"Bent Frequency duo & CSUF New Music Ensemble" program
Bent Frequency Duo Project Jan Berry Baker, saxophone
Stuart Gerber, percussion
November 6, 2024
RONALD S. ROCHON
President, California State University, Fullerton
AMIR H. DABIRIAN
Provost and VP for Academic Affairs
ARNOLD HOLLAND, EDD
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
SCHOOL OF MUSIC FULL-TIME FACULTY AND STAFF
FACULTY
CONDUCTING
Kimo Furumoto instrumental
Dr. Robert Istad choral
Dr. Christopher Peterson choral
Dr. Dustin Barr instrumental
JAZZ AND COMMERCIAL MUSIC
Bill Cunliffe* jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
PIANO, ORGAN, PIANO PEDAGOGY
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class piano
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
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis flute
Sycil Mathai* trumpet
Dr. Gregory X. Whitmore University Symphonic Winds conductor
STAFF
Michael August Production Manager
Eric Dries Music Librarian
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* denotes Area Coordinator
Welcome to the College of the Arts 2024–2025 season – our first in three years where performing and visual arts programming will take place on one cohesive arts campus following the completion of the Visual Arts Modernization Project. We are thrilled you have joined us! As our visitors, you are part of our extended family of patrons, parents, friends, and fellow Titans, and we strive to reflect your stories and experiences in the programming we present.
To us, community engagement is more than just opening the doors of our performance and exhibition spaces and inviting you in; it’s about creating a space for dialogue through the work we share. This season, we are proud to bring you a slate of exhibitions, concerts, and performances that not only reflect our humanity but also have the power to transform how we see ourselves and others. In Theatre, “The Prom” opens the season with a joyful celebration of love and acceptance that follows teen Emma Nolan and her quest to attend the prom after she is disinvited for being gay. Will Emma get the prom she deserves? Next, Begovich Gallery presents four exhibitions to celebrate the public opening of Building G on November 2, including “Vitae: A New Generation” featuring CSUF visual arts alumni whose work explores self-discovery and issues of social justice. The following week, the Fullerton Jazz Orchestra and University Symphony Orchestra, along with guest artists Mariachi Divas de Cindy Shea, perform in “Fullerton Pops!” Our award-winning choreographers and dancers take the stage in December for “Fall Dance Theatre,” a powerfully moving collection of performances in a variety of dance styles. And don’t forget everyone’s holiday concert favorite, “Deck the Hall at Cal State Fullerton!” on December 14 and 15.
With the completion of the Visual Arts complex this past summer, we are one of the largest comprehensive colleges of the arts in the CSU system. The complex boasts digitally enhanced classrooms, a green screen lab for film and animation, an expanded photography studio, four art galleries, and several indoor and outdoor spaces to encourage cross-disciplinary exploration. But with the distinction of being a large college of the arts comes great need, and many of our students face personal and financial challenges that prevent them from continuing their education. The Dean’s Fund for Excellence provides our students with funding for immersive, off- and on-campus experiences that contribute to their academic success, including CSU Summer Arts, conferences, and study abroad programs. Your support is not just appreciated; it is vital. If the arts and their continued importance in higher education are essential to you, please consider a gift of any amount to the Dean’s Fund today.
I thank you for joining us and for championing the arts in our community. Your support means the world to me and to our students. When you return, I invite you to visit the Visual Arts complex to see what’s new and to check out the galleries in Building G, across from Clayes Performing Arts Center and open late on select performance nights beginning in November. I hope to see you there!
Tuning In (2022) ....................................................................................... George E. Lewis ***** Intermission *****
Fragments from the Wasteland: What the Thunder Said (2024) Pamela Madsen (World Premiere)
The Heroine with a Thousand Faces (2024) ................................................ Anne LeBaron
Leymah Gbowee
Mary Helen MacKillop
Susan B. Anthony
Child’s Play (2015) Amy Williams
Shadowgraph, 5 for creative orchestra (1977) ........................................ George E. Lewis Bent Frequency with CSUF New Music Ensemble
PROGRAM NOTES
hyd(e)r0sion (2022)
EMILY KOH
hyd(e)r0sion is inspired by the lines and shapes formed in soil and clay formed by the detachment and removal of soil by water. There are many types of erosion, including splash erosion, sheet erosion, rill erosion and gully erosion. Water erosion wears away the earth’s surface, and this removal of topsoil—the layer of soil with the greatest amount of organic matter, biological activity and nutrients---restricting its ability to sustain future uses.
