University Symphony Orchestra Kimo Furumoto, conductor
Saturday, October 3, 2026
Every work of art begins with something deeply felt: an idea worth pursuing, a question that begs exploration, a story or sound or image that asks to be brought into the world. But making the work is only part of the experience. Art also asks to be seen, heard, and shared. From the moment the semester begins, our students pour every bit of themselves into their work. Then after hours of practice, days of preparation, and months of refinement, the audience becomes a privileged participant in a powerful, shared moment. It can happen in a gallery or on a stage. Sometimes it strikes when a choir’s transcendent harmonies send shivers up your spine. Or when you lose yourself inside the details of a photograph or are transported to another time and place inside a darkened theatre. These are the moments when we stop watching and start seeing. If you have experienced moments like these, support the artists that make them possible by donating to the Dean’s Fund for Excellence. Your generosity will help to ensure students have access to meaningful on- and off-campus opportunities including artist’s residencies, masterclasses, conferences, and intensives that empower their creativity. Shape the future of the arts today. Consider a gift of any amount to the Dean’s Fund for Excellence. Thank you for joining us for the College of the Arts’ Fall Events Season. There is so much to explore. From new artistic perspectives and compelling stories to bold visions and timeless favorites. Let’s discover where this season takes us, together! Be Well, Arnold Holland, Ed.D Douglas G. Stewart, Dean of the College of the Arts
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FALL 2026 HIGHLIGHTS COTA GALLERIES
MUSIC
THEATRE AND DANCE
Opens 9/26/26: Tom LaDuke: “slowly, the song goes”
10/3: University Symphony Orchestra: “Visions of Grandeur” 10/10: University Symphonic Winds: “Soundscapes” 11/15: Fullerton Pops Presents “Mainly Mancini” 11/17: Mariachi Titans, with CSUF Ballet Folklorico
10/16–24: “The Madwoman of Chaillot” 10/8–17: “A Monster Calls” 10/22–31: “In the Heights” 12/3–12: Fall Dance Theatre: “Rise Together”
Opens 9/21: Patrick Merrill: “Prints from the Permanent Collection, 2004–2009” Plus rotating student exhibitions throughout the semester.
PROGRAM An Outdoor Overture.................................................................... Aaron Copland (1900-1990) Suite algérienne, op. 60........................................................Camille Saint-Saëns Prélude: En vue d’Alger (1835-1921) Rhapsodie mauresque Rêverie du soir: A Blidah Marche militaire française
***** Intermission ***** Symphony No. 41 in C Major, K. 551........................Wolfgang Amadeus Mozart (“Jupiter”) (1756-1791) Allegro vivace Andante cantabile Menuetto: allegretto Molto allegro
PROGRAM NOTES An Outdoor Overture AARON COPLAND
By his very nature Copland was completely dedicated to the cause of the creation and encouragement of an indigenous American music—in every manifestation of the idea. So it came to pass that relatively early in his stylistic move to a more “accessible” musical style that explored American indigenous elements, he composed An Outdoor Overture. The title is a bit misleading, for it played nothing in the creation, nor is it reflective of anything specific in the music itself. In 1938 he was urged by the head of the music department of the High School of Music and Art in New York City to compose a work for the school’s orchestra to more or less kick off a campaign promulgating “American Music for American Youth.” Always a supporter of music education, Copland interrupted his scoring of “Billy the Kid” to write a concert overture for the school, one that was “optimistic” and which would appeal to the youth of the country. When it was finished, it was suggested that the work had an “open-air” quality to it, and so it was named. In Copland’s best, straightforward, simple and angular style of the time, the overture begins with a stentorian musical motif that would see much use. It is soon transformed into a formidable, cantabile solo for trumpet over a kind of string vamp–a signature of the piece. A more vigorous, rhythmic section ensues
