Fabian Ziegler, percussion" program

Fabian Ziegler, percussion feat. CSUF Percussion Ensemble March 6, 2024 Photo by Akvile Sileikaite

CALIF ORNIA STATE U NI VE RSIT Y, FULL ER TON

C S U F S C H O O L O F M US IC

SYLVIA A. ALVA President, California State University, Fullerton

DR. RANDALL GOLDBERG Director, School of Music

AMIR H. DABIRIAN Provost and VP for Academic Affairs (Interim)

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 Faculty Conducting Kimo Furumoto – instrumental Dr. Robert Istad – choral Dr. Dustin Barr – instrumental Jazz and Commercial Music Bill Cunliffe* – jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director Rodolfo 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 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 Powers – 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. 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 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 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

* denotes Area Coordinator

facebook.com/CSUFMusic instagram.com/CSUFMusic soundcloud.com/csufmusic music.fullerton.edu

Welcome to the Spring 2024 Performing Arts Season at Cal State Fullerton’s College of the Arts. Whether you are a first-time or long-time patron, a friend, or parent to one of our exceptional students, thank you for joining us. Your support makes all the difference to their success.

I am pleased to present another semester of programming powered by the incredible gifts of our Art, Dance, Music, and Theatre students. This spring, the School of Music starts the season with a trio of concerts February 16–18 by artists-in-residence Talich Quartet; faculty artist Damon Zick and his Quarteto Nuevo featuring fellow faculty artist Bill Cunliffe; and University Symphony Orchestra. In May, University Symphony Orchestra and Symphonic Chorus will close the concert season with a performance of Mozart’s emotionally charged “Requiem.” Begovich Gallery presents the Begovich Visual Arts Lecture Series with visiting artists’ talks throughout the semester, including multidisciplinary artist Hings Lim on February 22, whose work will also be exhibited at Grand Central Art Center. The Department of Theatre and Dance begins their season in March with “Marisol,” a darkly comedic fantasy where the title character must find hope in a post-apocalyptic Brooklyn where angels are taking up arms and coffee is extinct.

Hilarious, multiple Tony award-winning modern musical send-up “Urinetown” closes the theatre season just as CSUF’s dancers and choreographers take to the stage for “Spring Dance Theatre.”

When our students demonstrate their talents on stage and in the studio, their creative energy is undeniable, but the sacrifice and struggle it took to get there is often less perceptible. We can’t see the hours spent creating, the days of rehearsals, and the years of practice. For many students, the sparks of innovation and artistry that drove them to pursue the arts are often diminished by the high cost of an education. The Dean’s Fund for Excellence provides support for students in need through scholarships, artist residencies, and other financial assistance, ensuring them the opportunity to thrive in the arts. If you believe in their sparks of brilliance, please consider a donation of any amount to the Dean’s Fund for Excellence.

Thank you again for joining us this season and for championing the arts in higher education.

I hope to see you at one of the college’s many performances and events this spring.

Sincerely,

Arnold Holland, EdD Dean, College of the Arts

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PROGRAM Atalanta (2020).............................................................................................. John Psathas (b. 1966) Rhythmic Caprice (1989)................................................................Leigh Howard Stevens (b. 1953) “Her Alchemy” (2016)................................................................................... John Psathas (from Koolish Zein (solo version)) Eravie (2009)......................................................................................... Alexej Gerassimez (b. 1987) Kyoto (2011)................................................................................................. John Psathas featuring CSUF Percussion Ensemble members Andrew Alvidrez - Victoria Canonizado Salvador Montano - Wilson Le RealBadNow (2021)...................................................................................... John Psathas Movements 1 & 5 Metro (2020).............................................................................................Russell Wharton (b. 1990)

PROGRAM NOTES ATALANTA • John Psathas I’ve always been strongly influenced by the performers I write for. In the case of Atalanta I was affected by the knowledge that percussionist Fabian (Ziegler) and pianist Akvilė (Šileikaitė) were a couple and soon to be married.

There is a sense of youthful love and warmth in the piece, and of two young spirits chasing each other at high speed.

The literal meaning of the word Atalanta (from Greek mythology) is ‘equal in weight’ – not a bad concept for the foundation of a marriage. Atalanta is also the name of a Greek heroine, a swiftfooted virgin who eschewed men and devoted herself to the huntress Artemis.