My practice is often nourished by the creativity of performers and my interactions with them. We may begin with conversations about ideas, both musical and personal as well as instrumental explorations. When Bent Frequency Duo and I first discussed this project, Jan Berry Baker mentioned that the topic of water was on her mind—ranging from its life-sustaining necessity to its potential for devastation. This resonated with me as I have long been concerned about climate change, our role in it, and the increasing severity of drouth and flood cycles.
-EK
Vibra-Elufa (2004)
KARLHEINZ STOCKHAUSEN
Vibra-Elufa is a version for vibraphone of the final scene of Freitag aus Licht (Friday from Light), Elufa for basset-horn and flute (1991). The first nine measures with changing tempi comprise a moment for one voice. During the next eleven measures, a two-part moment with mirrored voices is elucidated by the vibraphone using different registers and echoes—and is slightly dramatized through the insertion of a short solo. A conclusion of nine measures follows for a single voice, with short interjections.
On the vibraphone, the microtonal glissandi originally played by the woodwind instruments become bands of sound with distinct timbres through the blending pedalisation and the richly varied mallet technique. This verticalization of horizontal lines renders a unique poetic fascination to the piece.
-KS
Tuning In (2022)
GEORGE E. LEWIS
Tuning In is in touch with at least three significant references. First, there is Shikasta (1979), the first of Doris Lessing’s series of space opera novels, in which the natives of a planet allegorically reminiscent of Earth develop a degenerative disease and inevitable decline, due to a lack of a substance called SOWF, or “substance-of-we-feeling.”
Second, there is the Mexican linguist Carlos Lenkersdorf, who spent decades studying Tojolabal, a Mayan language spoken by the Tojolabʼal people of Chiapas. According to Lenkersdorf, the name of this people is a compound of ab’al, the word which is listened to and not spoken, and tojol, the right moment of listening. The crucial importance of listening to the identity of this ethnic group centrally implicates the we (nosotros in Spanish) in a process that Lenkersdorf and others have called nosotreidad, or nosotrification.
Third, we have “Making Music Together” (1964) by the sociologist Alfred Schutz, who identified music as a prime site of nosotrification avant la lettre Central to the power of music, Schutz observed, was a “mutual tuning-in relationship…established by the reciprocal sharing of the Other’s flux of experiences in inner time, by living through a vivid present together, by experiencing this togetherness as a “We.”
Schutz maintained that a study of musical processes “may lead to some insights valid for many other forms of social intercourse.” Thus, Tuning In, one of my series of works exploring the sound of decoloniality, presents a sonic meditation on community. The music expresses the hope that you and I can invent a new, incarnative “we” that understands contemporary music, not as a globalized, pan-European, white sonic diaspora, but as an expression of the situation of a creole. In this way, we can experience our globalized, polyasporan, listening-rich tuning-in relationship.
This work was commissioned by and written for Bent Frequency.
PROGRAM NOTES
Fragments from the Wasteland: What the Thunder Said (2024)
PAMELA MADSEN
This work is from my large-scale concert-length five-movement work Fragments from the Wasteland, a music-drama, for text and music, a consortium commission based on a reinterpretation of T.S. Eliot’s poem, The Wasteland, juxtaposed with selected “mask” poems by contemporary women poet-Edna St. Vincent Millay’s Second April, for loadbang ensemble, Brightwork newmusic, HEX Vocal Ensemble, Galan Trio, and Bent Frequency, culminating in a final chamber concerto. What the Thunder Said composed for Bent Frequency (sax an percussion) recontextualizes the final poem from T.S. Eliot’s modernist masterpiece The Wasteland (1922) with commentary by the contemporary women poet Edna St. Vincent Millay’s work Second April (1921): Weeds and Ebb. In these works I explored the sources of my own compositional craft—as a woman composer, educated in the age of modernist techniques of abstraction, I sought to contextualize the influences of modernism on my own work, with a language of melodic expressionism, evolving a translated “language: of text into music, and creating historical drama through the setting of T.S. Eliot’s poem The Wasteland, with selected works referenced in Eliot’s text, and “mask” poems by women poets, Edna St. Vincent Millay, Sarah Teasdale, Elinor Wylie.
