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 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.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
PROGRAM
Mariachi Titans
Oscar Garibay, conductor
El Son De La Negra .......................................... Ruben Fuentes/Silvestre Vargas
A Mi Manera .....................................................
Jacques Revaux/Gilles Thibaut arr. Juan Manuel Cortez
His Eye is on the Sparrow Zanaida Stewart Robles (b. 1979)
PROGRAM NOTES
I Am Loved
CHRISTOPHER H. HARRIS
Drawing upon the Sara Teasdale’s poem “Joy,” I Am Loved is a triumphant and joyous expression of having love and being loved. With an urgent and emphatic piano opening, the words “I am wild, I will sing to the trees” are boldly proclaimed by the choirs in a sonorous unison before driving into lush chords. Christopher Harris uses the form of Sara Teasdale’s poetry to also emote the ebb and flow of the poetry, with moments of quiet self-actualization and empowerment in the words “I am sandaled with wind and with flame, I have heart-fire and singing to
give.” And as the opening theme returns and concludes with the words “Now at last I can live!,” Harris drives the composition to a hopeful and celebratory finish.
I am wild, I will sing to the trees, I will sing to the stars in the sky, I love, I am loved, he is mine, Now at last I can die!
I am sandaled with wind and with flame, I have heartfire and singing to give, I can tread on the grass or the stars, Now at last I can live!
-Sara Teasdale
PROGRAM NOTES
Crucifixus
ANTONIO LOTTI
Antonio Lotti was a Venetian composer from the late baroque period, having spent much of his career in the esteemed St. Mark’s Basilica. A prolific writer of sacred music, Crucifixus is one of his most famous motets, although originates as a segment from his Credo in F. In this segment, the text describes how Christ was crucified by Pontious Pilate, suffered, and was buried, an expression of unconditional love through a Christian, sacred lens. The piece opens with each line of text entering in polyphonic imitation, beginning with the basses and moving all the way to the sopranos. The suspensions create a dramatic languishing effect, which reflects the text. As the piece concludes, the choir quietly relaxes into a quiet, but peaceful resolution.
Crucifixus etiam pro nobis, sub Pontio Pilato, passus et sepultus est.
He was crucified for us under Pontius Pilate, he suffered and was buried.
Alleluia, Laus et Gloria
TARIK O’REGAN
Tarik O’Regan’s Alleluia, Laus et Gloria was originally commissioned by the BBC for the Pro Musica Girls’ Choir of Hungary. Highly modal and rhythmic, Alleluia Laus et Gloria begins with a fanfare proclamation of praise and love for God in D Mixolydian. In a dance-like chant, the altos and tenors repeat the phrase “Alleluia, Laus et Gloria” in percussive rhythm, as if a drum set for the rest of the text sung by the sopranos and basses. The remaining words of “Quia vera et justa sunt judicia ejus,” which translate to “and virtue to God, for his judgments are true and just,” drive home the rest of the prayer which are sung triumphantly and exuberantly.
Alleluia, laus et gloria et virtus Deo nostro, quia vera et justa sunt judicia ejus. Alleluia.
Alleluia, praise and glory and virtue to our God, because his judgments are true and just. Alleluia.
To Sit and Dream ROSEPHANYE POWELL
Langston Hughes was one of the central figures of the Harlem Renaissance, an artistic and cultural explosion of African American art, literature, music, and theater. Known for his powerful writings on social justice and a need for human equality and dignity, his poem “To You” is representative of these perspectives, highlighting the “problem world” as our reality and our need to imagine a more hopeful world that must be envisioned to make into reality. Rosephanye Powell takes this work and sets a dream-like work rooted in rich chords. The tense, jazz-inspired chords drive home the tension set by Langston Hughes, while also using more open sonorities and unisons as a way to drive home the overall hopeful message of a better tomorrow. This beautiful work is a contemplative love letter to the state of the world and the hope for a better tomorrow. It is likely that the name of the work was changed from “To You” to “To Sit and Dream” to better underline this fact.
To sit and dream, to sit and read,
To sit and learn about the world
Outside our world of here and now — Our problem world —
To dream of vast horizons of the soul Through dreams made whole, Unfettered, free — help me! All you who are dreamers too, Help me to make our world anew. I reach out my dreams to you.