She agreed to marry only if a suitor could outrun her in a footrace, which she knew was impossible. If the suitor was unsuccessful, he would be killed.

Many suitors died in the attempt until Hippomenes prayed to the goddess Aphrodite for assistance and received three irresistible golden apples. During the race Atalanta, was diverted off the path as Hoppmenes tossed an apple for her to retrieve; each time Atalanta caught up with Hippomenes, he would toss another apple, ultimately winning the race and Atalanta herself.

The backing track features a recording of Taonga Puoro performed by the recent Richard Nunns (if you listen closely, you can hear his voice sung through the body of a Putorino).

- John Psathas RHYTHMIC CAPRICE • Leigh Howard Stevens In the 1980s, Stevens began writing what he called a “demonstration piece” to show composers possible techniques and sound effects. “I wanted a virtuosic, bring-the-house-down kind of piece, so I performed for every composer who would listen,” he says. “I never got that piece, so I ended up writing it myself.” Leigh’s “Rhythmic Caprice” was premiered in

1989 and continues to be one of his most popular encores.

-Leigh Howard Stevens HER ALCHEMY (from Koolish Zein (solo version)) • John Psathas Koolish Zein is an orchestra-less concerto written for Michael Burritt.

In place of the symphony orchestra is a percussion quartet and a track of richly layered audio. The soloist is the storyteller from start to finish, navigating an ever-changing terrain of dynamic textures and grooves. The three parts of Koolish Zein each look to evoke resonances of an imagined future. “Her Alchemy” emerges from women’s voices transformed digitally within the software Alchemy. “London Busking 2149” imagines what it might be like busking at Trafalgar Square some 125 years from now, evoked with the sound of flying vehicles coming and going, the loose quality of the music, and a duet with a passing robotic improvisor.

The up-tempo “Trimetrical Hub” (an anagram of Michael Burritt) begins in a Macedonian dance rhythm of 17/8 (4+6+7) and eventually transforms into a high-spirited groove inspired by a 6/8 Moroccan wedding dance.

ERAVIE • Alexej Gerassimez When listening to the beautiful choral

by Nikolai Kedrov, Sr. “Otche Nash” (The Lord’s Prayer), I instantly started to develop the idea to compose a piece influenced by this choral. I started to play the beginning on a marimba and tried to let the instrument “sing.” The first six bars are based on the harmonies by Kedrov.

The excerpt from J.W. Goethe’s Egmont “Now shouting in triumph, Now sunk in despair” crossed my mind while I wrote the music. The title Eravie that is made up from French literature, represents the felling of ups and downs in life. Eravie is dedicated to Julie.

- Alexej Gerassimez

PROGRAM NOTES KYOTO • John Psathas Kyoto, premiered by the Ju Percussion Group in Taiwan City on May 20, 2011, was commissioned by the group for the Taipei International Percussion Convention. Departing from my earlier intense and physically demanding percussion compositions, such as Drum Dances and “Etude” from One Study One Summary, Kyoto shares stylistic similarities with his marimba concerto Djinn. The piece maintains a constant rhythmic semiquaver pulse that drives the momentum, transitioning through varying time signatures and punctuated by moments of silence that give rise to shifts in harmonic content.

Two contrasting ideas, rhythmically driven melodic lines and vibraphone arpeggios, alternate before converging in a climactic moment. The title of the work is inspired by a 1976 improvisation by pianist Keith Jarrett recorded in Kyoto, which served as a transformative catalyst for my journey as a composer.

- John Psathas REALBADNOW • John Psathas A solo percussion and digital audio work commissioned by commissioned by: Fabian Ziegler, Switzerland - Alex Georgiev, Austria - Adelaide Férrière, France - Omar Carmenates, USA Zhengdao Lu, China - Sam Um, USA Pei Ching Wu, Taiwan - James Larter, UK - Vassilena Serafimova, Bulgaria - Gaku Ueno, Japan - Edoardo Giachino, Italy.

If you’re interested in this piece I thought it might be useful to know some more about the thinking and feeling behind the composing.

I was inspired by the book “Disposable Futures: The Seduction of Violence in the Age of Spectacle” by Brad Evans and Henry Giroux. This book is where the movement titles come from . . .