The Heroine with a Thousand Faces (2024)
ANNE LEBARON
This set of five musical portraits, commissioned by the Davise Fund and composed for soprano and alto saxophone, is written for and dedicated to Jan Berry Baker.
Leymah Gbowee (b. 1972), a Liberian Nobel Prize winner and peace activist, is best known for leading a nonviolent movement that helped to unite Christian and Muslim women. Bringing these women together in the name of stopping the war played a significant role in ending
the 14-year Liberian civil war in 2003. The subsequent election of Africa’s first female head of state, Liberian President Ellen Johnson Sirleaf, owed much to Gbowee’s efforts.
Mary Helen MacKillop (1842-1909), also known as Mary of the Cross, is the first Australian to be recognized as a saint. Her extraordinary career of dedication to education for the poor, support for orphans, and care for women prisoners, was also marked by clashes with Catholic priests and bishops. Due to her actions that exposed a pedophile priest, she is informally considered to be a patron saint of sexual abuse victims.
Susan B. Anthony (1820-1906) was one of the most visible leaders of the women’s suffrage movement, along with Elizabeth Cady Stanton. They formed the National Woman Suffrage Association in 1890 as part of a crusade for a constitutional amendment giving women the right to vote. In 1872, two decades earlier, Anthony was arrested for voting, and fined $100. She refused to pay. In her speech given to legislators the following year, “Is it a Crime for a U.S. Citizen to Vote?” she argues that she committed no crime. This excerpt from her speech is central to my musical portrait of her:
It is urged that the use of the masculine pronouns he, his, and him in all the constitutions and laws, is proof that only men were meant to be included in their provisions. If you insist on this version of the letter of the law, we shall insist that you be consistent and accept the other horn of the dilemma, which would compel you to exempt women from taxation for the support of the government and from penalties for the violation of laws. There is no she or her or hers in the tax laws, and this is equally true of all the criminal laws.
Child’s Play (2015) AMY WILLIAMS
Inspiration sometimes comes from the farthest reaches and sometimes from very close to home. In this case, I chose very small objects from my children’s toy boxes—those that I found to have a
PROGRAM NOTES
sufficient range of sonic possibilities. In the first piece, the whistles blend with the saxophone to create a fused, enhanced sound; in the second, a true duet; and the third, two contrasting, but complementary sounds. Child’s Play was written for Jan Berry Baker and Stuart Gerber.
–AW
Shadowgraph, 5 for creative orchestra (1977)
GEORGE E. LEWIS
Shadowgraph, 5 was composed by George Lewis for the AACM Big Band in 1977, and may be played by an ensemble of any size or instrumentation, from solo performer to large orchestra. No conductor is required. While the composer
suggests a duration of approximately 10-20 minutes, the piece can be performed in just a few minutes or drawn out to marathon length. Rather than playing from a conventional score or measures of staff notation, every member of each instrument group—including a Saxophone Group (woodwind instruments), Bass Group (string instruments), and more--improvises freely from a grid (or “module”) of 16 different written instructions or musical sketches appropriate to that group. As the title implies, this is the fifth in a series of Shadowgraph pieces, all five of which were composed for «creative orchestra,» between 1975 and 1977. These performance materials, available for purchase, were revised in 2012 to include a module for Electronics Group.
Founded in 2003, Atlanta-based Bent Frequency brings the avant-garde to life through adventurous and socially conscious programming, cross-disciplinary collaborations, and impactful community engagement. Committed to being inclusive of the diverse and dynamic community they are a part of, one of BF’s primary goals is championing the work of historically marginalized composers –music by women, composers of color, and LGBTQIA+. Hailed as “one of the brightest new music ensembles on the scene today” by Gramophone magazine, BF engages an eclectic mix of the most bold and impassioned players in Atlanta, ushering the contemporary music experience from the strict formality of the concert hall into the fresh air of artistic expression and experimentation.
BF has partnered with internationally acclaimed ensembles, dance groups, and visual artists in creating unique productions ranging from traditional concerts to fully staged operatic works, to concerts on the Atlanta streetcar, to a band of 111 bicyclemounted, community performers. Recipients of numerous prestigious governmental and foundation grants, BF has been able to fund the creation and promotion of groundbreaking music in Atlanta and abroad for over 20 years.