Dúlumán
TRADITIONAL IRISH FOLK SONG
ARR. DESMOND EARLEY
PROGRAM NOTES
Dúlamán is a famous and well-known traditional Irish folk song sung in the Gaelic language. While Dúlamán directly translates to “Seaweed”, the song is often considered a love song due to its lyrics telling a story of courtship and vying for a hand in marriage. Desmond Earley’s arrangement features a tenor soloist as the primary narrator of the story, while the choir serves as a call and response during its refrain. The framework of the piece is held together by a bodhrán, an Irish frame drum that adds a rhythmic ostinato beneath the flowing harmonies. While the song is about love and its rebellious nature, it is also a celebratory representation of Irish heritage.
Curfá
Dúlamán na binne buidhe dúlamán a tsléibhe dúlamán na farraige
‘s dúlamán a’ deididh
A ‘níon mhín ó sin anall na fir shuirí
A mháthairín mhín ó cuir na roithleáin go dtí mé
Curfá
Tá ceann buí ór
Ar an dúlamán gaelach
Tá dhá chluais mhaol
Ar an dúlamán gaelach
Curfá
Rachaimid don Iúir
Leis an dúlamán gaelach
Ceannóimid bróga daora
Ar an dúlamán maorach
Curfá
Bróga breaca dubha
Ar an dúlamán gaelach
Tá bairéad agus triús
Ar an dúlamán maorach
Curfá
Goidé a thug na tíre thú?
Arsa an dúlamán gaelach
Ag suirí le do ‘níon
Arsa an dúlamán gaelach
Curfá
Cha bhfaigheann tú mo ‘níon
Arsa an dúlamán gaelach
Bhuel fuadóidh mé liom í
Arsa an dúlamán maorach
Chorus
Seaweed of the yellow cliff
Seaweed of the hill
Seaweed of the ocean
And seaweed of the tooth
Oh gentle daughter
Here come the courting men
Oh gentle mother
Put the wheels in motion for me
Chorus
There is a golden yellow head
On the Irish seaweed
There are two bare ears
On the Irish seaweed
Chorus
We will go to Newry
With the Irish seaweed
We will buy expensive shoes
said the edible seaweed
Chorus
There are dappled black shoes
On the Irish seaweed
There is a beret and trousers
On the edible seaweed
Chorus
What brought you to these parts?
Said the Irish seaweed
Courting with your daughter
Said the Irish seaweed
Chorus
You will not get my daughter
Said the Irish seaweed
Well I’ll abduct her
Said the edible seaweed
PROGRAM NOTES
Make Me Know
KEVIN A. MEMLEY
Kevin A. Memley is a highly accomplished choral composer, pianist, and conductor known for his lush compositions and sensitive scoring of texts. Much of his music have served as premieres for national and regional ACDA conventions. Make Me Know was commissioned for Dr. Christopher Peterson and the Cal State Fullerton Concert Choir for their performance at the NCCO Conference and ACDA Western Regional Conference. Drawing upon a newly written text by librettist Euan Tait, the text speaks to the choral singer and their love for singing. For many, singing in choir is a special expression that both gives to the audience but also gives to the singer. In this text, the narrator says, “We heard you; we bring your hidden suffering from your exile home to this place.” The text acknowledges that the love for choral singing comes from both the unity of voices, but also the ability to feel a sense of belonging.
Make me know, singer, Make me know we fly In our singing, flock With all singers, cry The pain we all know, Move with vast wings Over the cities’ houses In sweet-sung darkness, Listening: you cry out In your sleep, cry as you wake, remember…
We heard you; we bring Your hidden suffering From your exile Home to this place, Make weeping, healing Possible, allowed As free, bright light, Song you have found Circling the earth: Make me know, singer,
Make me know You have heard.
-Euan Tait
(Kingdom of Gwent, Wales, Spring 2025)
Hearts Beat Together EMILIO
SOLÉ-SEMPERE
Hearts Beat Together is a celebratory and expressive piece originally commissioned as a closer by Dr. Cristian Grases for the 2015 College/University/Community Latin American Honor Choir. Premiered at the American Choral Directors Association National Conference in Salt Lake City, Utah, Hearts Beat Together derives its rhythmic and dance-like style from Carribean Calypso. The texts were written by the composer, Emilio Sole Sempere, and derive from the many experiences he had at choral festivals, and the joy that comes from a week long of collective singing.
So, let’s come together and share the music that unites us. So, let’s sing again. I hope we meet again in the future singing songs together, To recall the moments spent in song and dance.
You gave me your joy, You gave me your laugh, Took away my sorrows, turned them into smile, And sing.
Hearts beat together every time we sing, After all the music that we shared, let’s sing again.
