CALIFORNIA STATE UNIVERSITY, FULLERTON UNIVERSITY SINGERS Dr. Robert Istad, conductor Sierra Farquhar-Wulff, graduate assistant conductor FULLERTON, CALIFORNIA Meng Concert Hall July 16 at 3 pm SYDNEY, NEW SOUTH WALES Christ Church St. Laurence July 27 at 7:30 pm
CANBERRA, AUSTRALIAN CAPITAL TERR. Wesley Uniting Church July 23 at 2:30 pm BAIRNSDALE, VICTORIA Forge Theater July 27 at 7:30 pm
“With this faith we will be able to hew out of the mountain of despair a stone of hope.” -Dr. Martin Luther King, Jr.
MELBOURNE, VICTORIA Wesley Uniting Church July 30 at 3 pm
A M ESSAG E F ROM F R AM ROZ E V I R J E E California State University, Fullerton is a diverse, rigorous, student-centered academic community that is ranked first in the CSU in graduating women and third for social mobility among the top 10 universities. Since its founding nearly 63 years ago, our University has graduated more than a quarter of a million alumni, and today, approximately 60% of our 41,000 students are the first in their families to attend college, making our impact substantial and our responsibility great. Cal State Fullerton’s School of Music contributes substantially to the University’s rich tradition of excellence by educating national and international leaders in the performing arts. Our faculty, students, and alumni not only grace the most prestigious stages in the United States, including the Metropolitan Opera, Broadway, and Walt Disney Concert Hall, but also make invaluable contributions in everything from school classrooms and community arts organizations, to international tours and Hollywood productions.
Cal State Fullerton’s University Singers exemplify our aspiration to “It Takes a Titan” in all that we do, and I am extremely proud of their many achievements. They have served as our University’s ambassadors in high-profile performances throughout the world, and I am thrilled they now share their passion and talent with the people of Australia. I congratulate them and their extraordinary conductor Dr. Robert Istad, and thank them for their contributions to Cal State Fullerton’s artistic legacy! Best Wishes,
Framroze M. Virjee, J.D. President
A ME SSAGE F ROM ARNO L D HO L L A N D At California State University, Fullerton, one of our abiding mantras is “Titan’s Reach Higher.” This aspirational maxim implores our students to attain their goals by always striving to become the greatest version of themselves. As the University Singers embark on a tour of Australia – yet another international performance they can add to their already impressive roster – their continued excellence under the baton of Robert Istad is a perfect example of College of the Arts students and faculty reaching higher. In the College of the Arts at Cal State Fullerton, we encourage the development of our students’’ individual achievements and artistic expression, inspiring tomorrow’s artists, performers, and scholars to create new and innovative art forms we have yet to envision. For over 50 years, the University Singers have exemplified this ethos. Their superb musicianship has garnered them opportunities to perform worldwide with renown orchestras and in venues of
great prestige. I have witnessed firsthand how our University Singers have captivated audiences with their musicality and beauty of tone. Whether performing under the baton of John WIlliams at the Hollywood Bowl; in France’s Chartres Cathedral and La Madeleine; or in Cal State Fullerton’s own Meng Concert Hall, their expressive vocal precision is nothing short of breathtaking. As our University Singers reach ever higher during their Australian tour, please join me in applauding this most recent achievement. I couldn’t be more proud to call them Titans. Thank you,
Arnold Holland, Ed.D. CSU Fullerton Dean College of the Arts
CALIFORNIA STATE UNIVERSITY, FULLERTON | UNIVERSITY SINGERS Dr. Robert Istad, conductor Sierra Farquhar-Wulff, graduate assistant conductor
MA AL AULU (EARTH SONG) Michael McGlynn (1964-) Mai Saito & Eileen Garrido, soprano soloists O PR AISE THE LORD (PSALM 117) Daniel Knaggs (1983-) MASS IN E-FL AT MA J OR, OP. 109, “CANTUS MISSAE” Joseph Rheinberger (1839–1901) I. Kyrie II. Gloria SILVERL AKE Moira Smiley (1976-) Sierra Farquhar-Wulff, Graduate assistant conductor Student stage director, Thalia Moore
