"University Wind Symphony" program

University Wind Symphony Dustin Barr, conductor December 2, 2023

Sylvia A. Alva, President, California State University, Fullerton Amir H. Dabirian, Provost and Vice President for Academic Affairs (Interim) Alexander Porter, Vice President, Administration and Finance/CFO David Forgues, Vice President, Human Resources, Diversity & Inclusion Rommel Hidalgo, Vice President, Information Technology Tonantzin Oseguera, Vice President, Student Affairs Gregory J. Saks, Vice President, University Advancement

Arnold Holland, EdD, Dean Dave Mickey, Associate Dean Christopher Johnson, Budget Coordinator Jade Jewett, Visual Arts Special Projects Michael Sanchez, IT Learning Experience Designer Heather Guzman, Assistant to the Deans Dr. Randall Goldberg, Director, School of Music Michelle Murillo, Chair, Department of Visual Arts Kathryn Wilson, Chair, Department of Theatre & Dance Jennifer Frias, Director, Nicholas & Lee Begovich Gallery John Spiak, Director, Grand Central Art Center - Santa Ana Dominic Mumolo, Senior Director of Development Ann Steichen, Director of Development Haley Sanford, Development Coordinator Julie Bussell, Director, Marketing & Patron Services Stephanie Tancredi, Box Office Manager Heather Richards-Siddons Marketing & Communications Specialist Alvin Chiu, Graphic Designer Jason Pano, Social Media Strategist

Welcome to the College of the Arts fall 2023 performing and visual arts season. I am so proud of the collaborative efforts our faculty, staff, and students have undertaken to produce such a wide array of programming across four disciplines. It takes months, sometimes years, of work to create what you are about to enjoy – a commitment matched only by our collective passion for the arts.

Each year, the college presents a wide variety of programming that reflects our diverse perspectives. In Theatre, the season begins with a stage adaptation of the hauntingly emotional novel and film “Let the Right One In,” which reveals both the darkest impulses of humanity and our universal desire for connection. Acclaimed 1975 hit musical “A Chorus Line” gets a fresh update by Marty Austin Lamar and Courtney Ozovek that will immerse audiences in the audition process of a Broadway show. In the School of Music, the Fullerton Jazz Orchestra and University Symphony Orchestra perform together in the first ever “Fullerton Pops!” Also in November, Begovich Gallery explores the midcentury architecture and aesthetics of our original Visual Arts Complex in the exhibition “PAST FORWARD.” While Begovich Gallery looks back at our historical beginnings, we continue to push toward the future as the Visual Arts Modernization Project (VA MOD) rapidly transforms the campus.

Our complex’s two new buildings are fully framed, architectural details have been installed, and extensive interior renovations on two existing buildings are nearing completion. These changes bring years of dreaming and planning into sharp focus, but there is so much work yet to be done. From exterior paint to integrate our past and present buildings, to restoring the beloved “Water Wall” sculpture, to new software that will power the next generation of digital artists, there are many ways you can make a difference. Visit the VA MOD web page for more details (art.fullerton.edu/va-mod).

The ways in which our students will benefit from the modernization project are as limitless as their imaginations, and as assured as our commitment to their success. In the College of the Arts, we measure student achievement in creativity, artistic integrity, and dedication, not in data points or statistics. We know you support our students because they give to you through their artistry – it’s something you feel, something that moves you. By strengthening this powerful bond, you empower students to thrive by supporting their creative and academic success.

If you share in the belief that the arts matter, please consider a donation of any amount to the Dean’s Fund for Excellence (arts.fullerton.edu/giving).

Whether this is your first theatre production or your twenty-first concert, know that you are an appreciated member of our Titan community. Thank you for joining us today and I look forward to seeing you again soon.