Hear the rhythm and then sing a “ra pap pap pap pap pap dah pap”
Feel the rhythm; it’s contagious. Share it all with me, with that “ra pap pap pap pap pap dah pap pah!”
Let’s sing again one more time.
Let’s sing again one more time.
Let’s sing again one more time.
Let’s sing again one more time.
PROGRAM NOTES
Hearts beat together every time we sing, After all the music that we shared, let’s sing again. Hear the rhythm and then sing a “ra pap pap pap pap pap dah pap” Feel the rhythm; it’s contagious. Sing together one more time that “ra pap pap pap pap pap dah pap pah dao” So let’s sing again together “ra pap pap pah dah!”
I Know Why the Caged Bird Sings ROSEPHANYE POWELL
I Know Why the Caged Bird Sings sets Paul Laurence Dunbar’s poignant poem Sympathy to music. Dunbar (1872–1906), a pioneering African American poet born in Dayton, Ohio to formerly enslaved parents, rose to prominence for his vivid portrayals of Black life in post-Reconstruction America. Though he died of tuberculosis at the age of thirty-three, Dunbar’s legacy endures.
Published in 1899, Sympathy is among Dunbar’s most celebrated works. Through the metaphor of a caged bird, he expresses a deep yearning for freedom and dignity. In this poem, Dunbar doesn’t merely witness the bird’s struggle—he identifies with it. His insight into the unseen forces that shaped his world continues to resonate with anyone who has felt silenced or unseen.
This musical setting aims to honor Dunbar’s poem and legacy by giving voice to those who have had limitations placed upon them—whether through racism, depression, abuse, illness, or other challenges. The song is through-composed, with a poetic structure and rhyme scheme thoughtfully restructured and reimagined to develop the lines more lyrically and heighten the poem’s emotional and dramatic impact as a brief choral drama.
I know what the caged bird feels, alas! When the sun is bright on the upland slopes;
When the wind stirs soft through the springing grass, And the river flows like a stream of glass; When the first bird sings and the first bud opes, And the faint perfume from its chalice steals— I know what the caged bird feels!
I know why the caged bird beats his wing Till its blood is red on the cruel bars; For he must fly back to his perch and cling When he fain would be on the bough a-swing; And a pain still throbs in the old, old scars And they pulse again with a keener sting— I know why he beats his wing!
I know why the caged bird sings, ah me, When his wing is bruised and his bosom sore,— When he beats his bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his heart’s deep core, But a plea, that upward to Heaven he flings— I know why the caged bird sings!
The House of Belonging JEFFREY DERUS
Jeffrey Derus is an award-winning American composer and producer whose works have been performed by ensembles such as Choral Arts Initiative, the Jason Max Ferdinand Singers, Constellation Men’s Ensemble, and universities worldwide. Hailed as “powerful, dramatic, lucid” (Sonograma Magazine) and “elegant” (Voice of OC), his music has been compared to “Holy Minimalism” (AllMusic). His debut work, From Wilderness: A Meditation on the Pacific Crest Trail, achieved international recognition, reaching top rankings on the Billboard and iTunes charts and receiving two Global Music Awards in 2023. Derus is also the winner of the 2022 ACDA Brock Prize for Profes-
PROGRAM NOTES
sional Composers and has held residencies at the Helene Wurlitzer Foundation and the Britten-Pears Foundation. The House of Belonging sets poetry by David Whyte, reflecting on belonging, love, and the discovery of home. Through expansive harmonies and resonant stillness, Derus captures the intimacy and universality of Whyte’s text, creating a meditation on connection and community.
Text (David Whyte):
This is the Bright Home in which I live, this is where I ask my friends to come, this is where I want to love all the things it has taken me so long to learn to love. This is the Bright Home, This is the Bright Home. This, this is the temple of my adult aloneness and I belong, I belong to that aloneness as I belong, I belong to my life. This is the Bright Home in which I live, this is where I ask my friends to come, this is where I want to love all the things it has taken me so long to learn to love. There is no House, There is no House, There is no house, no house, no house, like the house of belonging.
When the Violin REENA ESMAIL
Reena Esmail is an Indian-American composer who works between the worlds of Indian and Western classical music, bringing communities together through the creation of equitable musical spaces. She holds degrees in composition from The Juilliard School and Yale School of Music and studied Hindustani music in India as a Fulbright-Nehru scholar. Esmail has held residencies with the Seattle Symphony, Tanglewood Music Center, and Spoleto Festival, and she currently serves as the Los Angeles Master Chorale’s Swan Family Artist in Residence (2020–2025). Her music has been commissioned by
ensembles such as the Los Angeles Master Chorale, Seattle Symphony, Baltimore Symphony, and Kronos Quartet, and appears on multiple Grammynominated albums.