As Co-Artistic Directors of Bent Frequency, percussionist Stuart Gerber and saxophonist Jan Berry Baker are The BF Duo Project. To date, the BF Duo has commissioned over 50 new works from today’s most innovative composers and have given countless performances across the United States, Canada, Mexico, and Europe. They have been guest ensemble in residence at the MATA Festival in Oaxaca, Mexico, Sam Houston State University in Texas, Tage aktueller musik festival in Nuremberg, Germany, Charlotte New Music Festival, The University of Georgia, SICPP (Boston/ Colorado Springs) and New Music on the Point. Their debut recording, Diamorpha, is available on the Centaur Label.
ABOUT BENT FREQUENCY
CanadianAmerican saxophonist, Jan Berry Baker, has performed as a soloist, chamber, and orchestral musician on many of the world’s great stages. She regularly performs with the LA Philharmonic and was the principal saxophonist for almost two decades with the Lyric Opera of Chicago, Grant Park Festival Orchestra, Chicago Philharmonic, Atlanta Ballet, and Atlanta Opera. She has also performed with the Chicago and Atlanta Symphony Orchestras. Jan’s recording projects include chamber music albums on the Centaur and Albany labels, as well as American Orchestral Works with the Grant Park Orchestra and Atlanta Opera’s world premiere recording of The Golden Ticket
As an educator, Jan is Professor of Saxophone, Woodwind Area Head, Vice Chair of the Department of Music, and Special Assistant to the Dean for Faculty Mentoring at the Herb Alpert School of Music at UCLA. Highly sought after as a masterclass teacher and speaker, she has given presentations on contemporary music, nonprofits and grant writing, community engagement, socially conscious programming, career development and mentoring. Jan is a founding member of the Committee on the Status of Gender Equity in the North American Saxophone Alliance and the inaugural leader of the CGE Mentoring Program. She earned a Doctor of Music degree from Northwestern University and is a Selmer Paris, Vandoren, and Key Leaves performing artist.
Lauded as having “consummate virtuosity” by The New York Times, percussionist Stuart Gerber has performed extensively throughout the North America, Europe, and the Pacific Rim. Recent engagements include: The Kuala Lumpur Experimental Film, Video, and Music Festival, the Montreal New Music Festival, Electronic Music Malta Festival, The Eduardo MATA Festival in Oaxaca, Mexico, the KLANG Festival at The Metropolitan Museum of Art in New York, the Cervantino Festival in Gunajuato, Mexico, the Now Festival in Tallinn, Estonia, the Chihuahua International Music Festival in Mexico, the Gulbenkian Center in Lisbon, Portugal, the South Bank Centre in London, the Ultraschall Festival in Berlin, Germany, the Melbourne Recital Centre, Australia, the Spoleto Festival, and the Savannah Music Festival.
As an active performer of new works, Stuart has recorded for Centaur, Innova, UR-text, Aucourant, Bridge, Capstone, Code Blue, Mode, Albany, Telarc and Vienna Modern Masters labels. He is currently an artist-faculty at the Summer Institute of Contemporary Performance Practice (SICPP) held annually at the New England Conservatory, and has taught at New Music on the Point, the Charlotte New Music Festival, and the Stockhausen-Kurse in Germany, and has given masterclasses at many esteemed institutions in the US and abroad (including the Curtis Institute, Manhattan School of Music, Oberlin Conservatory, and The Southbank Center).
Stuart studied at the Oberlin College Conservatory, the University of Cincinnati College-Conservatory of Music, and the Hochshule für Musik in Hannover, Germany. He is Professor of Music at Georgia State University and co-artistic director of the Atlanta-based contemporary music ensemble Bent Frequency.