Sincerely,

Arnold Holland, Ed.D Dean, College of the Arts

Dr. Randall Goldberg • Director, School of Music Kimo Furumoto • Assistant Director, School of Music Bongshin Ko • Assistant Director, School of Music

FULL-TIME FACULTY

Strings

Conducting

Kimo Furumoto – Director of Orchestra Studies and University Symphony Orchestra conductor Bongshin Ko – cello Dr. Ernest Salem* – violin

Jazz and Commercial Music

Dr. Pamela Madsen – composition, theory Dr. Ken Walicki* – composition, theory

Kimo Furumoto – instrumental Dr. Robert Istad – choral Dr. Dustin Barr – instrumental 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 Ning An – piano Bill Cunliffe – jazz piano Alison Edwards* – piano, piano pedagogy, class piano Myong-Joo Lee – piano Dr. Robert Watson – piano

Music Education, Teacher Training, and Teaching Credential

Theory and Composition

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 Joni Y. Prado – voice, academic voice courses

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

Dr. Christopher Peterson – choral Dr. Gregory X. Whitmore* – instrumental

Music in General Education Dr. John Koegel* Dr. Katherine Reed

Music History and LIterature

Vivianne Asturizaga – musicology Dr. John Koegel* – musicology Dr. Katherine Powers – musicology Dr. Katherine Reed – musicology

STAFF Michael August – Production Manager Eric Dries – Music Librarian William Lemley – Audio Technician Jeff Lewis – Audio Engineer Chris Searight – Music Instrumental Services Paul Shirts – Administrative Assistant Elizabeth Williams – Business Manager Sue Winston – Office Coordinator * denotes Area Coordinator

facebook.com/CSUFMusic instagram.com/CSUFMusic soundcloud.com/csufmusic

music.fullerton.edu

PROGRAM

University Wind Symphony Dustin Barr, conductor Jonathan Caldwell, guest conductor

“Shouting Out”

Voices Shouting Out (2002/2023)..................................................Nkeiru Okoye (b. 1972)

Consortium premiere performance; version for wind band Jonathan Caldwell, guest conductor

“After the Thunderer”..................................................................... Ira Hearshen (b. 1948) (from Symphony on Themes of John Philip Sousa (1991)) Luminance (2023)...............................................................................Shuying Li (b. 1989)

Consortium premiere performance

***** Intermission *****

Music for Prague 1968 (1968)......................................................Karel Husa (1921-2016) Introduction and Fanfare Aria Interlude Toccata and Chorale “Finale” (from Third Symphony (1998)).........................................James Barnes (b. 1949)

PROGRAM NOTES Voices Shouting Out • Nkeiru Okoye Nkeiru Okoye is an American-born composer of African American and Nigerian ancestry. She was born in New York, NY, and raised on Long Island. After studying composition, music theory, piano, conducting, and Africana Studies at Oberlin Conservatory, she pursued graduate studies at Rutgers University and became one of the leading African American women composers. An activist through the arts, Okoye creates a body of work that welcomes and affirms both traditional and new audiences. Hailed as “gripping” and “evocative” by the New York Times, her works have been commissioned, performed and presented by Detroit Symphony, Philadelphia Orchestra, Baltimore Symphony, Opera North UK, Mt. Holyoke College, Juilliard School, Houston Grand Opera, the American Opera Project, Boston Landmarks Orchestra, Boston Modern Orchestra Project, the University of Michigan Orchestras, Charlotte Symphony Orchestra, Chicago Sinfonietta, Cleveland Opera Theater, Moscow Symphony, Tanglewood Music Festival, Virginia Symphony, Tulsa Opera, Royal Opera House, Da Capo Chamber Players, Cellist Matt Haimovitz, Pianist Lara Downes, and many others.

Okoye penned the initial sketches of what would be Voices Shouting Out on New Year’s Eve, 2001/02. The completed work premiered six weeks later by The Virginia Symphony and has continued to delight and captivate audiences of all ages and backgrounds. She offers the following regarding her composition: I sat to write “Voices” in the wake of September 11th; however, in my grieving process, I failed to find music within.

It was as though my muse crumbled with our twin towers. So, though I originally attempted to compose a piece, Voices Crying Out, in response to the destruction... I could not. As this nation recovered, we were united in a response: we would resume our lives, using normalcy to defy the terrorism.