MASS IN E-FL AT MA J OR, OP. 109 Joseph Rheinberger III. Credo LUMINESCENCE Andrea Ramsey (1977-) MASS IN E-FL AT MA J OR, OP. 109 Joseph Rheinberger IV. Sanctus V. Benedictus I LIFT UP MY EYES (PSALM 121) Jocelyn Hagan (1980-) Sierra Farquhar-Wulff, Graduate assistant conductor MASS IN E-FL AT MA J OR, OP. 109 Joseph Rheinberger VI. Agnus Dei
ALLELUIA Elaine Haganberg (1979-) TRUE COLORS Billy Steinberg (1950-) and Tom Kelly (1952-) arr. Saunder Choi (1988-) Ayanna Delk Lewis & David Melendez, soloists PAL-SO SEONG (8 L AU GHING VOICES) Hyo-Won Woo (1974-)
PRO GR AM NOTES MA AL AULU (EARTH SONG) | Michael McGlynn (1964–) Finnish text traditional English/Irish text Michael McGlynn
Michael McGlynn, an Irish born composer, has made it his mission to create a distinctly Irish form of choral singing. He uses time-honored vocal techniques and texts by Irish composers to root his compositions in tradition. Maalaulu was written as a hymn to the earth. It premiered at the Tampere Vocal Music Festival in Finland, and brought together Finnish soprano Marjukka Tepponen, McGlynn’s Irish ensemble ANÚNA, and Ordained, a gospel choir from Kansas City. The opening soprano solos evoke a sense of folklike simplicity. McGlynn’s skillful use of dissonance in the following choral lines create a feeling of instability that builds into the starkly contrasting gospel choir entrance. The text predicts a future for the earth and humanity full of hope, music, and thriving natural environments. The harmonic and rhythmic language paired with this text creates a sense of impatient longing that builds to a final satisfying resolution between the choir and soaring soprano soloist.
Niin on pitkät miun pihani kuin on pitkät pilven rannat, niin on kaiat kaivotieni kuin on kaiat kaaren rannat…
The yard of my farm is as long As a wisp of cloud The walk to my well is as narrow As a rainbow’s band…
Le gaoth ar na tonnta Le grian ar an uisce
With wind on the waves With sun on the water
One day, one day soon we’ll sing in a new world Can you hear, on the wind a sweet melody Some day, some day soon we’ll lift up our voices With one song, together with one voice, one world. Feel the warmth of the sun and drink the clear water Let your heart fill with love and sweet memory. Touch the dew on your skin, and lift up your voices With one song, together with one voice, one world, And we will sing a new song, echoes on the water. Come and make a new world, Maalaulu. And we will sing a new song, echoes on the mountain, Come and make a new world, Maalaulu.
O PR AISE THE LORD (PSALM 117) Daniel Knaggs (1983–)
Daniel Knaggs, an American composer and teacher, has had his music commissioned all over the world. “O Praise the Lord” was composed for the Choir of Trinity College Cambridge. Knaggs masterfully highlights the feeling of praise and energy from the text of Psalm 117 through the use of mixed meter, dynamic contrast, and rhythmic interplay between voices. Throughout the piece the choir performs repetitive driving rhythms, supporting the rising melodic motive being passed around to each section in turn. Knaggs utilizes quickly changing pitch centers to create a sense of rising tension. The final moments of the piece ebb and flow with a sense of rubato, before crescendoing on a final expansive chord.
O Praise the Lord, all ye nations: Praise him, all ye peoples. For his merciful kindness is great toward us, And the truth of the Lord endureth for ever. Praise ye the Lord.
PRO GR AM NOTES FROM MASS IN E-FL AT MA J OR, OP. 109, “CANTUS MISSAE:” I. KYRIE, II. GLORIA Joseph Rheinberger (1839–1901)
I. Kyrie Kyrie eleison, Christe eleison, Kyrie eleison.
I. Kyrie Lord, have mercy, Christ, have mercy, Lord, have mercy.
Josef Gabriel Rheinberger’s “Cantus Missae” is an unaccompanied double choir piece from the Romantic era. This work infuses the formal structures of Venetian polychoral composers of the late Renaissance and early Baroque eras with progressive romantic harmonic and melodic style. The “Kyrie” quickly moves out of a simple and subdued back and forth between the two choirs and opens into expansive imitative descending lines woven throughout every voice part in both choirs. Rheinberger’s masterful use of varied harmonic language helps to expand the short text of the “Kyrie” into a beautifully full and complex movement. Rheinberger’s setting of the “Gloria” movement in a triple meter reinforces the textual references to the Holy Trinity. It feels dancelike, and the interplay between the two choirs creates the feeling that they are engaging in conversation.