CSUF New Music Ensemble, under the direction of Pamela Madsen and Eric Dries focuses on the instruction in the techniques of contemporary concert music, and preparation of performances of contemporary instrumental, vocal, improvisational and electroacoustic music literature from the Twentieth and Twenty-First Centuries. We study and perform a wide range of repertoire from the contemporary period: from, experimental, atonal, to extended tonal, minimalism, post-minimalism, post-modernism to multi-media collaboration, film music, deep listening and improvisational forms to explore both the repertoire and performance practice in New Music. As part of the New Music Series we work with guest composers, performers and perform with contemporary New Music Ensembles. Chosen by Los Angeles Audience Choice Award as the Best New Music Ensemble in 2022, we have worked with guest ensembles Los Angeles based Brightwork newmusic, Stacey Fraser, HEX Vocal Ensemble and guest artists Jean Ferrandis, and Dominique Williencourt last season.. This season we will work with guest artists: Hub newmusic, Brightwork new music, loadbang, Nicholas Isherwood, Galan Trio and Hex Vocal Ensemble.
Pamela Madsen, artistic director and Eric Dries, director
John Gerling, clarinet
Carl Fong, trumpet
Emerson Kimble, trumpet
Lucas Edwards, voice
Janae Harabedian, voice
Gabriela Guzman, percussion
Wilson Le, percussion
Giovanni Guillen, guitar
Jonathan Bins, guitar
Ivan Parga-Renteria, guitar
Manuel Laverde, piano
Julia Craft, keyboard, electronics
Esther Ridsdale, electric bass
ABOUT THE DIRECTORS
Pamela Madsen
Pamela Madsen is a composer, performer, theorist, writer and curator of new music. From massive immersive concert-length projects, solo works, chamber music to multi-media opera collaborations her work focuses on issues of social change, exploration of image, music, text and the environment. With a Ph.D. in Music Composition from UCSD, studies with Brian Ferneyhough, Mellon Foundation Doctoral Research Award in theory at Yale University, Post- Doctoral research in Music Technology at IRCAM, Paris, and Deep Listening Certificate with Pauline Oliveros, her creative projects and research focuses on the evolution of compositional thought, improvisation, electronic music, and women in music.
Madsen’s works have been commissioned and premiered worldwide by such artists as Los Angeles Percussion Quartet, Brightwork newmusic, ModernMedieval, Moscow Contemporary Music Ensemble, Tony Arnold, Nicholas Isherwood, Stacey Fraser, Claire Chase, Jane Rigler, Anne LaBerge, Brian Walsh, Lisa Moore, Vicki Ray, Aron Kallay, Bugallo-Williams Piano Duo, Ashley Bathgate, Trio Solisti, New York New Music Ensemble, Either/Or, yesaroun’ duo, California Ear Unit, Verdehr Trio, Zeitgeist, JACK, Ethel, Lyris, Formalist and Arditti string quartets with multi- media collaborations with visual artists Quintan Ana Wikswo, Camille Seaman, Jimena Sarno and Judy Chicago.
Major concert-length projects include Madsen’s Opera America and National Endowment for the Arts Funded Opera: Why Women Went West, National Endowment for the Arts and New Music USA supported Oratorio for the Earth; Luminous Etudes: Visions of the Black Madonna of Montserrat; Luminosity: Passions of Marie Curie multi-media opera; Melting Away: Gravity for orchestra, with Arctic photographer Camille Seaman; We are All Sibyls-Envisioning the Future Project multi-media opera installation with visual artist Judy Chicago. Selected as Huntington Library Mellon Research Fellow, Alpert Award Panelist, Creative Capital artist “on the radar” with awards from Opera America, National Endowment for the Arts, New Music USA, Meet the Composer, American Scandinavian Foundation, artist residency fellowships at MacDowell Colony, UCross, Wyoming, Women’s International Studies Center, New Mexico, Wurlitzer Foundation Award, with international Russia/Siberia Concert tour, featured composer at Pulsar Festival, Denmark, she is a frequent guest artist at festivals and universities worldwide. She is Director of the Annual New Music Festival, InterArts Collaborative Projects at Cal State Fullerton where she is Professor of Music Composition, Music Theory and Director of the New Music Ensemble.
