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!
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
PROGRAM
University Symphony Orchestra
Mambo (from West Side Story) Leonard Bernstein (1918-1990)
Spanish Dance No. 1 (from La Vida Breve) Manuel de Falla (1876-1946)
Johnston Nguyen, graduate student conductor
Malagueña from Suite Andalucía)...................................... Ernesto Lecuona (1896-1963) arr. Morton Gould
University Symphony Orchestra
Mariachi Divas de Cindy Shea
No Lastimes Más...................................................................... Juan Gabriel (1950-2016) arr. Beto Jimenez Maeda
Selections by Mariachi Divas de Cindy Shea
University Symphony Orchestra
Mariachi Divas de Cindy Shea
Mariachi Titans
El Son De La Negra Traditional arr. Beto Jimenez Maeda
University Symphony Orchestra
Huapango ........................................................ José Pablo Moncayo García (1912-1958)
University Symphony Orchestra
Fullerton Jazz Orchestra
Cuban Overture George Gershwin (1898-1937) arr. Bill Cunliffe
Easy Living Leo Robin and Ralph Rainger arr. Bill Cunliffe
Bill Cunliffe, conductor Roldolfo Zuniga, vibraphone (Faculty Artist)
University Symphony Orchestra
Conga del Fuego Nuevo Arturo Márquez (b. 1950)
University Symphony Orchestra
Mariachi Divas de Cindy Shea
Bésame Mucho .............................................................
Mexico En El Corazon ............................................................... arr. Beto Jimenez Maeda
PROGRAM NOTES
Mambo (from West Side Story)
LEONARD BERNSTEIN
The four shows On the Town, Wonderful Town, Candide, and West Side Story show a progressive line of stylistic integration in Leonard Bernstein’s compositional development. An everadvancing economy of musical means and tightening of structure proceeds from one show to the next. It was almost predictable from this trend that when West Side Story hit Broadway like a bombshell, in September, 1957, it would be hailed as a landmark in American theater. It was indeed recognized as a major leap toward an original kind of theatrical conception. Bernstein had speculated much earlier that a genuine, indigenous form of American musical theater would eventually arise out of what has been known as musical comedy. Many people think that, in West Side Story, this theory began to be implemented. Elements from the European and American musical stage traditions were fused into an original art form that is neither opera nor musical comedy. The Mambo takes place at a gym where the rival gangs take part in a competitive dance. At the same time, the star-crossed lovers Maria and Tony meet and fall in love at first sight.
Spanish Dance No. 1 (from La Vide Breve) MANUEL DE FALLA
Manuel de Falla was a prominent Spanish composer of the early 20th century, who was deeply inspired by the rich folk traditions of his homeland. His Spanish Dance No. 1, originally composed for piano and later orchestrated, is a captivating and exhilarating work that encapsulates the essence of Spanish music and dance. The Spanish Dance No. 1 from La Vida Breve is a passionate and rhythmically vibrant composition that draws upon the flamenco tradition of Andalusia. De Falla’s
profound understanding and love for Spanish folk music are evident throughout the piece, as he skillfully incorporates elements of the genre into a classical context.
The opening of the Spanish Dance No. 1 immediately commands attention with its forceful and fiery introduction. The music bursts forth with the energy and intensity of a flamenco dancer’s footwork, drawing the listener into a world of rhythmic excitement and emotional depth. De Falla’s rhythmic mastery is evident in the intricate patterns, syncopations, and cross-rhythms that propel the music forward with relentless momentum. As the dance unfolds, de Falla weaves a tapestry of contrasting moods and musical colors. The music traverses between moments of fervent passion, where the melodies soar with unbridled emotion, and moments of poignant introspection, characterized by delicate and lyrical passages. This juxtaposition of emotions reflects the dichotomy of the flamenco tradition, which encompasses both exuberance and melancholy.
Throughout the piece, de Falla showcases his exceptional command of melody. The melodies are infused with the distinct flavors of Spanish folk music, featuring characteristic intervals, ornamentations, and expressive gestures. The melodic lines rise and fall with dramatic intensity, evoking the heartfelt sentiments and the evocative storytelling that are at the core of flamenco music.
The Spanish Dance No. 1 also highlights de Falla’s expertise in orchestration. In the orchestrated version, the colors and textures of the orchestra enhance the inherent drama and dynamism of the composition. The interplay between the different sections of the orchestra adds depth and richness to the music, allowing the melodic and rhythmic elements to flourish within a vibrant and immersive sonic environment. As the Spanish Dance No. 1 reaches its climax, the music reaches a peak of intensity and virtuos-
PROGRAM NOTES
ity. The orchestra surges with exuberance, unleashing a torrent of sound that reverberates with the spirit of the dance. The rhythmic drive and the passionate melodies build to a breathtaking crescendo, leaving the audience exhilarated and spellbound.