In the end, rather than ‘crying out’ my official response was “Voices Shouting

Out” in freedom, as it were, through the music. It was a march to acknowledge those fighting on behalf of our safety, and yet a sparkling celebration of life for those of us who continue living.”

The Virginia Symphony commissioned Voices Shouting Out for a multicultural program titled, “Of Heroes and Human Rights,” which was conducted by Maestro Wes Kenney. The Wind Ensemble version was commissioned in 2023 by a consortium led by the University of North Carolina at Greensboro Bands and Jonathan Caldwell, guest conductor on tonight’s program.

“After ‘The Thunderer’” (from Symphony on Themes of John Philip Sousa) • Ira Hearshen Ira Hearshen received his Bachelor of Music degree in applied theory and composition from Wayne State University.

In 1972, he moved to Los Angeles to study orchestration at the Grove School of Music under the tutelage of the film composer Albert Harris. He is currently one of the most sought-after orchestrators in Hollywood and his credits include music for the television series Beauty and the Beast, the Broadway show Into the Light, and feature films Guarding Tess, Big Business, and The Three Musketeers. Of his Symphony on Themes of John Philip Sousa, Hearshen writes: Stirred and fascinated by the music of John Philip Sousa since childhood, I still get a chill upon hearing the piccolo obbligato in the trio of The Stars and Stripes Forever. While the thought of transforming popular march music into a legitimate piece for concert stage had a lot of intellectual appeal, I figured that any attempt I made to pay homage to Sousa would be misunderstood. But artistic challenge won out and I started working on what was to become the second movement of the symphony in the winter of 1990-91. Sousa’s melodies are all strong and of a wide variety of architectural styles. They range from complex to simple and all are stirring,

PROGRAM NOTES intense, and above all, really fun to listen to. This is what makes Sousa’s music “classic.” From the audience reaction to the first performance of “After ‘The Thunderer,’” I knew I was involved with something unusual in the realm of band music.

Hearshen’s treatment of Sousa’s iconic march slows the melody of the trio section to a deliberate 48 beats per minute and casts it in the style of Mahler’s Third Symphony. Hearshen’s symphony, especially the movement performed tonight, instantly became a staple of the wind band repertoire and was nominated for the Pulitzer Prize in music in 1997.

Luminance - Shuying Li Praised by the Seattle Times as “a real talent” with “skillful orchestral writing, very colorful language and huge waves of sound,” Shuying Li is an award-winning composer who began her musical education in her native China. In her sophomore year at the Shanghai Conservatory of Music, she won a scholarship to continue her undergraduate studies at The Hartt School in Connecticut. She holds doctoral and master’s degrees from the University of Michigan and is a research faculty member at the Shanghai Conservatory of Music. A passionate educator, Shuying has taught and directed the Composition/Music Theory Program at Gonzaga University. She joined the faculty at California State University, Sacramento in Fall 2022.

Shuying Li’s compositions have been performed by Orpheus Chamber Orchestra, Seattle Symphony Orchestra, Boston Modern Orchestra Project, New Jersey Symphony Orchestra, Ningbo Symphony Orchestra (China), Alarm Will Sound Ensemble, American Lyric Theater, Argus Quartet, Four Corners Ensemble, Hartford Opera Theater, Composers Conference Ensemble, Donald Sinta Quartet, Norfolk Contemporary Ensemble, Women’s Wind Ensemble, Orkest de ereprijs (Netherlands), Avanti! Chamber Orchestra (Finland), ICon Arts Ensemble (Romania), Cecilia Quartet

(Canada), 15.19. Ensemble (Italy), Ascanio Quartet (Italy), Atlas Ensemble (Netherlands), among others. Shuying has received awards or grants from OPERA America, China National Arts Fund, ASCAP/CBDNA Frederick Fennell Prize, The American Prize, International Antonin Dvorak Composition Competition, New Jersey Composers’ Guild Commission Competition, International Huang Zi Composition Competition, the Michigan Music Teachers Association Commissioned Composer Competition, Melta International Composition Competition, etc.