in a kind of march style that eventually dissipates and yields to a quiet, lyrical solo in the flute, then clarinet, and finally strings. Another theme is introduced—also a march, but in a different mood from the other—to round off all of the important materials of the work. All of these ideas undergo some recapitulation, varied of course, before the composer brings them all back in combination to end in dramatic fashion. The overture was warmly received and has been in the standard repertoire since. It went on to be transcribed for concert band by the composer and is played just about everywhere in our country by orchestras and bands, alike. –Wm. E. Runyan ©2019 William E. Runyan Suite Algérienne, op. 60 CAMILLE SAINT-SAËNS
An inveterate traveler, particularly in the second half of his long life, Saint-Saëns had a special affection for Algeria, then a French colony, which he first visited in his late 30s and which he revisited many times before he died there in the winter of 1921. Not least among the attractions of Algeria was its folk music, the dances he saw in its cafés and the love songs he heard at night. He noted down their exotic tunes and rhythms to use them in his own music. As early as 1875, for example, he wrote Rêverie du soir which was so successful on its first performance in Paris in 1879 that his publisher persuaded him to add three movements to it and so complete a Suite algérienne based on his
PROGRAM NOTES experience of the sights and sounds of the place. The work begins with a view of the city of Algiers (En vue d’Alger), from the ship that brought him there: ‘From the deck of the ship, still rocking on the great swell,’ the composer wrote, ‘you see the panorama of the city of Algiers. You hear a mixture of all sorts of sounds and in the midst of them you catch the cry of “Ali Allah! Mohammed rassoul Allah!” With a last sway the ship anchors in the port.’ The rocking motion of the ship is felt only faintly at first in a melody rising and falling on lower strings, then on woodwind as it gathers more and more strength. It reaches a climax just before the first cry of “Ali Allah! Mohammed rassoul Allah!” is heard on trumpets and horns. The second movement is a colorful, if rather over-civilized, Moorish rhapsody: ‘In one of the many Moorish cafés in the old town the Arabs perform their traditional dances, lascivious and wild in turn, to the sound of flutes, rebabs and tambourines.’ The well-mannered counterpoint that develops in the first part is a little surprising in this context but with the change of tempo to Allegro moderato the melodic style is more exotic, though scarcely “lascivious,” and with the entry of a solo flute accompanied by timpani and tambourine the sound is convincingly primitive if not exactly “wild.” The most atmospheric as well as the earliest of the four movements is Rêverie du soir (Evening Reverie) recalling on music the composer once
heard at Blidah: ‘Under the palm trees of the oasis, in the perfumed night, you hear a long love song and the caressing refrain of a flute.’ Based on the melody introduced by two flutes over pizzicato strings, it is a poetic inspiration, touchingly intimate when the love song is taken up by a solo viola, increasingly passionate as it passes to violins before it dies away into the night. In the Marche militaire française (French Military March) we are reminded that, for a French composer, one of the attractions of Algiers was the reassuring presence of the French military. ‘Returning to Algiers, among the picturesque bazaars and Moorish cafés, you hear the march of a French regiment, the military manner of which contrasts with the languorous rhythms and melodies of the Orient.’ Splendidly tuneful but making more use of strings and woodwind than most marches of its kind, it reserves it heavy brass effects and trumpet fanfares for the triumphant ending. -Gerald Larner ©2011 Symphony No. 41 in C Major, K.551, (“Jupiter”) WOLFGANG AMADEUS MOZART
Mozart’s symphonies are generally conceded to surrender pride of place to his incomparable operas and piano concertos. Nevertheless, they still constitute one of the treasures of symphonic music. Admittedly, he began composition of symphonies when both he and the genre were practically in their respective infancies. He had not yet