When the Violin sets the words of Jalal ad-Din Rumi (1207–1273), the great Persian poet and mystic, translated by Coleman Barks. In this text, the violin becomes a metaphor for the soul’s transformation when it releases the past and surrenders to the present moment. Esmail’s setting incorporates lyrical, chant-like lines and modal inflections that reflect her grounding in both Western and Hindustani traditions. The result is a meditative and deeply spiritual choral work that embodies her vision of cultural dialogue through music.
Text (Rumi, trans. Coleman Barks): When the violin can forgive the past, it starts singing. When the violin can stop worrying about the future, you will become such a drunk laughing nuisance that God will then lean down and start combing you into His tresses. The violin string that has been like a knife slicing away the voice of the reed, the violin string that has been like a knife slicing away the voice of the ney, the violin string that has been like a knife slicing away the voice of the flute— that string begins to vibrate with love. Every moment of your life is a turning toward.
The Prow MATTHEW LYON HAZZARD
Matthew Lyon Hazzard is the Director of Choral Activities at Mt. San Antonio College and an award-winning Filipino-American composer and conductor. Praised for his “exquisite text-setting” and “stunning landscapes of sound” (18th Street Singers), his works have been performed by professional, collegiate, and Grammy
PROGRAM NOTES
Award–winning ensembles worldwide, including the Santa Fe Desert Chorale, Vancouver Chamber Choir, Mendelssohn Chorus of Philadelphia, and the Metropolitan Chorus of Tokyo. Hazzard’s music has been featured in ACDA regional conferences, commissioned by major ensembles such as the Oregon Repertory Singers and Portland State Chamber Choir, and has earned him numerous national and international awards.
The Prow comes from Hazzard’s three-movement choral cycle The Ocean Between Us, setting poetry by Jonathan Talberg. The text celebrates the exhilaration of standing at the front of a boat, where sea spray, wind, and sunlight create a moment of freedom and joy. Originally written in tribute to Talberg’s mentor, the poem becomes a metaphor for forward momentum and renewal. Hazzard’s setting mirrors this imagery with rhythmic propulsion, soaring melodic lines, and wave-like harmonic textures that reflect both the energy of the ocean and the persistence of human striving.
Text (Jonathan Talberg, The Ocean Between Us): The prow is the best place on the boat for a seat. Wind whipping, salt spraying, sun shining, dolphins playing above darkness and creeps in the deep. Gliding o’er brilliant sea air, crack of sails, no one can catch us, not even the whales.
Yellow SAUNDER CHOI
Saunder Choi is a Los Angeles–based Filipino-Chinese composer and choral artist. Winner of the 2024 ACDA Raymond Brock Prize for Professional Composers, his works have been performed internationally by ensembles including Conspirare, the Philippine Madrigal Singers, Santa Fe Desert Chorale, Los Angeles Master Chorale, Pacific Chorale,
Pacific Symphony, and the World Youth Choir. As an arranger and orchestrator, he has written for Tony Award–winner Lea Salonga, the Singapore Symphony Orchestra, the San Francisco Symphony, and the Gay Men’s Chorus of Los Angeles, among others. An active choral artist, he also sings with Pacific Chorale, L.A. Choral Lab, and HEX Vocal Ensemble, and has recorded for major film soundtracks including The Lion King (2019), Mulan (2020), Turning Red (2022), and Avatar: The Way of Water (2022).
Choi’s work often reflects his belief in music as advocacy, amplifying narratives of immigration, racial justice, LGBTQ+ identity, and climate awareness. Yellow is his arrangement of the iconic Coldplay song, first released in 2000 on the album Parachutes. Written by Chris Martin, Guy Berryman, Jonny Buckland, and Will Champion, “Yellow” has become an enduring anthem of devotion and tenderness. In Choi’s SATB setting, the song is transformed into a lush, reflective choral meditation, layering divisi harmonies and re-shaping the Britpop ballad into a spacious and contemplative sound world.