Part 1 I. Individualize the Social The spaces in the world where we

used to gather socially (and be physically present together) have been drastically reduced, some would say deliberately, so that there are fewer and fewer opportunities for us to come together as groups and communities. Of course, this weakens us. What used to be social space is now individual space. Even when we connect digitally, we do so when we are (usually) physically alone and this is not the same thing. This movement is designed to give the feeling of floating freely and alone, in a universe of one.

Part 2 II. Normalize Catastrophic Imagination III. Encourage Citizens to Participate in Their Own Oppression IV. Create Zones of Terminal Exclusion You can see in the score where each of these sub-sections begin.

This movement is a reflection on the idea that we are encouraged to think catastrophically, and to accept that we can do nothing about the way things are and where we are heading. But that is not enough, we are also encouraged now to participate in our own oppression, contributing to, and admiring, the success and glory of those who are accumulating the majority of resources and wealth. For the unluckiest in the world this has led to ‘zones of terminal exclusion,’ where the hopelessness is made permanent and sections of societies are considered increasingly ‘disposable,’ with no escape from this status.

Part 3 V. Prepare for Defiant Acts of Radical Imagination Of course, this does not have to be the way, and it does not have to be permanent.

But for change to occur in the 21st century, a much stronger kind of defiance is needed. All the ‘isms’ (communism, capitalism, fascism, neo-liberalism, etc.) have failed.

PROGRAM NOTES Protest and resistance need to be inspired by radical imagination, not by the old methods. The world needs a new idea. Positively charged, collective energy is represented here with music that is confident, celebratory, and pumping with determination.

Part 4 VI. Teach appreciation of the Aesthetics of Violence VII. Prevent Solidarity at All Costs VIII. Instigate and Perpetuate a War of All-On-All We live in an era in which violence has become the main spectacle in life, whether it is filmed entertainment, news clips, or social media. The line between real and fictional violence (and real and fictional suffering) has been almost completely erased. We are well past being desensitised; violence as a spectacle now has its own aesthetic criteria. And it is greatly enjoyed as entertainment by billions of people every day. The big tomtom sections in this movement represent that violence-as-entertainment.

Along with this is a very clear message that ‘each of us is in this alone’.

That each person must learn to be selfreliant and look after themselves. This prevents the development of solidarity and community strength. By becoming hyper-individualised we not only focus almost entirely on what is good for each of us as an individual, but we also start to enter into an individualised competition for resources and rewards. This is the establishment and perpetuating of a war of all-on-all.

Part5 IX. Epilogue: RealBadNow Here is the final expression. A sadness about things having arrived at the ‘real bad’ place.

I am old now. When I was younger, I was certain things would get better and better.

But that certainty is gone. Now I feel the world has been split into billions of individuals, lost in their own uncertainties, without the knowledge, or will, to build communities, and act in groups for positive change. Yes, depressing. I could have changed the order of the movements so that the 3rd movement was last. That way RealBadNow would finish with a positive, hopeful energy.

But that would feel dishonest. I am glad the 3rd movement is part of the piece –because there is still hope in there. But only just. This last movement, with its exquisite sadness and beauty, is almost like a shift in consciousness, especially the last part. A leaving of terrestrial life, drifting into the cosmos, or the afterlife.

I hope you find value in learning and sharing this music.

- John Psathas METRO • Russell Wharton Metro is an homage to one of humanity’s greatest achievements; our bustling metropolitan centers. In his own words, Wharton describes our major cities as “both awe-inspiring and deeply frightening,’’ which also perfectly captures the variety of emotions contained within this multimedia piece for solo marimba.

At one moment, the music is bright and reverential, at another moment, it’s dark, mysterious, and filled with introspection.

From a performance standpoint, the piece requires a broad range of advanced techniques that will highlight the virtuosity of today’s marimba artist. The solo also features a required audio accompanying track and an optional accompanying video, with stunning shots of some of the world’s most populous and advanced metropolitan centers.

ABOUT THE GUEST ARTIST In his young career, Fabian Ziegler has already achieved a goal in commissioning stunning new repertoire for percussion.

He is committed to giving life to innovative compositions by renowned composers, such as John Psathas, Avner Dorman, Serj Tankian, Arash Safaian, Daniel Schnyder and many more.

His goal is to elevate percussion repertoire to another level, working on original and meaningful projects with leading composers in the international music world. Fabian Ziegler is committed to bring the best of percussion repertoire to the people, to introduce them new and striking pieces for solo percussion and chamber music with percussion instruments.