PROGRAM NOTES the models of achievement of the maturity of Joseph Haydn before him, but as Haydn gradually developed the modern symphony, Mozart grew along with the older colleague. They later became close friends in Vienna, and constituted a mutual admiration society. As with all his works, Mozart’s symphonies were generally written “upon demand,” for a specific purpose or event. But the “wunder” summer of 1788 produced a group of three symphonies that distinguish themselves from all of his others. Mozart was in the full bloom of his late genius–he had only three more years left. He was writing the masterpieces that best represent his unique talent. Don Giovanni, after a triumphal première in Prague the previous fall had opened in Vienna in May. On the other hand, his financial position was obviously deteriorating. That summer he moved to a more distant suburb of Vienna where rents were cheaper, and the embarrassing letters to his friends asking for support began. Yet, for unknown reasons he took the time out to write symphonies 39, 40 and 41. A group of symphonic works without equal, and that seemed to be motivated only by interior and personal reasons. They were written in the short space of about two months, amazingly at the same time of the composition of seven other significant works of his maturity. No. 41 in C Major, called the “Jupiter,” is the culmination of Mozart’s symphonic composition. The great commentator, Tovey, called the nickname one of the silliest injuries ever inflicted on great works of art, but
it serves its purpose, for it alludes to an Oympian mastery of technique that characterizes Mozart’s late works. However, unlike many of those very late works, it bears no darkness, or presentiments of life’s precariousness. Rather, in the context of a sunny, but clearly detached mood–hence the title–Mozart reaches the summit of his symphonic works. It is cast in the usual four movements of the classical period: four movements, with the interior two consisting of a slow movement and a dance-like movement. While the music of Mozart is famously infused with some of the world’s memorable melodies, what is of great interest in this last, great symphony is the degree to which the composer chooses concise, indeed, incisive motives with which to generate the composition. One might usefully think of the first movement of Beethoven’s famous fifth in this context. And it is just that aspect of Mozart’s melodic style, here, that is the locus of the most wellknown and revered movements of this symphony. The last movement is literally a tour de force of that most “austere” of musical textures: counterpoint. The careful listener will discern not just one or two important melodies in the finale, but five! One by one they appear, short and easily identifiable–and then in a most unassuming and musical way Mozart combines them all simultaneously. Theorists call this amazing feat “quintuple invertible counterpoint.” It usually takes a J.S. Bach to pull this off, and then in an earlier and more severe style, Mozart almost throws
PROGRAM NOTES it off casually–and like all works of great genius, you don’t even have to realize it’s there to enjoy the whole show immensely. It is a Jovian farewell from this most musical of human beings. –Wm. E. Runyan © 2015 William E. Runyan
CSUF SYMPHONY ORCHESTRA Violin Charlotte Bouck Ella Cheung Christo Fish Fernando Gonzalez Miriam Ibanez* Woojung Jang Delta Jordan Regan Lambert Jordan Nava Tan Phuoc Ngo** Daniel Noh Joshua Teng Claire Thompson Isaac Visoutsy Vincent Zankich Viola Kyle Bague Cristian Contreras Ethan Gathe John Harris Zoe Lee Mary Lieblang* Jacob Mladineo Cello Rebecca Chiu Connor Dicamillo
Xan Garcia Puga* Brooke Giammanco Chani Greaves Jennifer Lee Celine Ma Gabriela SantillanMaldonado Lynnette Silva Zoe Valadez Banuelos Julian Van Aalst Xiyan Yu Bass Andrew DeStackelberg Yamilett Melendez Andres Serna* Piccolo Daniella Arditti Nathalia Boeira Flute Daniella Arditti+ Nathalia Boeira Harold Castro Sydney Landis+
Oboe Isaiah Caudillo+ Joseph Hille+ Lilith Wathen Clarinet Emily Ede+ Ulisses Reyna Pacheco+ Bassoon Kristopher Allgaier Nayalin Guzman+ Rekha Michael+ Horn River Ballantyne Diego Campos+ Andy French Trevor Rouse+ Diego Yanni Trumpet Oscar Cardoso Miguel De Santiago Isaac Montaño+ Rudy Xool+
Tenor Trombone Nicholas Perez Samuel Song+ Bass Trombone Nikolas Hernandez Tuba Gregory Barnes Timpani Julian Haughton Henry Wright Percussion Daniel Banuelos Julian Haughton Charlotte Johnson Ziyania Monroe Henry Wright* Keyboard CameronRodriguez Graduate Ass’t Conductor Julia ZambranoGilbert **Concertmaster *Principal +Co-Principal
ABOUT THE CONDUCTOR 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 ballet “The Mandarin Ducks” has been enthusiastically received by audiences.