Text (Coldplay, arr. Saunder Choi):
Look at the stars
Look how they shine for you
And everything you do Yeah, they were all yellow I came along
I wrote a song for you
And all the things you do
And it was called “Yellow”
So then I took my turn
Oh, what a thing to have done
And it was all yellow
Your skin, oh yeah, your skin and bones
Turn into something beautiful
And you know, you know I love you so
You know I love you so I swam across I jumped across for you
Oh, what a thing to do
‘Cause you were all yellow
I drew a line
PROGRAM NOTES
I drew a line for you
Oh, what a thing to do
And it was all yellow
And your skin, oh yeah, your skin and bones
Turn into something beautiful
And you know, for you, I’d bleed myself dry
For you, I’d bleed myself dry
It’s true
Look how they shine for you
Look how they shine for you
Look how they shine for
Look how they shine for you
Look how they shine for you
Look how they shine
Look at the stars
Look how they shine for you
And all the things that you do
His Eye Is on the Sparrow ZANAIDA STEWART ROBLES
Dr. Zanaida Stewart Robles is an award-winning Black American composer, vocalist, and educator based in Southern California. Her works have been performed worldwide by professional ensembles, community choirs, churches, and schools, and are praised for their soulful energy, vibrant harmonic language, rhythmic vitality, and incorporation of African, gospel, and progressive influences. An active leader in the choral community, she has served as Repertoire & Resources Chair for Choral Composition on the California Choral Directors Association advisory board, as board chair for the Grammy-winning ensemble Tonality, and as a board member of the National Association of Negro Musicians. Robles currently directs music at Neighborhood
Unitarian Universalist Church in Pasadena and serves on the performing arts faculty at Harvard-Westlake Upper School in Studio City, CA. As a professional soprano and studio vocalist, she has appeared in concert throughout the United States and internationally, and her voice can be heard on major film, television, and video game soundtracks including Frozen 2, Mulan, Star Wars: The Last Jedi, Call of Duty: Black Ops Cold War, and The Lion King 30th Anniversary Concert
His Eye Is on the Sparrow is Robles’ arrangement of the well-known gospel hymn written in 1905 by Civilla D. Martin (lyrics) and Charles H. Gabriel (music). Beloved for its message of divine care and hope in times of struggle, the hymn became especially associated with gospel greats like Mahalia Jackson. Robles’ choral setting honors the spiritual roots of the song while reimagining it with rich contemporary harmonies, rhythmic drive, and space for expressive solos. The result is both a tribute to African American gospel tradition and a powerful affirmation of faith and resilience.
Text (Civilla D. Martin, 1905): Why should I feel discouraged, why should the shadows come, Why should my heart be lonely, and long for heaven and home, When Jesus is my portion? My constant friend is He: His eye is on the sparrow, and I know He watches me. I sing because I’m happy, I sing because I’m free, For His eye is on the sparrow, And I know He watches me.
Soprano 1
Kaitlin Chheng*
Tabetha Mora
Sarah Raber
Rey Riney
Nicole Rodriguez
Peyton Slaven
Hannah Weisman
Zoe Wolfsen
Soprano 2
Ashleigh Buck
Rachel Delmastro
Kaitlyn Gooding
Anna Grozdanov
Daphne Master
Ella McConnell
Kelsey Rhebergen*
Yesenia Vasquez
CONCERT CHOIR
Alto 1
Carisa Espinosa
Chloe Konoske
Kady Lin
Jessica Orozco
Minerva
Padilla Nguyen
Brianna Perez
Veronica
Torres Diaz
Sidney Wu
Alto 2
Grace Finley
Annie Guzman*
Georgina Hernandez
Valentina Manco
Vea Stone
Krysta Tillett
Jordan Watkins*
Tenor 1
Michael Eskovitz
Alan Garcia
Matthew Garcia
Alejandro Munoz
Justin Parron
Edgar Sanchez
John Nguyen*
Lissandra Tong
Tenor 2
Peter Alunan
Juan De Leon
Jacob Ellis
Hector Esteva*
Steve Moreno
Tung Tran
Joshua Smith
Santiago Zumaya
UNIVERSITY SINGERS
Soprano I
Erika Jackson*
Amber Napoli
Hannah Park
Quintessa Wedell
Soprano II
Amilleah Barragan
Kate Bowles
Em Nguyen*
Sara Preston
Violin
Alexander Warner
Pamela Lopez
Miriam Ibanez
Ana Adame
Accordion
Quentin Rivest
Alto I
Sophia Khurana
Hillary Ngo*
Jenna Scotese
Abby Tyree
Alto II
Joy Dorko*
Lindsey Lacanilao
Katelyn Pacpaco
Dulce Segura
Tenor I
Aron Demarest
Alan Garcia*
Abraham Robles
Nicholas Quinn
Tenor II
Jeremy Lee*
Steven McCann*
Alexei Rehorn
Adam Rooney
MARIACHI TITANS