Born in Switzerland, Fabian completed his Bachelor of Arts and Master of Arts in Music at the Zurich University of the Arts with Prof. Klaus Schwärzler, Prof. Raphael Christen, Prof. Benjamin Forster, Martin Grubinger and Prof. Rainer Seegers. In addition to his regular studies, he also took part in international masterclasses with Katarzyna Mycka, Jean Geoffroy, Svet Stoyanov, Conrado Moya, Beverly Johnston, and many more.

In December 2017, Fabian won the Migros Culture Percentage Study Prize for the second time since 2015 for his extraordinary solo performance during the instrumental music competition. Since 2017 he has also been a scholarship holder of the Friedl-Wald-Stiftung and the Rahn Kulturfonds. In 2018 & 2020 he won the Kiefer-Hablitzel / Göhner Music Prize and was a semi-finalist at the International TROMP Percussion Competition in both years.

ABOUT THE DIRECTOR Percussionist Kenneth McGrath is a highly regarded performer and educator in Los Angeles. He has performed with many of the major orchestras in Southern California including the Los Angeles Philharmonic, Pacific Symphony, San Diego Symphony, Los Angeles Chamber Orchestra, Los Angeles Opera Orchestra and Hollywood Bowl Orchestra. Ken has also appeared frequently with the LA Philharmonic New Music Group, performed on several touring Broadway productions and played with dance companies such as American Ballet Theater, San Francisco Ballet and the Bolshoi Ballet. In 2008, he commissioned, performed, and recorded the world premiere of William Kraft’s Encounters XIII: Concertino for Percussion & Woodwind Quintet with Southwest Chamber Music.

Ken is also an active studio musician performing on numerous motion pictures for such notable composers as John Williams, Alan Silvestri, James Newton Howard, Randy Newman, Alexandre Desplat, Hans Zimmer, Michael Giacchino, Danny Elfman, and Christophe Beck.

Ken currently serves on the percussion faculties of California State University Fullerton, the Colburn Community School of Performing Arts and Pasadena City College. He is an alumnus of the University of California, Los Angeles (summa cum laude) and the Eastman School of Music.

DONOR APPLAUSE $1,000,000 + Terri & Bob Niccum Stanley Mark Ryan $100,000 - $999,000 Darryl Curran Gregory & Shawna Ellis David & Shirley Sepel William Wagner $25,000 - $99,999 Lee Begovich Johnny Carson Foundation Leo Freedman Foundation Karyn L. Hayter Robin & Steve Kalota Sallie Mitchell Revocable Trust Donna & Ernest Schroeder Sue & Dr. Edward A. Sullivan The Andy Warhol Foundation for the Visual Arts $10,000-$24,999 Apple Inc. Drs. Joseph and Voiza Arnold Robin de la Llata Aimé & John B. Aimé EMC Associates, Ltd Ellen M. and William A. Groves Kathleen A. Hein J. P. Morgan Charitable Giving Fund Marianne R. Kreter Eleanore & James Monroe Lucina L. Moses & John Brennan Dana Praitis Louise P. Shamblen Dr. Kristin K. Stang & Dr.Gordon P. Capp Jeffrey A. Stang & Lisa McDaniel Stang $5,000-$9,999 Boeing North American Fitness Inc. Steven Caulk Continuing Life LLC Morningside of Fullerton Fidelity Charitable Gift Fund Anonymous Friends of Jazz, Inc Leslie Garman Dr. Margaret Faulwell Gordon MaryLouise & Edward Hlavac

Jill Kurti Norman Norma L. Morris Bettina Murphy Dwight Richard Odle Foundation Orange County Community Foundation Stephen Rochford, DMA Schwab Charitable Fund Barbara Thompson $1,000-$4,999 John A. Alexander Judy Atwell Dorothy & Nick Batinich Dr. & Mrs. Keith O. Boyum Janet & Allan Bridgford Broadway Arts Studio Marion Brockett California Community Foundation Katherine Calkins James Case Charities Aid Foundation of America CMC Joann Driggers & Stephen Collier Harriet & William Cornyn CSU Northridge Foundation CSUF Auxiliary Services Corporation Jeannie Denholm Dr. Marc R. Dickey Susan & Richard Dolnick Charlie Duncheon Anne Fingal Fullerton Families & Friends Foundation Jane Deming Fund Marsha Gallavan Annette & Dr. Leon Gilbert Renee Gillespie Dr. Mark J. Goodrich Michael R. Haile Susan Hallman James L. Henriques Frank A. Hinojoz The Ibanez Family Janet L. Smith Voice Studio Sandra & Norman H. Johnson Michelle Jordan Gladys M. Kares Ronald L. Katz Family Foundation