The piece is a testament to his profound connection with Spanish music and culture. Through this composition, he brings to life the captivating essence of flamenco, transporting the listener to the heart of Spain’s musical traditions. The piece is a celebration of the vitality, expressiveness, and rhythmic intricacies that have made flamenco an enduring and beloved art form.
As we experience the Spanish Dance No. 1, let us marvel at de Falla’s ability to capture the soul of Spanish music, with its fusion of raw passion and refined artistry. Through his brilliant composition, he invites us to embark on a musical journey that embraces the vibrant traditions of Spain, immersing ourselves in its rich tapestry of emotions and rhythms. Manuel de Falla’s Spanish Dance No. 1 remains a cherished gem in the classical repertoire, serving as a testament to the composer’s enduring legacy and his contribution to the world of music. It stands as a testament to the power of music to evoke cultural identities and transport listeners to distant lands, transcending boundaries and uniting us through the universal language of melody and rhythm.
Malagueña (from Suite Andalucía)
ERNESTO LECUONA
ARR. MORTON GOULD
Born in Havana, Cuba, at the end of the 19th century, Ernesto Lecuona earned an international reputation as composer and pianist over the course of his career. Brother of composer Ernestina Lecuona, he began piano lessons with her at age five and wrote his first song at eleven, proving himself to be a child prodigy and going on to graduate from the National
Conservatory of Havana when he was just fifteen. Lecuona toured around the world as a pianist, contributing to Cuban music’s popularity in other countries during the second quarter of the twentieth century. His compositional output includes orchestral suites, songs, and music for film and theatrical works, which, taken together, showcase his skill at incorporating Cuban and Spanish forms and rhythms into the concert hall.
“Malagueña” (1933) is a representative example of Lecuona’s style. Part of his instrumental Suite Andalucía, “Malagueña,” to which Lecuona later added lyrics, has become a popular song outside of its original context, circulating as a jazz, pop, and marching band standard to this day. Originating in Málaga in the Andalusia region of Spain, the malagueña is a style of flamenco music with dramatic, lyrical, and virtuosic qualities. Although the malageuña came from the tradition of the fandango, a fast triple-meter folk dance, it acquired a more flexible, improvisatory sound that divorced it from its dance roots and transformed it into the cante libre idiom. Lecuona’s “Malagueña” follows this trajectory, including slow ornamental passages interspersed with lively bursts of activity that heighten the song’s intensity. Typical of malagueñas, Lecuona’s has haunting Phrygian modal inflections, giving it a distinctive Spanish flair that continues to appeal to listeners today.
Huapango JOSÉ PABLO MONCAYO GARCÍA
Today, Moncayo is revered as one of the leading exponents of Mexican nationalism in musical style, important in the first half of the twentieth century. While his name is not as familiar to US audiences as perhaps that of Carlos Chávez and Silvestre Revueltas, he played an important part in the musical life of Mexico until his premature death in 1958 at the age of 45. In addition to his activities as
PROGRAM NOTES
a composer, he also played percussion and piano with symphony orchestras, and was a well-respected and active conductor until his death. He entered the National Conservatory of Mexico in 1929 and received a thorough formal education in music, becoming, along with three of his compatriots, a protégé of Chávez. Turning to musical composition early on, he premièred some of his compositions by 1931, subsequently joined several symphony orchestras, and finally took the baton as a conductor in 1936 at the age of twenty-four. He went on to attend the prestigious Tanglewood Music Center in Massachusetts on scholarship in 1941. There he met such luminaries as Aaron Copland, Serge Koussevitzky, and the young Leonard Bernstein.
About that time his well-known and most performed composition, Huapango, received its first performance. It is based upon popular themes from the Mexican state of Veracruz, on the Gulf of Mexico. Chávez had sent Moncayo there to collect music indigenous to the area, and the orchestra fantasy based upon some of those themes was the result. A huapango is a Mexican folk dance and a musical style, played by a small group of instrumentalists, a violin and two different sizes of guitars. And, of course, the varying rhythms of the traditional huapango match the complex dance steps of the dancers.
Moncayo, like all good composers, demonstrates a formidable mastery of making much of little material. The challenge here is especially large in pulling together a medley of pre-existing tunes, and making a coherent whole of them. His sparkling and imaginative orchestration keeps the interest up—its light and colorful palette is strongly redolent of much French music, and why not, so much great Hispanic music was written by Frenchmen, it seems. The lilting, galloping rhythm, with familiar Mexican syncopations, unstintingly carries us through a series of charming solos until a
softer and slower middle section, initially carried by the woodwinds, provides some contrast. After a bit, the tempo kicks up again, and an exciting, breezy drive to conclusion ensues.