Trumpet
Gustavo Rivera
Angel Kuk
Mauricio
Romero-Favela
Vihuela
Haziel Flores
Guitarra
Ricardo Gonzalez Arredondo
Miguel
Leon Fernandez
Jeremy Sánchez
Baritone
Brendan Baxter*
Brennan Bastanchury
Alex Galvan
Jacob Gomez
Jason Magallanes
Isaiah Mawien
Jack Nisbet
Cristian Polo
Bass
Derrick (Kro)
DeAndrade
Scott Freeman
Jack Kendig
Cooper Koerner
Ben Reyes
Jason Salcido
Mason Schoenfeld*
Chris Sun
Baritone
Justin Gabriel
Michael Ortiz*
Miles Rojo
Malek Sammour
Bass
Gerrit Hoevers
Bryson Huang
CJ Koehn
Adrian RangelSanchez*
Daniel Rosas Garcia
Abraham Robles
Guitarron
Brooklynne Summers
Joanna Villa
Robert Istad
Robert Istad, a Grammy Award-winning conductor who “fashions fluent and sumptuous readings” (Voice of OC) with his “phenomenal” artistry (Los Angeles Times), is Professor, Director of Choral Studies at California State University, Fullerton and Artistic Director of Pacific Chorale. He was recognized as CSUF’s 2016 Outstanding Professor of the Year. At CSU Fullerton, Istad conducts the University Singers and manages CSUF’s large graduate choral conducting program. Recently, he and the University Singers performed with the Los Angeles Philharmonic, Pacific Symphony Orchestra, Andrea Bocelli, Jennifer Hudson, Kathleen Battle, the Eagles, and recorded albums with Yarlung Records and with composer John Williams and Sony Classical. Under his leadership, Pacific Chorale continues to expand its reputation for excellence for delivering fresh, thought-provoking interpretations of beloved masterworks, rarely performed gems and newly commissioned pieces. In July 2023, he led Pacific Chorale’s first international tour in seven years, conducting performances at leading venues in Austria, Germany and the United Kingdom. His artistic impact can be heard on three recent recordings featuring Pacific Chorale, including the 2022 Grammy Awardwinning “Mahler’s Eighth Symphony” with the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel on Deutsche Grammophon (2021), for which he prepared the chorus. It won Best Choral Performance and also garnered a Grammy nomination for Best Engineered Album, Classical. Additionally, Istad prepared Pacific Chorale for Pacific Symphony’s commercial recording of Sir James MacMillan’s “Fiat Lux” released on Tonsehen Records (2024), and conducted the Pacific Chorale’s recording “All Things Common: The Music of Tarik O’Regan” released on Yarlung Records (2020). He regularly conducts and collaborates with Pacific Symphony, Berkshire Choral International, and Yarlung Records. His extensive credits also include recording for Sony Classical and guest conducting Long Beach Symphony Orchestra, Bach Collegium San Diego, Musica Angelica Baroque Orchestra, Bath Philharmonia, Bournemouth Symphony Orchestra, Tesserae Baroque, and Freies Landesorchester Bayern. Istad has prepared choruses for such renowned conductors as Gustavo Dudamel, Carl St.Clair, Esa-Pekka Salonen, John Williams, John Mauceri, Keith Lockhart, Nicholas McGegan, Vasilly Sinaisky, Sir Andrew Davis, Bramwell Tovey, Carl St.Clair, Eugene Kohn, Giancarlo Guerrero, Marin Alsop, George Fenton, and Robert Moody.
Istad and the University Singers travel throughout the world and have presented concert tours of Rwanda & South Africa (2024), Australia (2022), Spain (2019), and Scandinavia, the Baltics and Russia (2017). They have performed at numerous regional and national ACDA conferences including
the 2024, 2018, and 2012 ACDA Western Division Conferences and the 2013 ACDA National Conference. They also performed for the 2013 National Collegiate Choral Organization National Conference. Other highlights include a 2015 residency and performances in Paris, France, engagements at the 2012 Ottobeuren and Eingen Festivals of Music in Germany, a 2010 performance for UNESCO in Pisa, Italy, and a 2008 performance at the Liszt Academy of Music in Budapest, Hungary.
Istad received his Bachelor of Arts degree in music from Augustana College in Rock Island, Illinois, his Master of Music degree in choral conducting from California State University, Fullerton and his Doctor of Musical Arts degree in choral music at the University of Southern California. He studied conducting with Dr. William Dehning, John Alexander and Dr. Jon Hurty. Istad, who is on the Executive Board of Directors of Chorus America and serves as Dean of Chorus America’s Conducting Academy, is in demand as guest conductor, lecturer, and clinician.
