperanza High School in Anaheim, California.
A leading pedagogue in the field of conducting, Barr collaborated with theatre director Jerald Schwiebert to integrate performance theory with various movement disciplines, pioneering innovative approaches to conducting instruction. Their co-authored book, Expressive Conducting: Movement and Performance Theory for Conductors (Routledge, 2018), has become an essential resource for conductors worldwide. His work in movement theory has resulted in invitations to present masterclasses and lectures throughout the USA and in Spain. Moreover, his research on Scandinavian chamber wind ensemble music resulted in published editions of Asger Lund Christiansen’s Octet, op. 43 and Svend Schultz’s Divertimento for Wind Octet
Barr’s accomplishments have garnered wide recognition, including winning Second Prize of the 2024 American Prize in Conducting and Second Prize of the 2024 American Prize in Collegiate Wind Band Performance. His leadership of the CSUF University Wind Symphony has resulted in prestigious performances at the College Band Directors National Association (CBDNA) conferences at both national (2019) and regional (2024) levels, as well as a headlining performance at the 2023 California All State Music Education Conference. The University Wind Symphony’s 2022 album, Effigy, is another noteworthy achievement. This album features the music of composer Brian Baumbusch and was the result of innovative musical practices and remote recording projects undertaken during the COVID-19 pandemic. Under Barr’s direction, the ensemble also received Third Prize in the 2021 American Prize Ernst Bacon Award for the Performance of American Music.
Barr has guest conducted prominent ensembles, including the United States Army Band “Pershing’s Own” and the United States Air Force Band of the Golden West, in addition to numerous collegiate bands across the country. Additionally, he has appeared as guest conductor of leading municipal bands in Valencia and Almería, Spain. He holds a Doctor of Musical Arts in conducting from the University of Michigan, and both Master and Bachelor of Music degrees from California State University, Fullerton. His principal mentors include Michael Haithcock and Mitchell Fennell.
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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
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& JOHN* GEISBAUER
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SHERRY & DR. GORDON PAINE
*deceased
DR. JUNE POLLAK
& MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
MR. STAN MARK RYAN ‘75
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*
The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER SUPPORT GROUPS
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
Dr. Margaret Faulwell Gordon
Susan Hallman
Norma Morris Richard Odle Estate
Kerry & John Phelps
Jeanie Stockwell Verne Wagner
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
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: Haley Sanford • 657-278-2663
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
COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2025
*Molly Pease, mezzo-soprano, with David Bergstedt, piano
September 19 • Meng Concert Hall
33rd Annual Fall Choral Festival
September 27 • Meng Concert Hall
Simon Shiao, violin
October 2 • Meng Concert Hall
Soo Kim: (Charlie sings in the quietest voice) and Carole Caroompas: Mystical Unions
October 4, 2025 – May 17, 2026
College of the Arts Galleries
University Symphony Orchestra
October 4 • Meng Concert Hall
University Wind Symphony & Alumni Band: Alchemy of Sound
October 5 • Meng Concert Hall
Caroline Chin, violin
October 9 • Meng Concert Hall
Men on Boats
October 9–18 • Hallberg Theatre
9 to 5: The Musical
October 23–November 1 • Little Theatre
Shakespeare in Sound feat. the University Symphonic Winds
October 12 • Meng Concert Hall
University Singers and Concert Choir
October 19 • Meng Concert Hall
Fullerton Jazz Orchestra and Fullerton Jazz Chamber Ensemble
October 24 • Meng Concert Hall
Dr. Garik Pedersen, piano
October 25 • Meng Concert Hall
Ernest Salem, violin & Alison Edwards, piano
October 26 • Meng Concert Hall
Irina Kulikova, guitar
November 4 • Meng Concert Hall
The House of the Spirits
November 6–15 • Young Theatre
Mackenzie Melemed, piano
November 9 • Meng Concert Hall
Opera Scenes
November 14–16 • Recital Hall
Fullerton Pops Here’s Johnny: A Tribute to Johnny Carson feat. University Symphony Orchestra and Fullerton Jazz Orchestra
November 16 • Meng Concert Hall
Jazz Singers
November 19 • Meng Concert Hall
University Symphonic Winds
November 21 • Meng Concert Hall
Fall Dance Theatre: “Tethered”
December 4–13 • Hallberg Theatre
Fullerton Jazz Orchestra
December 5 • Meng Concert Hall
University Wind Symphony
December 7 • Meng Concert Hall
Titan Voices and Singing Titans
December 8 • Meng Concert Hall
Fullerton Jazz Chamber Ensemble and Fullerton Latin Ensemble