II. Gloria Gloria in excelsis Deo.
II. Gloria Glory be to God in the highest. And in earth peace to men of good will. We praise Thee; we blessThee; we worship Thee; we glorify Thee. We give thanks to Thee for Thy great glory.
Et in terra pax hominibus bonæ voluntatis, Laudamus te, benedicimus te, adoramus te, glorificamus te, Gratias agimus tibi propter magnam gloria tuam, Domine Deus, Rex coelestis, Deus Pater omnipotens Domine Fili unigenite Jesu Christe. Domine Deus Agnus Dei, Filius Patris,
O Lord God, Heavenly King, God the Father Almighty. O Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father,
Qui tollis peccata mundi miserere nobis Qui tollis peccata mundi suscipe deprecationem nostram, Qui sedes ad dexteram Patris, O miserere nobis. Quoniam tu solus Sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris, Amen.
Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of the Father, have mercy upon us. For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ. Together with the Holy Ghost in the glory of God the Father. Amen.
PRO GR AM NOTES SILVERL AKE | Moira Smiley Original text by Charles Wesley
“Silverlake” is an expression of the feeling of restlessness and wakefulness one might experience in the quiet hours before the sunrise. The poetry talks of important questions surrounding fate, divinity, and truth that the author wrestles with. The piece opens with a simple ostinato in the bass line that acts as a stabilizing force underneath the unpredictable and fluid lines above. Moira Smiley’s folk style shines through in the use of voice crossing, close harmony, and phrase structure. Her expert use of mode mixture creates captivating feelings of tension and release in the transitions between verse and chorus. The soprano descant Smiley introduces on the final verse intensifies the sense of longing felt throughout the piece. It leads us to a peaceful and simple ending, which imitates the sun rising and bringing the one grappling with life’s biggest questions a sense of relief.
Come, o traveler unknown, whom still I hold but cannot, cannot see My friends have gone, I am alone. And in darkness, darkness you will not let me be. With me all night you stay and stay, I wrestle til the break of day. In vain I struggle to get free. I cannot unloose your hold. What is the face you hide from me? Or how much I yield to let your will unfold? Wrestling, I will not let you go until I know you, friend or foe.
FROM MASS IN E-FL AT MA J OR, OP. 109: III. CRED O Joseph Rheinberger (1839–1901)
In the “Credo,” Rheinberger’s background as an organist is clearly heard in the many isolated and commanding bass motives. The use of mixed meter delineates important changes in text, further highlighted by specific tempo and articulation changes. Further textual emphasis is evidenced by text painting, a technique that reflects the meaning of words in the music. This movement is bombastic, highlighly emotional, and full of surprises.
III. Credo Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae visibilium omnium et invisibilium,
III. Credo I believe in one God, The Father Almighty, Maker of heaven and earth, and of all things visible and invisible.
Credo in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ant omnia sæcula.
And in one Lord, Jesus Christ the Only-begotten Son of God. Born of the Father before all ages.
Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri,
God of God, Light of Light,
per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis. Et incarnatus
true God of True God. Begotten, not made, of one substance with the Father. By whom all things were made. Who for us men and for our salvation came down from heaven. And became incarnate
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PRO GR AM NOTES est de Spiritu Sancto, ex Maria Virgine et homo factus est,
by the Holy Spirit of the Virgin Mary: And was made man.
Crucifixus etiam pro nobis, sub Pontio Pilato passus et sepultus est. Et resurrexit tertia die,
He was also crucified for us, suffered under Pontius Pilate, and was buried. And on the third day He rose again according to the Scriptures. He ascended into heaven and sits at the right hand of the Father. He will come again in glory
secundum Scripturas, Et ascendit in coelum, sedet ad dexteram Patris Et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit finis. Credo in Spiritum Sanctum, Dominum, et vivificantem, qui ex Patre Filioque procedit
Qui cum Patre et Filio simul adoratur et conglorificatur
to judge the living and the dead and His kingdom will have no end. And in the Holy Spirit, the Lord and Giver of life, Who proceeds from the Father and the Son. Who together with the Father and the Son is adored and glorified
qui locutus est per Prophetas,
and who spoke through the prophets.