Eric Dries
Eric Dries is a pianist, improviser, composer and educator who explores the innovative fields between traditional jazz, free improvisation, and contemporary classical music. His work explores a wide range of stylistic practices from jazz and contemporary music worlds in diverse performance situations. Dries is interested in expanding experimental ideas while honoring the fundamental tenets of the jazz tradition. His solo piano performances reinterpret and invigorate the tradition of jazz standards with a foundation of rhythmic experimentation and harmonic and melodic expansion. Dries has performed and recorded with some of the top studio and freelance musicians in southern California where he is in high demand at high profile performance venues, and jazz festivals. Dries early notated compositional works explore virtuosic solo instrumental experimentation and unusually orchestrated chamber ensemble combinations. His current compositional work combines the rigor of compositional technique with improvised frameworks of traditional jazz and experimentalism of new music to create systems of group dynamics that encourage performer-composer collaboration and new sonic exploration in each performance. He holds a Ph.D. in Composition and M.A. in Music Theory from University of California San Diego, where he studied with Rand Steiger, George Lewis, Anthony Davis, Roger Reynolds and Brian Ferneyhough, with postdoctoral studies and research in Music Technology at IRCAM. He studied jazz improvisation and composition with bassist Richard Davis and saxophonist Les Thimmig at University of Wisconsin Madison where he received his BM in Music Composition, studying with Stephen Dembski. Dries currently is a Lecturer in Music composition, theory, jazz, and music technology at California State University Fullerton School of Music.
$1,000,000 +
Mr. Bob & Mrs. Terri Niccum
Mr. Stan Mark Ryan ‘75
$500,000 + Mrs. Junko Klaus
$50,000-$100,00
Mr. Ernest R. Sweet*
Mr. Matthew Scarpino & Ms. Karyn Hayter
Sallie Mitchell*
Mrs. Louise P. Shamblen
Johnny Carson Foundation
Mr. Steve & Mrs. Robin Kalota
$25,000 - $49,999
Mr. Darryl Curran
Leo Freedman Foundation
Mrs. Lee C. Begovich
Dr. Ed & Mrs. Sue Sullivan
$10,000-$24,999
Mr. John Aimé & Ms. Robin de la Llata Aimé
Drs. Joseph & Voiza Arnold
Mr. John J. Brennan & Ms. Lucina L. Moses
Ms. Kathleen Hougesen
Mr. Ernest & Mrs. Donna Schroeder
Mr. James & Mrs. Eleanore Monroe
Mrs. Marilyn D. Carlson
$5,000-$9,999
Mr. Richard & Mrs. Susan Dolnick
Mr. Framroze & Mrs. Julie Virjee
Continuing Life LLC
Southern California Arts Council
Ebell Club of Fullerton
DONOR APPLAUSE
Mrs. Harriet Cornyn
Mr. William Cornyn
Ms. Teri Kennady
Dwight Richard Odle Foundation
Swinerton Builders
Morningside of Fullerton
Dr. Margaret Gordon
Dr. Marc Dickey
Mrs. Jill Kurti Norman
Orange County Community Foundation
Mr. Edward & Ms.
MaryLouise Hlavac
Fidelity Charitable Gift Fund
Mrs. Norma Morris
Mrs. Evelyn Francuz
Friends of Jazz, Inc.
$1,000-$4,999
Mrs. Marilyn Little
Mr. Allan & Mrs. Janet Bridgford
Dr. George & Mrs. Karen Mast
Mrs. Thelma Mellott
Ms. Karen Bell
Mrs. Judy Atwell
Mr. Stephen Collier & Ms.Joann Driggers
Mr. Paul Coluzzi & Mr. John M. Martelli
Mr. Douglas Stewart
Mr. Nick & Mrs. Dorothy Batinich
Mr. Tom & Mrs. Carolyn Toby
Mrs. Marsha Gallavan
California Community Foundation
Mrs. Martha Shaver
Ms. Susan Hallman
Mr. John A. Alexander
& Mr. Jason Francisco
Mr. James Henriques
Mr. Billy Owens & Mrs. Michelle H. Jordan
Mr. Robert & Mrs. Nancy Rennie
Mr. Robert & Mrs. Roberta Sperry
Mr. John Boos
& Ms. Shanon Fitzpatrick
The Jane Deming Fund
Dr. Leon & Mrs. Annette Gilbert
Ms. Verne Wagner
Dr. Robert & Mrs. Teri Watson
Mr. E. B. & Mrs. Linda Powell
The Presser Foundation
Mr. Norman & Mrs. Sandra Johnson
Dr. Arie & Mrs. Deanna Passchier
Mrs. Marion Brockett
Mr. Juan Lopez
Mr. David Navarro
Mrs. Bettina Murphy
Ms. Jeannie Denholm
Mr. Gregory & Mrs. Shawna Ellis
Mr. William H. Cunliffe, Jr.