A believer that music has the innate power to promote cultural diversity by connecting people through universally human passions and values, Shuying founded the Four Corners Ensemble in 2017. As Artistic Director and Conductor of the ensemble, Shuying’s efforts have led to residencies and performances at Carnegie Hall’s Weill Hall, the Polish Consulate General in New York City, OPERA America, the Shanghai Conservatory of Music, the University of Michigan, The Hartt School, and the Hartford Opera Theater.

Shuying also pioneered the Operation Opera Festival in Ann Arbor, Michigan, and continued to build it into an annual festival for composers, vocalists, and pianists to collaborate on new chamber operas and chamber art songs. Four Corners’ debut album, World Map, a series of chamber concertos Shuying composed for the members, has received acclaim published in Gramophone, American Record Guide, Pizzicato, and Take Effect.

Recent or upcoming projects include performances by Orpheus Chamber Orchestra, Boston Modern Orchestra Project, Chelsea Symphony Orchestra, Chamber Music Society of Central Virginia; an opera commissioned by the Shanghai Conservatory of Music with librettist Julian Crouch in development with the Houston Grand Opera supported by OPERA America; an orchestra consortium commission by ten orchestras; and two band consortium commissions including a CBDNA West/Northwest Region “Bridgework” Commission. For more information, please visit http://www.shuyingli.com

PROGRAM NOTES Regarding Luminance, Li writes: Luminance explores the interplay between light and darkness both musically and thematically. Inspired by the concept of “luminance,” this work seeks to evoke a sense of radiance and brilliance through its music.

At its core, Luminance addresses issues relevant to contemporary society.

By exploring themes of hope and despair, inclusion and exclusion, and power and powerlessness, the piece seeks to provide a platform for reflection and conversation.

Through its use of evocative tonalities and dynamic contrasts, Luminance aims to invite audiences to find strength in moments of darkness and embrace the light within themselves.

Luminance was commissioned by a consortium of 42 college bands led by Andy Collinsworth at Sonoma State University and Thomas Seddon at Washburn University.

Music for Prague 1968 • Karel Husa The Czech-American composer Karel Husa was born in Prague, where he received his early musical training. After World War II, he traveled to Paris and studied with Arthur Honegger and Nadia Boulanger.

Husa immigrated to the United State in 1954 and became and American citizen in 1959, serving on the faculties of Cornell University and Ithaca College until his retirement.

He was awarded the 1969 Pulitzer Prize in Music for his String Quartet No. 3, in addition to many other prestigious awards and honors.

In late May of 1968, Husa was asked to write a work for the Ithaca College Concert Band for an upcoming performance in early 1969. While deliberating on the substance of the piece during his annual summer retreat to compose at his cottage on Lake Cayuga, he followed the political tension between Alexander Dubcek’s reformist government and other nations of the communist Warsaw pact, following the events now known as the “Prague Spring.” On the evening of August 21, 1968, Husa heard the news report that stunned the world: “The Soviets are invading Czechoslovakia.”

After staying next to the radio most of the night, he purchased a small television the next day as the tragic events in his homeland were broadcast to the free world.

“As I watched day and night, I was thinking about that beautiful city where I grew up, and all that it means to me. I was concerned for my sister and family who still lived in Prague. I decided then to write a piece for Prague and what the city has stood for throughout history.”

These thoughts influenced the work he wrote for Ithaca College, resulting in one of the most symbolic cultural references from the Cold War period. Husa explains these references in detail: Three main ideas bind the composition together. The first and most important is the old Hussite war song from the 15th century, “Ye Warriors of God and His Law.” The hymn has been a symbol of resistance and hope for hundreds of years whenever fate lay heavy on the Czech nation. It has been utilized also by many Czech composers, including Smetana in his My Country.

The beginning of this religious song is announced very softly in the first movement by the timpani and concludes in a strong unison in the final movement, although the song is never used in its entirety.

The second idea is the sound of bells throughout. Prague, named also the City of ‘Hundreds of Towers,’ has used its magnificently sounding church bells as calls of distress as well as victory through the centuries.

The last idea is a motif of three chords first appearing very softly under the piccolo solo at the beginning of the piece that returns at various dynamic levels throughout the piece, most powerfully in the middle of the Aria.

