University Symphony Orchestra imo Furumoto, conductor K
October 5, 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. 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 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!
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
Marche Slav, op. 31
PROGRAM
Pyotr Ilyich Tchaikovsky (1840-1893)
Suite from The Nutcracker, op. 71a ...............................
Pyotr Ilyich Tchaikovsky
Miniature Overture
March
Dance of the Sugar-Plum Fairy
Russian Dance (Trepak)
Arabian Dance (coffee)
Chinese Dance (tea)
Dance of the Reed Flutes (Mirlitons)
Waltz of the Flowers
Intermission *****
Symphony No. 5 in C minor, op. 67
Ludwig van Beethoven
Allegro con brio (1770-1827)
Andante con moto
Allegro
Allegro
Marche Slav, op. 31
PYOTR ILYICH TCHAIKOVSKY
PROGRAM NOTES
The story is depressingly familiar: In 1876 the Christians and the Muslims were slaughtering each other in a war between the Turks of the Ottoman Empire and the Slavs of Serbia. Plus ça change. Naturally, Russia supported its fellow Slavs, and in the general patriotic fervor, Tchaikovsky was commissioned by the director of the Russian Musical Society to contribute a composition to a benefit concert for the Red Cross Society. By October of that year, his “Serbo-Russian” march was complete. Tchaikovsky’s own hand on the manuscript refers to the composition’s basis on “Slavonic folk themes.”
The work is a dynamic and colorful thumper of a march, quoting not only Serbian folk tunes, but incorporating the Russian national anthem, as well, in the peroration. While couched in a traditional form that provides satisfying balance and symmetries, the work nevertheless is somewhat programmatic, depicting the story of Turkish atrocities against the Serbs, vigorous battles, and the inevitable triumph of the good (the Slavs) in sequential fashion. The tragic opening is based upon two Serbian folk songs of contrasting natures, leading to a tumultuous section that depicts the suffering of the Serbs at the hands of the Turks. We next sense optimism as the Russians muster themselves to come to the aid of their compatriots. The Serbs suffer a bit more, and then the Russians are heard marching to the fray. An earsplitting rendition of the Russian national anthem—God Save the Tsar—brings us to the exultant conclusion. It’s all reminiscent of the composer’s 1812 Overture, marvelously diverting, and Tchaikovsky at his populist best.
Suite from the Nutcracker, op. 71a PYOTR ILYICH TCHAIKOVSKY
Young Clara Stahlbaum, in the story by E. T. A. Hoffman, is given a nutcracker doll with the appearance of a prince, by her godfather (and a magician), Drosselmeyer, at a Christmas party. After midnight, with nearly everyone asleep, the doll transforms into the prince it had formerly been, and Clara aids him in defeating the mouse king who had threatened to take over the house. With the exception of the March (from the early party), these selections are from the Second Act, in the Prince’s Land of Sweets, where they journey before Clara returns home. A sequence of dances represent exotic lands The Sugarplum Fairy welcomes them (she had ruled in the Prince’s absence), and there are other, and the Waltz of the Flowers. Tchaikovsky interrupted the ballet’s composition for a lucrative journey to conduct and perform for Carnegie Hall’s opening in New York, and also in Philadelphia, Baltimore and Washington. On his way, in Paris, he heard the newly-invented celesta for the first time, and wrote his publisher in Berlin: wIt’s perfect for the ballet that I have to think about in America, but don’t tell Rimsky-Korsakov, because he’ll use it before me. The instrument’s orchestral debut would indeed be the Dance of the Sugarplum Fairy.
Symphony No. 5 in C minor, op. 67
LUDWIG VAN BEETHOVEN
Beethoven’s fifth symphony is the iconic work of classical music. It pervades the whole world of symbols and imagery of musical art as an evocation of a welter of ideas. In a sad way it is almost impossible to escape all of these associations extrinsic to the work itself and to focus only on Beethoven’s composition. But distancing one’s self from it all and listening to the symphony as if for the first time can be a joy—as this
PROGRAM NOTES
writer has found, sitting in the best seat in the house (in the back of the orchestra).
By the time that Beethoven had composed this work he was a wellrespected composer in Vienna, but certainly not hailed as a genius. The first three symphonies, three piano concertos, piano sonatas, string quartets—all had bolstered his growing reputation before he finished this symphony. It took him rather a long time, almost four years, as he interrupted his work frequently to produce some significant compositions: The Razumovsky string quartets, the fourth symphony and fourth piano concerto, and the first version of his only opera, Fidelio. Beethoven was a practical man, and when a commission materialized, he shifted his work to where the money was. He finally ground out the completion of the fifth symphony and presented it on an ill-starred concert at the Theater an der Wien on December 22, 1808. It was an all-Beethoven affair, presenting the premières of not only the Fifth Symphony, but also the Sixth Symphony, the Fourth Piano Concerto, and the Choral Fantasy (a precursor to his Ninth Symphony), as well as various other compositions. The concert was four hours long and the hall was literally freezing. Moreover, Beethoven, who was conducting, had to start over in one work after a mistake derailed things. The proceedings were not helped by his awkward, grand-eloquent conducting which led to knocking over some lamps and accidentally smacking an unfortunate stagehand in the face. All of this was soon forgotten and the written record shows that Beethoven’s fifth symphony was quickly accorded general acclaim, and was on its way to immortality.