Dr. Stephen Rochford, DMA
The Garrabrant Family
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 2, 2023 to September 1, 2024 *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
MR. BOB & MRS. TERRI NICCUM
DWIGHT RICHARD ODLE*
SHERRY & DR. GORDON PAINE
*deceased
DR. JUNE POLLAK
& MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
MR. STAN MARK RYAN ‘75
MARY K. & WILLIAM SAMPSON
LORENA SIKORSKI
DOUGLAS G. STEWART
ANDREA J. & JEFFREY E. SWARD
RICHARD J. TAYLOR
VERNE WAGNER
RICHARD WULFF
DR. JAMES D. & DOTTIE YOUNG*
The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER
SUPPORT
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ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Judy Atwell
Drs. Voiza & Joe Arnold
Dr. Margaret Faulwell Gordon
Susan Hallman
Norma Morris Richard Odle Estate
Kerry & John Phelps
Jeanie Stockwell Verne Wagner
ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Fay Colmar John DeLoof
Joann Driggers & Steve Collier
Loraine Walkington
MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.
SPECIAL SUPPORT AND EVENT UNDERWRITING
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MORE INFORMATION: Haley Sanford • 657-278-2663
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shape the future of the arts
The College of the Arts at Cal State Fullerton is one of the largest comprehensive arts campuses in the CSU system. We proudly serve as an academic institution of regional focus with national impact that combines rigorous arts training with cross-disciplinary exploration to encourage the artistic expression and individual achievement of thousands of arts students daily.
Many of these students face personal and financial challenges that prevent them from continuing their education. You can help! The Dean’s Fund for Excellence provides students in need with funding for immersive, off- and oncampus experiences that contribute to their academic success, including CSU Summer Arts, conferences, and study abroad programs.
Shape the future of the arts! Consider making a gift of any amount to the Dean’s Fund for Excellence today.
COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2024
Kirsten Yon and Ernest Salem, violins
September 26 • Meng Concert Hall
Hoang Nguyen & Friends: Alumni Piano Recital: September 27 • Meng Concert Hall
Fullerton Jazz Orchestra
October 4 • Meng Concert Hall
University Symphony Orchestra October 5 • Meng Concert Hall
University Wind Symphony October 6 • Meng Concert Hall
The Prom
October 10–19 • Little Theatre Talkbacks: 10/11; 10/19 matinée
University Symphonic Winds
October 12 • Meng Concert Hall
University Singers & Concert Choir
October 20 • Meng Concert Hall
Blood Wedding
October 24–November 19 • Young Theatre
Denis Bouriakov, flute
October 26 • Meng Concert Hall
Advanced Vocal Workshop with guest Mark Robson, piano October 29 • Recital Hall
Vitae: A New Generation; Chris O’Leary: Gravity Well; Michelle Emami: Arcana; and Past Forward (Redux)
November 2, 2024 – May 17, 2025 Begovich Gallery
High School Honor Orchestra & CSUF Chamber Ensembles Orchestra
November 2 • Meng Concert Hall
Michael Yoshimi, clarinet
November 8 • Meng Concert Hall
Bent Frequency with CSUF New Music Ensemble
November16 • Meng Concert Hall
Lost Girl
November 7–16 • Hallberg Theatre
CSUF SCHOOL OF MUSIC PRESENTS
Fullerton Pops! feat. Fullerton Jazz Orchestra
University Symphony Orchestra and Mariachis de Cindy Shea
November 10 • Meng Concert Hall
Opera Scenes
November 15–17 • Recital Hall
Jazz Singers
November 20 • Meng Concert Hall
University Wind Symphony
November 22 • Meng Concert Hall
Cello Choir
November 22 • Recital Hall
Fall Dance Theatre
December 5–14• Little Theatre
University Symphonic Winds
December 7 • Meng Concert Hall
Titan Voices & Singing Titans
December 9 • Meng Concert Hall
CSUF New Music Ensemble & CSUF Contemporary Chamber Music Ensemble
December 11 • CPAC 119
University Band
December 11 • Meng Concert Hall
CSUF SCHOOL OF MUSIC PRESENTS Deck the Hall at Cal State Fullerton! December 14,15 • Meng Concert Hall