Different techniques of composing as well as orchestrating have been used in Music for Prague 1968 and some new sounds explored, such as the percussion section in the Interlude, the ending of the work, etc. Much symbolism also appears: in addition to the distress calls in the fanfares of the first movement, the unbroken hope of the Hussite song, the sound of bells as warning and triumph, and the tragedy of the Aria, there is also the birdcall at the

PROGRAM NOTES beginning of the work heard in the piccolo solo. The bird is a symbol of liberty that Prague has seen only for moments during its thousand years of existence.

“Finale” (from Third Symphony) • James Barnes The United States Air Force Band in Washington, D.C. commissioned James Barnes to write a major work for wind band.

The conductor, Col. Alan Bonner, said he didn’t care about style, length, difficulty or anything else. Barnes started working on his Third Symphony at a very difficult time in his life, right after his baby daughter Natalie died. The composer said, “This symphony is the most emotionally draining work that I have ever composed. If it were to be given a nickname, I believe that ‘Tragic’ would be appropriate.”

The work progresses from the deepest darkness of despair all the way to the brightness of fulfillment and joy.

The Lento (first movement) is a work of much frustration, bitterness, despair and despondency - all feelings of the composer losing his daughter. The Scherzo (second movement) has a sarcasm and bittersweetness about it because it deals with the pomposity and conceit of certain people, busy and cheerful while complaining about minor problems compared to his loss of Natalie. Exquisite in its simplicity, the hauntingly beautiful third movement is a fantasia about what the composer felt the

world would have been like if Natalie had lived. It is a farewell to her. The Finale (fourth movement) represents a rebirth of spirit, and reconciliation for us all. The second theme of the last movement is based on an old Lutheran children’s hymn called “I Am Jesus’ Little Lamb.”

Even now the Shepherds lamb?

And when my short life is ended.

By his angel host attended He shall fold me to His breast, There within His arms to rest.

This hymn was sung at Natalie’s funeral.

Three days after Barnes completed this symphony, his son Bill was born. The composer said, “if the third movement is for Natalie, then the Finale is really for Bill, and our joy in being blessed with him after the tragic death of his sister.“ James Barnes (b. 1949), now retired, was Division Director for Music Theory and Composition at the University of Kansas, where he has taught for 35 years.

His numerous compositions for concert bands and orchestras are extensively performed throughout the world. A former tubist, he has traveled extensively as guest composer, conductor, and lecturer. He has twice received the American Bandmasters Association Ostwald Award for outstanding contemporary wind band music and has been commissioned to compose works for all five of the major military bands in Washington, DC.

UNIVERSIT Y WIND SYMPHONY Piccolo Anthony Alcain Joel Charboneau Flute Anthony Alcain Daniella Arditti Joel Charboneau Dayee Chung Crystal Lee Joseph Loi Oboe Issac Chyun Luke Dodson Johnston Nguyen English Horn Johnston Nguyen Bassoon Theresa Harvey Emma Johnson Miranda E-flat Clarinet James Nguyen Clarinet Rodney Borg Daniel Hernandez James Nguyen Manami Ogura Josiah Sanchez Tomoya Sano Joshua Schaefer

Bass Clarinet Monserrat Rodriguez Saxophone Julio Hernandez Joshua Lopez Kimberly Orozco Sam Tobilla Colin Ward Trumpet Trevor Cannon Ethan Hong Michael Kerr Isaac Montano Christian Perez Alex Santiago Taylor Shirley Susanna Sun Horn Alexander Delperdang Jeff Gumpertz Grant Laren Dan Lozada Trombone Zakary Brewer Ashley Kocour Bryan Melchor Bass Trombone Carlo Bonelli Eduardo Bonilla

Euphonium Dylan Barnum Chris Zavala Tuba Eduardo Bonilla Miguel Jimenez Maldonado Cody Kleinhans Percussion Andrew Alvidrez Wilson Le Salvador Montano Galadriel Pokracki Jesus Santamaria John Sunderman Jacob Wetzel Piano Haosen Wang Harp Brian Noel Music Librarian Daniel Castellanos Emma Johnson Miranda Johnston Nguyen Logistics Manager Daniel Hernandez