DONOR APPLAUSE $1,000,000+ Mr. Douglas G. Stewart Johnny Carson Foundation $50,000 - $99,000 Mrs. Louise Shamblen Dr. Tedrow and Mrs. Susan Perkins $25,000 - $49,000 Mr. John Brennan and Ms. Lucina Moses Leo Freedman Foundation Mr. Steve and Mrs. Robin Kalota Mr. David Sikula and Ms. Patricia Meade Ms. Sharon Lesk Mr. Darryl Curran Mr. John Phelps and Mrs. Kerry Laver-Phelps $10,000 - $24,999 Mr. Bob and Mrs. Terri Niccum Mrs. Marilyn D. Carlson Mr. James and Mrs. Eleanore Monroe Dr. Edward and Mrs. Sue Sullivan Ms. Teri Allen Mr. William and Mrs. Ellen Groves Mr. Norm and Mrs. Sandy Johnson Mrs. Jill Kurti Norman Mr. Ernest and Mrs. Donna Schroeder Ms. Kathleen Hougesen Mr. Richard and Mrs. Lois Daybell Mr. Leo and
Mrs. Connie Licciardone
Mr. Gordon Paine Ms. Christine Rhoades $5,000 - $9,999 Dr. Joseph and Dr. Voiza Arnold Mrs. Evelyn Francuz
Mr. Richard and Mrs. Susan Dolnick Mr. Gregory and Mrs. Shawna Ellis Mr. Jerome and Mrs. Mary Reinhart Dr. Robert M. Istad and Mr. David Navarro
Ms. Jane Oatman Mrs. Kathryn Partrick Mr. Stephen W. Collier and Ms. Joann E. Driggers Dr. George and Mrs. Karen Mast Mr. Frank Hinojoz Mrs. Dianne Nilsen Mr. Nick and Mrs. Dorothy Batinich Mrs. Janet Green Alexandra Grant Mrs. Martha Shaver Mrs. Thelma Mellott Cindy Alcorn Dr. Judith Anderson and Dr. Haldon Anderson Ms. Lynn Beeler Mr. Allan and Mrs. Janet Bridgford Mr. James and Mrs. Diane Case Mr. Randall Clark Sarah DuVal Dr. Anne Fingal Dr. Mark J. Goodrich and Mr. James E. Petri Mr. Billy Owens and Mrs. Michelle H. Jordan Ms. Gladys Kares Mark Miller Mr. Robert F and Mrs. Nancy Rennie Ms. Esther Rollins Mr. D. Schmitt Sadie Zeller Mr. Joseph and Mrs. Linda Zimmermann Mr. William and Mrs. Karen McClung
$1,000 - $4,999 Mrs. Bettina Murphy Mrs. Gloria Schlaepfer Mrs. Norma Morris Peter Michalowski Susan Michalowski Mr. Ujinobu Niwa and Mrs. Yoshino G. Niwa Ms. MaryLouise Hlavac Mrs. Marsha Gallavan Ms. Veronica Michalowski Dr. Stephen Rochford Charlles Boyer Ms. Barbara A. Kerth and Ms. Lorena L. Sikorski Mrs. Marion Brockett Mr. William F. Clark and Mrs. Mary Ann Y. Hamamura-Clark The Lindquist Family Mrs. Shirley Laroff Ms. Junko Klaus Ms. Verne Wagner Dr. Leon and Mrs. Annette Gilbert Mr. James Henriques Mr. Colin Connor and Ms. Debra L. Noble Mrs. Barbara J. Andes Mr. William and Mrs. Martha Kurschat Ms. Karen Bell Mr. Daniel and Mrs. Linda Jenkins Mr. Jeffrey and Mrs. Gayle Kenan Dr. Wayne and Dr. Ruth Zemke Dr. Margaret Gordon James and Mary Weidner Charitable Fund
Very special care has been given to the prepartion of this donor list. Questions or concerns, please contact: Dominic Mumolo | 657-278-7695
*deceased
|
Gifts received from July 1, 2025, to August 30, 2026
C AL STAT E FULLER TON
C S U F S C H O O L O F M US IC
RONALD S. ROCHON President, California State University, Fullerton
DR. RANDALL GOLDBERG Director, School of Music
SEAN E. WALKER Provost and VP for Academic Affairs
KIMO FURUMOTO Assistant Director, School of Music
ARNOLD HOLLAND, EDD Dean, College of the Arts
BONGSHIN KO Assistant Director, School of Music
SCHOOL OF M U S I C F U L L-TI M E FAC U LT Y A N D S TA F F Bongshin Ko cello Dr. Ernest Salem* violin
FACULT Y CONDUCTING Kimo Furumoto instrumental Dr. Robert Istad choral Dr. Christopher Peterson choral Dr. Dustin Barr instrumental JAZZ AND COMMERCIAL MUSIC Bill Cunliffe jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director Rodolfo Zuñiga* jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director PIANO, ORGAN, PIANO PEDAGOGY Bill Cunliffe jazz piano Alison Edwards* piano, piano pedagogy, class piano Dr. Robert Watson piano MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL Dr. Christopher Peterson choral Dr. Gregory X. Whitmore* instrumental MUSIC IN GENERAL EDUCATION Dr. John Koegel* Dr. Katherine Reed MUSIC HISTORY AND LITERATURE Dr. Vivianne Asturizaga musicology Dr. John Koegel* musicology Dr. Katherine Reed musicology STRINGS Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
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 S TA F F Michael August Production Manager Charlotte Bouck Audition Coordinator, Asst. Production Manager Eric Dries Music Librarian Gretchen Estes-Parker Office Coordinator Jeff Lewis Audio Engineer Chris Searight Musical Instrument Services Paul Shirts Administrative Assistant Elizabeth Williams Business Manager
* Denotes area coordinator
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