THE CONDUCTOR
Oscar Garibay
Oscar Garibay is recognized as a versatile musician. As a classical instrumentalist, he has won several concerto competitions and toured internationally with various orchestras and bands. In his role as a mariachi musician, he has performed on tour with the Grammy Award-winning Mariachi Los Camperos. He has also accompanied critically acclaimed artists, including Steven Sandoval, Shaila Dúrcal, Lupita Infante, Ana Bárbara, Yuri, Beatriz Adriana, Juan Valentín, Leo Dan, and many others.
Garibay is a pioneer in mariachi education. Under the mentorship of José Hernández, the director of Mariachi Sol de México, he became one of the founding teachers of the José Hernández Mariachi Academy. This experience led to his appointment as Orange County’s first full-time mariachi director. He currently serves as the director of Santa Ana College’s Mariachi Dons, CSU Fullerton’s Mariachi Titans, and Chapman University’s Mariachi Panteras, all of which are Orange County collegiate ensembles.
Garibay also owns and directs three professional mariachi groups in Orange County. His company serves as a bridge between student musicians and the professional mariachi industry, offering a pathway for student artists to become professional mariachis.
In addition to his commitments in Southern California, Garibay is collaborating with the Davis Joint Unified School District and UC Davis as their mariachi director to establish a citywide mariachi program in Northern California.
ABOUT
Christopher Peterson
Christopher Peterson is a teacher, conductor, choral clinician, author, editor, and choral arranger of music and books published in the United States and around the world. In his over thirty years as a music educator he has taught in elementary, middle school, high school, church, community, festival, and collegiate settings. He earned the Bachelor of Science in Music Education from the University of Southern Maine in choral and instrumental music education and taught music for nine years in the public schools of Maine. He earned the Master of Music in Choral Conducting degree at the University of Maine, and the Doctor of Philosophy in Music Education and Choral Conducting at Florida State University.
At CSUF Peterson trains and mentors undergraduate and graduate choral music educators and conductors and directs the Concert Choir and the Singing Titans Chorus. In May of 2019 he was honored as the University-wide recipient of the CSUF Carol Barnes Award for Excellence in Teaching. He has served as State Choral Representative and Southern Section President for the California Music Educators Association (CMEA), as well as the Western Division Representative for the National Association for Music Education’s (NAfME) Council for Choral Education. He has also served the California Choral Directors Association in various offices, including CCDA President and is the current Vice President. His collegiate textbook “RESONANCE: The ART of the Choral Music Educator” is published by Pavane and is being used across the United States to train future choral music teachers and conductors.
Peterson has been invited to teach, judge, and conduct choirs in more than thirty US states, five Canadian Provinces, and nine countries including China, England, Sweden, Japan, Germany, New Zealand, and Holland, and has conducted All-State Choirs across the nation including Maine, North Carolina, Oregon, Wisconsin, and California. He also holds the position of Director of Music at Irvine United Congregational Church in Irvine, CA. His “hobby” for many decades has been enjoying singing barbershop harmony, and he is a BHS District Quartet Champion baritone, a top-5 medalist chorus director, and a four-time gold medalist with the Masters of Harmony, nine-time International Men’s Chorus Champions of the Barbershop Harmony Society.
$500,000 +
Mrs. Junko Klaus
$100,000-$499,999
Johnny Carson Foundation
$50,000-$99,999
CSU Northridge Foundation
Leo Freedman Foundation
Ms. Susan Hallman in Memory of Ernie Sweet ‘77
Mr. Matthew Scarpino & Ms. Karyn Hayter
Mr. Steve & Mrs. Robin Kalota
Dr. Sallie Mitchell*
Dr. Tedrow & Mrs. Susan Perkins
Mrs. Louise Shamblen
$25,000 - $49,999
Mr. Darryl Curran
Mrs. Lee C. Begovich
Mrs. Marilyn Carlson
Ms. Mary A. and Mr. Phil Lyons
Mr. Bob & Mrs. Terri Niccum
Mr. Ernest & Mrs. Donna Schroeder
Dr. Ed & Mrs. Sue Sullivan
$10,000-$24,999
Dr. Joseph & Dr. Voiza Arnold
Mr. John Aimé & Ms. Robin de la Llata Aimé
Dr. Marc Dickey
Mrs. Evelyn Francuz
Mr. Edward & Mrs. MaryLouise Hlavac
Ms. Kathleen Hougesen
Ms. Kathy Mangum
Mr. James & Mrs. Eleanore Monroe
Mrs. Norma Morris
Mr. John Brennan & Ms. Lucina Moses
$5,000-$9,999
Mr. Nick & Mrs. Dottie Batinich
Continuing Life LLC
Ms. Harriet Cornyn
Mr. William S. Cornyn
Dedicated 2 Learning
Mr. Richard & Mrs. Susan Dolnick
Ebell Club of Fullerton
Friends of Jazz, Inc.