ABOUT THE GUEST CONDUCTOR

Jonathan Caldwell Jonathan Caldwell is Director of Bands and Assistant Professor of Conducting at the University of North Carolina at Greensboro, where he conducts the Wind Ensemble and Symphonic Band and teaches undergraduate and graduate conducting. Prior to his appointment at UNCG, Caldwell held positions at Virginia Tech, the University of Wisconsin–Stevens Point, and Garner Magnet High Scwwhool (Garner, NC).

Ensembles under Caldwell’s guidance have performed for the College Band Directors National Association Southern Division, the North Carolina Music Educators Association, the National Band Association–Wisconsin Chapter, and in Carnegie Hall. His writings have been published in the Journal of Band Research and the Teaching Music Through Performance in Band series. His book, Original Études for the Developing Conductor, was published in 2023 and awarded “Highly Commended” in the inaugural Impact Award category by the Association of Learned and Professional Society Publishers (UK). Caldwell has given presentations for the Midwest Band and Orchestra Clinic, the College Band Directors National Association, the Internationale Gesellschaft zur Erforschung und Förderung der Blasmusik (IGEB), and music educator conferences in North Carolina and Virginia.

Caldwell received a Doctor of Musical Arts in conducting from the University of Michigan and a Master of Music in instrumental conducting from the University of Maryland, College Park. He holds a Master of Arts in Teaching and a Bachelor of Music in performance from the University of North Carolina at Chapel Hill.

ABOUT THE CONDUCTOR

Dustin Barr Dustin Barr is Director of Wind Studies and Associate Professor of Music at California State University, Fullerton where he actively manages all aspects of the university’s comprehensive band program, conducts the 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.

Barr is a recipient of numerous accolades for his conducting and scholarly work. Most recently, the CSUF Wind Symphony was named a winner of the 2021 Ernst Bacon Memorial Prize for the Performance of American Music by the American Prize organization. Another signal honor was the ensemble’s invitation to perform at the 2019 National Conference of the College Band Directors National Association. The Wind Symphony’s forthcoming album, Effigy, is also a noteworthy achievement. It is the result of innovative musical practices and remote recording projects undertaken during the Covid-19 pandemic. Beyond CSUF, he has been a guest conductor of prominent ensembles like the United States Army Band “Pershing’s Own” and the Air Force Band of the Golden West. He was a finalist for the American Prize in Conducting, a Rackham Merit Fellow at the University of Michigan, and was recognized as one of the nation’s preeminent young conductors as part of the 2010 National Band Association’s Young Conductor Mentor Project. He is a regular conductor/clinician for Disney Imagination Campus.

Barr’s research includes working extensively with theatre director Jerald Schwiebert on the melding of performance theory with a variety of movement theories and disciplines to establish innovative pedagogical approaches to teaching conducting. Their co-authored book, Expressive Conducting: Movement and Performance Theory for Conductors, was published by Routledge in 2018. This work has made Barr a highly regarded pedagogue in the field conducting. He has given numerous masterclasses throughout the USA and Spain. Furthermore, his research on Scandinavian music for chamber wind ensembles has produced published performance editions of Asger Lund Christiansen’s Octet, op. 43 and Svend Schultz’s Divertimento for Wind Octet.

Barr holds a Doctor of Musical Arts in conducting from the University of Michigan.

He received his Master of Music degree and Bachelor of Music degree from California State University, Fullerton. His principal conducting mentors include Michael Haithcock and Mitchell Fennell.