The defining characteristics of the work are well known, and focus upon rhythmic vitality, a thitherto unknown sense of drama, and imaginative structural details--but most of all, upon a stunning coherence and economy of elements. The latter is the foundation
of the first movement, famous for its four-note motto beginning and the “wringing” almost to death of every musical possibility of the short idea. Forget “fate knocking at the door,” this is simply a dramatic tour-de-force of musical coherence. And even if one ignores the adroit manipulation of the melodic content of the opening idea, it is astonishing how well the movement stands upon its own feet from a purely rhythmic perspective.
The second movement is an elegant set of variations on two themes. The key of the movement is A-Flat, and even if most of us don’t have perfect pitch, it just “sounds” fresh and unexpected when the violoncellos and violas enter with one of Beethoven’s most ingratiating melodies in that particular key. The second theme is a more triumphant one, in C Major, another remote and refreshing key. The variations gracefully work themselves out with these contrasting themes in a movement quite different from the first.
The third movement is the traditional dance movement, here cast in Beethoven’s innovative “scherzo” rhythm—the stately dance of his predecessors being sped up considerably. But it’s not a rollicking good time to be had by all, here. Rather, it opens with a mysterious arpeggio in the low strings that ends shortly on some chords with enigmatic meaning. Soon this is shatteringly interrupted by the unison horns in a virile melody that seems related to the opening of the symphony. The middle of the movement, called the “trio,” is usually an opportunity for contrast, and we do get it. It starts out contrapuntally with a vigorous and challenging passage for the violoncellos and double basses— it’s a famous one! They snarl and shake it like a dog. Ultimately, a truncated version of the opening returns, but even softer, and here is where real magic occurs.
Beethoven “bridges” the transition into the last movement with a delicate solo passage in the first violins played
PROGRAM NOTES
over pianissimo sustained notes in the seconds and violas—the basses and timpani softly “throb.” In one of the most eerie and tension-building passages in all the literature the melody snakes up and down in a crescendo that jubilantly leads to the C Major theme that resolves all previous “troubled thought.” For this glorious moment Beethoven brings in three trombones, contra-bassoon, and piccolo—thitherto found only in the opera orchestra. The last movement is long, as three themes are worked over, interrupted only by the striking innovation of a brief reference to the third movement. It’s as if Beethoven is saying, “OK, we win,
but it may be only a brief victory.” The recapitulation ensues, followed by an enormous coda—longer than any other section so far. We hear the main three themes again, only in a kind of reverse order. The long coda is needed to erase all doubt as to what prevails over the diversions and dark moods of the other three movements. Victory is ours, and the fifty or so measures of emphatic C Major chords seal the finale.
Kimo Furumoto is the Orchestra Director at California State University, Fullerton. He is also Music Director and Conductor of the Huntington Symphony Orchestra (West Virginia) as well as the Whittier Regional Symphony. His guest conducting appearances have taken him throughout the United States and Europe with many stellar orchestras.
Previous positions include music director of the Concert Orchestra at the University of Cincinnati, College Conservatory of Music, conducting assistant with the Cincinnati Symphony Orchestra, and assistant conductor of the Cincinnati Chamber Orchestra. He has worked with noted conductors such as Leonard Bernstein and Robert Shaw.
Furumoto holds degrees in conducting from Chapman University and the University of Cincinnati, College Conservatory of Music. His ballet “The Mandarin Ducks” has been enthusiastically received by audiences.
Violin
Emily Arnold
UNIVERSITY SYMPHONY ORCHESTRA
Charlotte Bouck
Matthew Fang
Ruisi Gong+
Miriam Ibanez
Daryuish Khashayar
Sam Kim
Alicia Kuch
Xueying Lee
Jordan Nava
Tan Phuoc Ngo
Daniel Noh
Soo Hyun Park
Joshua Teng
Hannah Thai
Margaret Wu*
Shaohong Zhou
Viola
Yangyu Chen
Remy Fang
Ethan Gathe+
John Harris
Ty Kanauchi
Jacob Mladineo
Jieming Tang
Si Tran
Cello
Rebecca Chiu
Connor Dicamillo
Chani Greaves
Benjamin Her
Jiyeong Im
Edward Montalvo
Ji Won Park+
Lynnette Silva
Julian Van Aalst
Xiyan Yu
Bass
Angelina Salcedo
Josia Sulaiman+
Sean-Paul Gouw
Flute
Daniella Arditti+
Henry Bransdorfer (piccolo)
Rogelio Justo
Crystal Lee (piccolo)
Oboe
America Dionati
Stephanie Marquez+
Johnston Nguyen+ (English Horn)
Clarinet
Grigorii Avetisian+
Myko Crisostomo+
Daniel Hernandez (Bass Clarinet)
Yilin Li
Bassoon
Nayalin Guzman
Emma
Johnson Miranda+
Adrian Wu (Contrabassoon)
Horn
Michael Clausen
Andrew French
Grant Laren+
Quintin Toma
Trumpet
Trevor Cannon+
Alex Santiago+
Susanna Sun+
Rudy Xool
Trombone
Nikolas Hernandez
Matheu Padua
Samuel Song+
Tuba
Eddie Bonilla
Percussion
Daniel La France+
Peyton Johnson
Wilson Le
Ziyania Monroe
Galadriel Pokracki
John Sunderman
Celeste
Daria Muzanova
Harp
Brian Noel
* Concertmaster +Principal
$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
GROUPS
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
Marilyn Carlson
Evelyn K. Francuz
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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
COLLEGE OF THE ARTS • SELECT EVENTS |
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
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
Vitae: A New Generation; Christopher 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
November 10 • Meng Concert Hall
Opera Scenes
November 15–17 • Recital Hall
Jazz Singers
November 20 • Meng Concert Hall
STAY CONNECTED
arts.fullerton.edu/connect
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!