Credo in unam sanctam catholicam et apostolicam ecclesiam, Confiteor unum baptisma, in remissionem peccatorum, Et exspecto resurrectionem mortuorum, et vitam venturi sæculi, Amen.
And one holy, Catholic and Apostolic Church. I confess one baptism for the forgiveness of sins and I await the resurrection of the dead and the life of the world to come. Amen.
LUMINESCENCE | Andrea Ramsey (1977– ) Text by Blaire Ginsburg
Andrea Ramsey is a composer, conductor, and educator from Arkansas. She is recognized for her skill in crafting evocative yet accessible compositions for middle, high school, and collegiate choirs. Blaire Ginsburg wrote the poem used in the work as a reflection of her time singing in a choir with Mr. Dustin Cates. The imagery Ginsburg evokes through short but powerful phrases reflects on the complex emotions she, and many others, experience through music. Mr. Cates was struck by this poem, and commissioned Ramsey to write a composition with this text, in memory of his father and in honor of his son’s birth. Listen for the shifting time signatures, and how they convey the complexity of the text and play with word stress. Ramsey also employs text painting to emphasize the playfulness of words such as “light,” “color,” and “silence.”
Eternal Light Luminescence, Muted at the edges, Time forgotten, Time shifting, Eternal Light, Sifting through silence, Finding reason, Finding life, Breathe in, silence, Breathe in stillness, Whistles low like windchimes, Voices lush in tone, Uniform in soul,
Voices take me Where exhale paints the sky, Touch of color, Sounding air, Smooth as marble, Light as down, Reaching for light Uniform in soul Where many become one.
PRO GR AM NOTES MASS IN E-FL AT MA J OR, OP. 109: IV. SANCTUS, V. BENEDICTUS Joseph Rheinberger
The “Sanctus” movement opens in a quiet and meditative manner, with brief moments of dissonance and interplay between the two choirs. It quickly builds through layering of individual voice parts in both choirs, until there is a dramatic shift to a call and response section with dotted rhythms that contrast with the ethereal opening. The “Benedictus” movement seems to comfort the listener with its gently swaying rhythms and pleasant harmonic language. Most of this movement features the two choirs trading lines, with each starting their phrase before the other is finished, creating a feeling of unity within the contrasting choirs.
IV. Sanctus Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Osanna in excelsis.
IV. Sanctus Holy, holy, holy, Lord God of hosts, Heaven and earth are full of thy glory. Hosanna in the highest.
V. Benedictus Benedictus qui venit in nomine Domini. Osanna in excelsis.
V. Benedictus Blessed who comes in the name of the Lord. Hosanna in the highest.
I LIFT UP MY EYES (PSALM 121) Jocelyn Hagan (1980-)
I lift up my eyes to the hills From where does my help come? My help comes from the Lord, the Maker of heaven and earth.
Jocelyn Hagen is a highly respected American choral composer with roots in songwriting, and a passion for large-scale multimedia projects. She has been commissioned to write pieces for many notable ensembles, choir festivals, and conferences. Hagen co-owns a music publishing company that is esteemed for the high quality music it publishes, and the positive relationship it holds with the composers in their catalog. The text for “I Lift Up My Eyes” is from Psalm 121, and speaks of a creator that is a compassionate protector. This piece opens with the choir in unison, then branches off into the sopranos and altos trading lines with the tenors and basses. The climax of the piece comes on the words “the sun will not harm you,” with the sopranos soaring into their higher register. The piece quickly comes back to a quieter dynamic and closer harmonies, to finish the work in a subtle and reflective tone.
He will not let your foot be moved He who keeps you will not slumber; He who watches over Israel will neither slumber nor sleep. The Lord is your keeper He is the shade upon your right hand; the sun will not harm you by day, nor the moon by night. The Lord will keep you from all evil He will watch over your life: The Lord will guard your coming and going both now and for evermore. Amen.