California State University, Fullerton • College of the Arts

DONOR APPLAUSE The College of the Arts extends its heartfelt gratitude to the following patrons who have supported our students and programs this past year through a generous gift of $1,000 or more to the College, the School of Music, Department of Theatre & Dance, and/or the Department of Visual Arts.**

$1,000,000 + Anonymous $100,000+ Darryl Curran Shawna & Gregory Ellis Stan Mark Ryan Shirley & David Sepel William Wagner $25,000+ Alliance for the Performing Arts The Andy Warhol Foundation Johnny Carson Foundation Leo Freedman Foundation Robin & Steve Kalota Music Associates Frank & John Olsen Donna & Ernie Schroeder $10,000+ Art Alliance Affordable Housing Access Inc. Lee Begovich The Blackbaud Giving Fund Marilyn D. Carlson Robin De la Llata Amie Dwight Richard Odle Foundation Fidelity Charitable Gift Fund J.P. Morgan Charitable Giving Fund Ellen & Bill Groves Marianne Kreter Kathleen Hein Eleanore & James L. Monroe Lucina Moses & John Brennan Bob & Terri Niccum Dr. Katherine S. Powers & Håkan O. Rosengren Dana Praitis Raymond James Charitable Endowment Fund Kristin K. Stang & Gordon Capp Jeffrey A. Stang & Lisa McDaniel Stang Sue & Dr. Edward A. Sullivan

$5,000+ Robin de la Llata Aime & Jack Aime Drs. Voiza & Joseph Arnold Dana M. Carrera* Steven Caulk Dr. Marc R. Dickey Susan & Richard Dolnick Desiree Engel Friends of Jazz Leslie & Greg Garman MaryLouise & Ed Hlavac Morningside of Fullerton Norma Morris Betty Murphy Jill Kurti Norman Orange County Community Foundation $1,000+ Judy L. Atwell Betsy & Eric Azariah Dottie & Nick Batinich Lucina & John Brennan Janet & Allen Bridgford Irene Chinn Stephen W. Collier & Joann Driggers William S. Cornyn CEC Artslink D. Barry Schmitt Revocable Trust Lucetta A. Dunn Dr. Anne Fingal Evelyn K. Francuz Fullerton Families and Friends Marsha Gallavan Jacquelyn Garrabrant Annette L. & Leon J. Gilbert Renee & John Gillespie Susan-Ellen Gilmont Dr. Mark J. Goodrich Dr. Margaret F. Gordon Theresa Harvey James L. Henriques Frank Hinojoz Dr. Robert Istad Michelle Jordan

Gladys M. Kares Gwendolyn & Carlos C. Leija Jason Lomeda Juliette Lunger John M. Martelli & Paul Coluzzi Karen & George Mast Thelma & Earl Mellott Sylvia Megerdichian Mary E. Moore Patricia & Carl Miller Ann & Douglas Myles David Navarro Yoshino & Ujinobu Niwa Debra L. Noble L. Palin Kerry & John Phelps The Presser Foundation Deanna & Arie Passchier Jim Plamondon Sheila Pinkle Sharon & Dr. Anil K. Puri Mary & Jerry R. Reinhart Renaissance Charitable Foundation Nancy & Robert Rennie Christine Rhoades David Rhone Dr. Stephen M. Rochford Ronald L. Katz Family Foundation Ann & Thad Sandford D. Barry Schmitt Louise P. Shamblen Martha Shaver Ingrid R. Shutkin Lorena L. Sikorski Carol Smith Sparkman Janet L. Smith Roberta & Robert Sperry Dodo V. Standring Thomas Statler Robert Van Sternberg Douglas Stewart Verne Wagner Dr. Sean E. Walker Debra Winters Richard Wulff YourCause, LLC *deceased

Very special care has been given to the preparation of this donor listing.

Please contact Ann Steichen at (657) 278-7124 with questions or concerns. **Gifts received from July 1, 2022 through August 2023

ONTIVEROS SOCIETY The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. Our deep appreciation is extended to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts: ANONYMOUS JOHN ALEXANDER LEE & DR. NICHOLAS A.* BEGOVICH GAIL & MICHAEL COCHRAN MARC R. DICKEY JOANN DRIGGERS BETTY EVERETT CAROL J. GEISBAUER & JOHN* GEISBAUER SOPHIA & CHARLES GRAY MARYLOUISE & ED HLAVAC GRETCHEN KANNE