Dr. Margaret Gordon
DONOR APPLAUSE
Mr. Norm & Mrs. SandyJohnson
Ms. Teri Kennady
Mrs. Jill Kurti Norman
Morningside of Fullerton
Mrs. Bettina Murphy
Mr. David Navarro
Dwight Richard Odle Foundation
Dr. Stephen Rochford, DMA
Southern California Arts Council
Swinerton Builders
Mr. Framroze & Mrs. Julie Virjee
$1,000-$4,999
Mr. John A. Alexander & Mr. Jason Francisco
Mrs. Judy Atwell
Mrs. Lois Austin
Mr. Tod Beckett-Frank
Ms. Karen Bell
Mr. John &
Ms. Shanon M. Fitzpatrick
Dr. Keith & Mrs. Renae Boyum
Mr. Allan & Mrs. Janet Bridgford
Mrs. Marion Brockett
Mr. James & Mrs. Diane Case
Mr. Stephen Collier & Ms. Joann Driggers
Mr. William H. Cunliffe, Jr.
D Barry Schmitt Trust
Ms. Jeannie Denholm
Mr. Gordon & Mrs. Lorra Dickinson
Mr. Kenneth & Mrs. Stacey Duran
Mr. Greg & Mrs. Shawna Ellis
Ms. Judi Elterman
Dr. Anne Fingal
Fullerton Families & Friends Foundation
The Jane Deming Fund
Mrs. Marsha Gallavan
Mrs. Terie Garrabrant
Dr. Leon & Mrs. Annette Gilbert
Mrs. Janet M. Green
Mr. James Henriques
Mr. David &
Mrs. Margret Hoonsbeen
Mr. Mike Ibanez
Mr. Darren &
Mrs. Tatyana Jones
Ms. Michelle H. Jordan
Ms. Gladys Kares
Ronald L. Katz
*deceased
Very special care has been given to the prepartion of this donor list. For questions or concerns, please contact: Ann Steichen | 657-278-3347
Family Foundation
Mr. Raymond & Mrs. Masako Kawase
Mr. Jeffrey & Mrs. Gayle Kenan
Dr. Kristin Kleinjans & Mr. Anthony Dukes
Mrs. Shirley Laroff
Mr. Lynn & Mrs. Susan Lasswell
Mrs. Marilyn Little
Mr. Juan Lopez
Mr. Paul Coluzzi & Mr. John Martelli
Dr. George& Mrs. Karen Mast
Mrs. Thelma Mellott
Mr. Michael & Mrs. Mary Miguel
Mr. Carl Mrs. Patricia Miller
Stifel Nicolaus
Mr. Ujinobu & Mrs. Yoshino Niwa
Mr. Colin Connor & Ms. Debra Noble
Dr. Arie & Mrs. Deanna Passchier
Mr. Jarrold Petraborg
Mr. John Phelps & Mrs. Kerry Laver-Phelps
Mr. Jim Plamondon
Mr. E. B. & Mrs. Linda Powell
Mr. Robert Rennie & Mrs. Nancy Rennie
Ms. Christine Rhoades
Ms. Mary Rupp
Mr. Thaddeus & Mrs. Eleanor Sandford
Mrs. Rita Sardou
Mr. D. Schmitt
Mrs. Martha Shaver
Mrs. Ingrid R. Shutkin
Ms. Barbara Kerth & Ms. Lorena Sikorski
Ms. Janet Smith
South Coast Repertory
Ms. Ann Sparks
Mr. Robert & Mrs. Roberta Sperry
Mr. Douglas Stewart
Mr. Tom & Mrs. Carolyn Toby
Liqi Tong
Viet Tide
Ms. Verne Wagner
Dr. Sean & Dr. Tina L. Walker
Dr. Robert & Mrs. Teri Watson
Dr. Wayne & Dr. Ruth Zemke
Gifts received from July 1, 2023 to December 31, 2024
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
MR. BOB & MRS. TERRI NICCUM
DWIGHT RICHARD ODLE*
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
November 1 • 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