PRO GR AM NOTES MASS IN E-FL AT MA J OR, OP. 109: VI. AGNUS DEI Joseph Rheinberger
Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Joseph Rheinberger’s Mass in E-Flat major concludes with his setting of the Agnus Dei. The harmonic language deftly transitions between tonal centers. At times the music lends itself to a sense of desperate longing, while other moments are full of joy and hope. Half of the movement is spent on an extended section dedicated to the “dona nobis pacem” text. The thematic material is passed between parts, while the rest of the ensemble weaves long lines to create a harmonic foundation. The final “pacem” puts the piece to rest in an understated and satisfying manner.
Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, grant us peace.
ALLELUIA | Elaine Haganberg (1979-) Text by St. Augustine (354-430)
Elaine Haganberg is a highly sought after composer, clinician, conductor, and accompanist. Her wide breadth of works have been performed internationally, and she has been honored with many awards. The text for this work is taken from St. Augustine, a Catholic theologian from modern day Algeria. The cyclical text is contemplative but matter-of-fact in its approach to life and purpose. Haganberg uses a non symmetrical time signature, and begins the primary motive off the beat. This creates a sense of unstable fluidity that is grounded by the ostinato-like patterns in the accompanying voices. The middle section of the piece transitions into common time, and is filled with suspensions and a much slower rhythmic language. At the end of the text, she transitions back to the primary thematic material on the text “alleluia” with similar harmonic and rhythmic material. The piece closes with one final transition to common time for the final “amen,” and ends with an expansive chord built dowards from the top voices.
All shall be Amen and Alleluia. We shall rest and we shall see. We shall see and we shall know. We shall know and we shall love. Behold our end which is no end.
PRO GR AM NOTES TRUE COLORS Billy Steinberg and Tom Kelly arr. Saunder Choi
Pop artist Cyndi Lauper made the song “True Colors” famous via heartfelt performances in the 1980’s. Saunder Choi blends pop and classical styles in this rendition of the classic ballad. His use of dissonance, rhythmic variety, and extended vocal techniques at the beginning of this piece sets a tone of ethereal mystery. The entrance of the soprano and tenor solos is the first time we hear a hint of the original melody sung by Lauper. The choral entrance then sets the tone for a traditional a cappella accompaniment with their quick and syncopated rhythms. Saunder Choi stays fairly true to the original melody and lyrics throughout the rest of the arrangement. He does however take liberties by extending melodic lines and creating interesting interplays between different voice parts. He plays with rhythmic values in a way that expertly emphasizes important lyrics and naturally builds to a high point around two-thirds of the way through the piece on the text “don’t be afraid.” The final portion ebbs and flows in tempo and dynamic, and eventually ends with an ethereal feeling, reminding the listener of where the piece began.
Look at all the colors. Aren’t they beautiful? So many shades and hues, So many points of view, Like a rainbow Blue Purple Green Red Tinges of yellow Black You with the sad eyes, Don’t be discouraged, Oh I realize, It’s hard to take courage. In a world full of people, You can lose sight of it all, And the darkness inside you Can make you feel so small. Show me a smile then, Don’t be unhappy, Can’t remember when
I last saw you laughing. If this world makes you crazy And you’ve taken all you can bear, Just call me up Because you know I’ll be there. And I’ll see your true colors Shining through. I see your true colors, That’s why I love you, So don’t be afraid to let them show. Your true colors are shining like a rainbow; Let go of the pain, And fight through the struggle. Come out of the dark and show the world who you are. We’ll see our lives in living technicolor, When all of humanity become one.
I see your true colors Shining through. I see your true colors That’s why I love you, So don’t be afraid to let them show, Your true colors are shining through, like a rainbow.
PAL-SO SEONG (8 L AU GHING VOICES) Hyo-Won Woo (1974-)
Hyo-Won Woo, a native of Seoul, South Korea, is one of Korea’s most popular composers. Her works are characterized by a blending of traditional Korean music with Western techniques. Pal-So Seong is a study on themes and utilizes nonsense syllables to convey eight different laughing voices. This piece is more than just an aural experience. It is a mini drama punctuated by soloists using only laughter to convey a plethora of emotions. Listen for the variety of rhythmic and melodic motives in the choir, and how quickly the mood of this piece can fluctuate.