DR. BURTON L. KARSON ANNE L. KRUZIC* LOREEN & JOHN LOFTUS ALAN A. MANNASON* WILLIAM J. MCGARVEY* DR. SALLIE MITCHELL* ELEANORE P. & JAMES L. MONROE LYNN & ROBERT MYERS DWIGHT RICHARD ODLE* SHERRY & DR. GORDON PAINE DR. JUNE POLLAK & MR. GEORGE POLLAK*

DR. STEPHEN M. ROCHFORD 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*

*deceased

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

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

SPECIAL SUPPORT AND EVENT UNDERWRITING Fay Colmar John DeLoof

Joann Driggers & Steve Collier Loraine Walkington

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

SPECIAL SUPPORT AND EVENT UNDERWRITING Judy Atwell Drs. Voiza & Joe Arnold Dr. Margaret Faulwell Gordon

Susan Hallman Norma Morris Richard Odle Estate

Kerry & John Phelps Jeanie Stockwell Verne Wagner

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

SPECIAL SUPPORT AND EVENT UNDERWRITING Marilyn Carlson Evelyn K. Francuz Sandy & Norm Johnson Marti & Bill Kurschat Karen & George Mast

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

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

MORE INFORMATION: Ann Steichen • 657-278-7124 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

GET INVOLVED GIVING.FULLERTON.EDU

COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2023 Eduardo Delgado, piano A Tribute to Martha Baker-Jordan Sun., Oct. 9, 2023 • Meng Concert Hall

(Fundraiser for Keyboard Pedagogy Scholarships)

Let The Right One In October 6–21, 2023 • Hallberg Theatre University Symphony Orchestra Sat., Oct. 7, 2023 • Meng Concert Hall University Symphonic Winds Sun., Oct. 8, 2023 • Meng Concert Hall Hub New Music Thurs., Oct. 12, 2023 • Meng Concert Hall University Wind Symphony w/ Hub New Music Fri., Oct. 13, 2023 • Meng Concert Hall

Ernest Salem, violin, & Alison Edwards, piano Sun., Oct. 15, 2023 • Meng Concert Hall Kirsten Yon, violin Thurs., Oct. 19, 2023 • Meng Concert Hall

Opera Scenes November 2–5, 2023 • Recital Hall CSUF School of Music presents: Fullerton Pops Sat., Nov. 4, 2023 • Meng Concert Hall A Chorus Line Nov. 9–Dec. 2, 2023 • Little Theatre University Symphony Orchestra Sun., Nov. 12, 2023 • Meng Concert Hall Jazz Singers Wed., Nov. 15, 2023 • Meng Concert Hall Cello Choir Fri., Nov. 17, 2023 • Recital Hall University Symphonic Winds Fri., Nov.17, 2023 • Meng Concert Hall Fall Dance Theatre: “In-Tandem” Nov. 30–Dec. 9, 2023 • Little Theatre Fullerton Jazz Orchestra Fri., Dec. 1, 2023 • Meng Concert Hall

Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble feat. drummer Jared Schonig Fri., Oct. 20, 2023 • Meng Concert Hall

University Wind Symphony Sat., Dec. 2, 2023 • Meng Concert Hall

Twelfth Night Oct. 20–Nov. 4, 2023 • Young Theatre

Titan Voices & Singing Titans Mon., Dec. 4, 2023 • Meng Concert Hall

University Singers & Concert Choir Sun., Oct. 22, 2023 • Meng Concert Hall

Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble Tues., Dec. 5, 2023 • Meng Concert Hall

Ben Ullery, viola, w/ Dominic Cheli, piano Tues., Oct. 24, 2023 • Meng Concert Hall Denis Jiron, trombone Thurs., Oct. 26, 2023 • Meng Concert Hall Füreya Ünal (piano) & Friends Fri., Oct. 27, 2023 • Meng Concert Hall

University Band Wed., Dec. 6, 2023 • Meng Concert Hall Deck the Hall at Cal State Fullerton!

Dec. 9 and 10, 2023 • Meng Concert Hall

For Studio Series productions, free events, and complete information, visit/call (657) 278-3371 • arts.fullerton.edu/calendar • artstickets.fullerton.edu

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