Masako & Ray Kawase Gayle A. Kenan Ms. Junko Klaus Dr. Irene L. Lange Shirley & Eugene Laroff Marilyn M. Little The Loftus Family Foundation Jason Lomeda Juan Lopez Juliette Lunger & John A. Hoyos Melissa Madsen Paul Coluzzi & John M. Martelli Karen & William McClung Thelma Mellott Patti & Carl Miller Jamie M. Spitzer David Navarro Grace & Ujinobu Niwa Debra L. Noble Tyler Stallings & Naida Osline Deanna & Arie Passchier Aleks Lyons & Geoffrey Payne Peace Mountain Theatre Company Inc Anonymous Jim Plamondon Linda L. & E. B. Powell The Presser Foundation Sharon & Dr. Anil K. Puri R23 International Inc. Brian Rennie & Lori Rennie Nancy & Robert Rennie David Rhone Liz Riede Thomas C. Robinson Mary L. Rupp D. B. Schmitt D Barry Schmitt R. Trust Martha Shaver Ingrid R. Shutkin Barbara Kerth & Ms. Lorena Sikorski Janet L. Smith Roberta & Robert Sperry Thomas Statler Douglas G. Stewart Ernie Sweet Carolyn & Tom Toby Fram & Julie Virjee Verne D. Wagner Tina L. Walker Patrick Young Ruth & Wayne P. Zemke

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 November 1, 2023

*deceased

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 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: 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

GET INVOLVED GIVING.FULLERTON.EDU

COLLEGE OF THE ARTS • SELECT EVENTS | SPRING 2024 Talich Quartet February 16 • Meng Concert Hall

Minsoo Sohn, piano March 27 • Meng Concert Hall

Quarteto Nuevo February 17 • Meng Concert Hall

Ernest Salem & Hasse Borup,violins March 28 • Meng Concert Hall

University Symphony Orchestra with Talich Quartet February 18 • Meng Concert Hall

Nicholas Isherwood, bass/baritone* April 9 • Meng Concert Hall

Brightwork Newmusic February 22 • Meng Concert Hall University Symphony Orchestra feat. Joseph Loi, flute February 25 • Meng Concert Hall loadbang* February 27 • Meng Concert Hall Advanced Vocal Workshop feat. Michael Schütze, piano February 29 • Recital Hall Fabian Ziegler, percussion March 6 • Meng Concert Hall Enrico Elisi, piano March 7 • Meng Concert Hall

Gabriel Bianco, guitar April 10 • Meng Concert Hall Urinetown the Musical April 12– 27 • Young Theatre High School Honor Band & CSUF Wind Chamber Ensembles April 13 • Meng Concert Hall CSUF New Music Ensemble & Contemporary Chamber Ensemble April 17 • Meng Concert Hall Monteverdi’s The Coronation of Poppea April 18–21 • Recital Hall CSUF Symphonic Winds April 21 • Meng Concert Hall

Marisol March 8– 23 • Little Theatre

Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble April 23 • Meng Concert Hall

Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble March 8 • Meng Concert Hall

University Band May 1 • Meng Concert Hall

Füreya Ünal, piano March 9 • Meng Concert Hall Enrico Elisi & Mengyang Pan, duo piano March 10 • Meng Concert Hall Alumni Piano Recital March 14 • Meng Concert Hall 17th Annual Collage Concert March 16 • Meng Concert Hall Accidentally on Purpose March 22– April 13 • Hallberg Theatre

Spring Dance Theatre May 2–11 • Little Theatre Fullerton Jazz Orchestra May 3 • Meng Concert Hall University Wind Symphony May 4 • Meng Concert Hall Jazz Singers May 6 • Meng Concert Hall Titan Voices & Singing Titans May 8 • Meng Concert Hall

University Singers & Concert Choir March 24 • Meng Concert Hall

Symphony Orchestra & Symphonic Chorus Mozart’s “Requiem” May 11 • Meng Concert Hall

Brightwork Newmusic* March 26 • Meng Concert Hall

*Part of the 24th Annual New Music Series

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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