UN IVERSITY S ING ERS P E R S O N N E L As one of the nation’s premiere collegiate choral ensembles, California State University, Fullerton’s University Singers have epitomized excellence for more than 50 years. Under the baton of Dr. Robert Istad, the University Singers are internationally acclaimed for their exquisite musicianship and have performed with renowned orchestras in prestigious venues at home and abroad, touring more than a dozen countries since 2007. Continuing to build upon this remarkable legacy, Istad and the University Singers regularly collaborate with professional orchestras such as the Los Angeles Philharmonic, the Pacific Symphony, the Hollywood Bowl Orchestra, and the Boston Pops Esplanade Orchestra. They have earned praise for their professionalism and expressive musicality from conductors they have worked with including Carl St.Clair, John Mauceri, John Williams, Eugene Kohn, Sir Neville Marriner, James Conlon, and Keith Lockhart. Whether performing under the batons of John Williams or Gustavo Dudamel at the Hollywood Bowl; backing the vocals of Andrea Bocelli; or featured at Carnegie Hall, Chartres Cathedral, or Cal State Fullerton’s own Meng Concert Hall, the University Singers never fail to deliver the unmistakable sound synonymous with their reputation. In 2017, they recorded an album with Sony Classical under the baton of John Williams in a recording of music he composed for Steven Spielberg. Also in 2017, Istad and the University Singers released a commercial recording with Yarlung Records entitled “Nostos: The Homecoming of Music”– eleven vocal works sung and recorded in one take, without sheet music or editing. Not content to merely excel in the classical realm, the University Singers have also performed with Juanes, M83, Beck, Beach House, and Sean Lennon and can be seen in the PBS production “The Legend of Zelda: Symphony of the Goddesses.”
SOPR ANO TENOR Beatriz Avila Casillas Abraham Cervantes Adena Bentley Benjamin Glasner Ayanna Delk Lewis* Zachary Lindquist* Eileen Garrido David Melendez Gukhui Han* Sam Miller Kirsten Leon Jared Pugh* Thalia Moore Jaime Reza Mai Saito Yngwie Zamarippa ALTO BASS Hannah Black Emilio Felix Lopez Julianne Bui Jens Hurty* Joy Dorko Dylan Leisure Sierra FarquharJason Pano Wulff* Mitchell Sampang Margaret Frost Marlon Santizo Maricela Navarro AJ Stevens* Elizabeth Provencio Haocheng Sun Kelly Self*
*designates section leader
A B O UT ROB ERT ISTAD Dr. Robert Istad is Director of Choral Studies at California State University, Fullerton and Artistic Director of Pacific Chorale. Mr. Istad regularly conducts and collaborates with Pacific Chorale, Pacific Symphony Orchestra, Musica Angelica Baroque Orchestra, Sony Classical Records, Yarlung Records, Berkshire Choral International, and Long Beach Symphony Orchestra. Istad and Pacific Chorale are featured on an album of Tarik O’Regan’s compositions on Yarlung Records and the Los Angeles Philharmonic’s live recording of Mahler’s Eighth Symphony on Deutsche Grammophon for which Istad won a GRAMMY Award for Best Choral Performance, on April 3, 2022. Istad has prepared choruses for a number of America’s finest conductors and orchestras, including: Gustavo Dudamel and the Los Angeles Philharmonic, Carl St.Clair and the Pacific Symphony Orchestra, as well as conductors Esa–Pekka Salonen, Keith Lockhart, Nicholas McGegan, Vasilly Sinaisky, Sir Andrew Davis, Bramwell Tovey, John Williams, Eugene Kohn, Eric Whitacre, Giancarlo Guerrero, Marin Alsop, George Fenton, and Robert Moody.
Istad is Professor of Music and Director of Choral Studies at California State University, Fullerton. He was recognized as CSUF’s 2016 Outstanding Professor of the Year. At CSU Fullerton, Istad conducts the University Singers, coordinates CSUF’s graduate choral conducting program, and teaches courses in conducting, performance practice and literature. Recently, he and the University Singers performed with the Los Angeles Philharmonic, Pacific Symphony Orchestra, Andrea Bocelli, Kathleen Battle, recorded albums with Yarlung Records and with composer John Williams and Sony Classical. He and his singers brought staged performances of David Lang’s little match girl passion throughout Spain in 2019. They performed a retrospective of Tarik O’Regan’s music for Distinguished Concerts International New York at Carnegie Hall in November 2015. They have performed at numerous regional and national ACDA conferences including the 2018 ACDA Western Division Conference and 2013 ACDA National Conference in Dallas, Texas. They also performed for the 2013 National Collegiate Choral Organization National Conference in Charleston, SC. Istad and the CSUF University Singers have performed all over the world, including a 2017 performance in Russia’s famous Glinka Cappella, a 2015 residency and performances in Paris, (continued next page)
A B O UT ROB ERT ISTAD France, engagements at the 2012 Ottobeuren Festival of Music in Germany, the 2012 Eingen Festival of music in Germany, a 2010 performance for UNESCO in Pisa, Italy, and in 2008 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 serves on the Executive Board of Directors of Chorus America and as Dean of Chorus America’s Conducting Academy. He is in demand as an adjudicator, guest conductor, speaker and clinician throughout the nation.
UN IVERSITY & C OL L EG E P E R S O N N E L UNIVERSITY Framroze Virjee President Carolyn Thomas Provost; Vice President, Academic Affairs
COLLEGE OF THE ARTS office of t h e dean
advan ce m e nt
Arnold Holland, Ed.D. Dean
Lara Farhadi Senior Director of Development
Dave Mickey Associate Dean Maricela Alvarado Assistant Dean
Ron Coley Vice President, Administration and Finance/CFO
Christopher Johnson Budget Coordinator
David Forgues Vice President Human Resources, Diversity & Inclusion
directors an d ch airs
Amir H. Dabirian Vice President, Information Technology Tonantzin Oseguera Vice President, Student Affairs Gregory J. Saks Vice President, University Advancement
Heather Guzman Assistant to the Deans
Dr. Randall Goldberg Director, School of Music Dr. James Hussar Chair, Department of Visual Arts Jamie Tucker Chair, Department of Theatre & Dance Jennifer Frias Director, Nicholas & Lee Begovich Gallery John Spiak Director, Grand Central Art Center
Ann Steichen Director of Development Erika Garcia Support Group Coordinator market in g & patro n se rv i ce s 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
S CHO OL OF M U S IC ADM N IN TR ATI O N , FAC U LTY, & STA F F D R . R ANDALL GOLDB E RG D I R ECTO R | K I M O F URUM OTO & B O N G S H I N KO A S S I STA N T D I RECTO RS
f u ll-t i m e fac u lt y c on d u ct i n g Kimo Furumoto instrumental Dr. Robert Istad choral Dr. Dustin Barr instrumental
jazz & commercial music Bill Cunliffe Director, Fullerton Jazz Orchestra, Fullerton Big Band, and jazz combos; jazz piano; arranging Rodolfo Zuniga Director, Fullerton Latin Jazz Ensemble, jazz studies, jazz percussion, and music technology
pi a n o, org a n , & p i a n o p e dag o gy Ning An Bill Cunliffe Alison Edwards Dr. Robert Watson
piano jazz piano piano, piano pedagogy, class piano piano
music education, teacher training, & teaching credential
Dr. Christopher Peterson choral Dr. Dennis Siebenaler general Dr. Gregory X. Whitmore instrumental
m us i c hi story & l i t e r at u r e Dr. John Koegel musicology Dr. Katherine Reed musicology
st r i n g s Kimo Furumoto Director of Orchestral Studies;
Conductor, University Symphony Orchestra
Bongshin Ko cello Dr. Ernest Salem violin
t heo ry & c o m p o sit io n Dr. Pamela Madsen composition, theory Dr. Ken Walicki composition, theory
vo ca l, cho r a l, & o per a Dr. Mark Goodrich voice, academic voice courses Dr. Robert Istad Director of Choral Studies Conductor, University Singers and Titan Voices Dr. Kerry Jennings Director of Opera Studies Dr. Christopher Peterson Conductor, CSUF Concert Choir and Singing Titans Patricia Prunty voice, academic voice courses
wo o dw in ds, br a ss, & perc ussion Dr. Dustin Barr Director of Wind Band Studies; Conductor, University Wind Symphony Jean Ferrandis flute Sycil Mathai trumpet Dr. Gregory X. Whitmore Conductor, Symphonic Winds
staff Michael August Eric Dries William Lemley Jeff Lewis Chris Searight Paul Shirts Elizabeth Williams Sue Winston
Production Manager Music Librarian Audio Technician Audio Engineer Musical Instrument Services Administrative Assistant Accountant Office Coordinator