George Gershwin was arguably the most successful and talented of America’s composers of popular music. However, the importance of socalled “serious” or “classical” musical interests and training in his life is quite unprecedented for someone who enjoyed Gershwin’s kind of success. He certainly was not some sort of untutored musical genius who later sought “legitimacy” after having proven himself in the popular world. Rather, early on, as a young boy, he studied and performed under traditional piano teachers the music of composers such as Chopin, Liszt, and Debussy. He had begun the study of music theory, orchestration and musical form with a teacher at the age of seventeen, and youthful compositions from that time include a string quartet and a modest opera. Before the Rhapsody in Blue première he accompanied a classical singer at a major recital of standard concert vocal repertoire, and did so again a few years later.
In 1928 he journeyed to Paris, visited with the famed teacher of composition, Nadia Boulanger, as well as Maurice Ravel. However, both rejected him as a student, more or less afraid to compromise the genius evident in his burgeoning success. While in Paris he met and admired the music of eminent composers such as Prokofiev, Poulenc, and Milhaud. Long after he had achieved the kind of success that any popular composer would have envied, he assiduously studied formal composition with established
PROGRAM NOTES
teachers, including Wallingford Riegger and Henry Cowell. In 1932, after his smashing successes with Rhapsody in Blue, An American in Paris, and the Concerto in F, he began composition lessons with Joseph Schillinger, whose esoteric, mathematically based system of musical composition was somewhat the rage at the time.
It is at that time, after a vacation in Cuba, that Gershwin wrote the orchestral piece, Rumba, a reflection, not only of his encounter with the traditional musical styles of the country, but also of the burgeoning popularity of Hispanic music in the U.S. in general—think of Aaron Copland’s works in this context, as well. Rumba was a big hit at one of his outdoor concerts in New York City’s
Lewisohn Stadium. While carefully written, its popularity may have surprised him, so he re-titled it as the somewhat more sophisticated “Cuban Overture.” It’s crafted in a straight-forward fashion: fast section, slow interlude, and return to the beginning, with the chief melody in the fast section making a strong reference to a very popular Cuban song. There’s also a somewhat truncated allusion to the immortal La Paloma. The slower, meditative middle part will remind many of similar materials in An American in Paris, rather than a visit to Havana, but it’s of no matter—it’s all pure Gershwin with a southern lilt.
With a career spanning 25 years, the critically acclaimed all-female Mariachi Divas de Cindy Shea specializes in providing professional mariachi music for live concerts, commercials, television, recordings. two-time GRAMMY Award winner, with eight GRAMMY nominations and three Latin GRAMMY nominations, the ensemble continues to expand the scope of mariachi music, delighting audiences from around the world.
Founded in 1999 by musical director and trumpet player Cindy Shea, Mariachi Divas is celebrated for its innovative and eclectic array of music ranging from mariachi classics to jazz and pop. Mariachi Divas is known for its sophisticated, smooth, and refined, elegant musical style. With an established recording track record, their discography includes twenty professional full-length album releases co-produced and directed by founder Cindy Shea.
https://www.mariachidivas.com/
Saxophone
FULLERTON JAZZ ORCHESTRA
Spencer Bowie, alto, soprano, flute
Derek Phillips, alto
Victor Gonzales, tenor
Cristian Perez, tenor
Drake Bolt, baritone
Trumpet
Dominick Bonelli
Edward Castaneda
Julian Quiroz
Jacob Wallenbrock
Brian Watson
Trombone
Matheu Padua
Nick Perez
Paulina Ramirez
Eddie Bonilla,
Rhythm Section
Mali Guillen, guitar
Jose Manu Silva Vega, Kevin Karagozian, Angelina Salcedo, bass
Jiayu Cao, drums and percussion
Bradley Harris, drums and percussion
MARIACHI TITANS
Mariachi Titans, Cal State Fullerton’s firstever mariachi ensemble, is dedicated to empowering the Latinx/Chicanx community at CSUF. Our mission is to bring people together and foster cultural pride and unity by sharing our cultural heritage. Through each performance, we celebrate the richness of Latinx/Chicanx culture and aim to inspire a sense of community on campus.
Mariachi Titans, el primer conjunto de mariachi de Cal State Fullerton, se dedica a empoderar a la comunidad Latinx/Chicanx en CSUF. Nuestra misión es unir a las personas y fomentar el orgullo y la unidad culturales compartiendo nuestro patrimonio cultural. A través de cada actuación, celebramos la riqueza de la cultura Latinx/Chicanx y buscamos inspirar un sentido de comunidad en el campus.
vihuela violine
Mauricio Romero-Favela, trumpet guitarrón
Violin
Emily Arnold
UNIVERSITY SYMPHONY ORCHESTRA
Charlotte Bouck
Matthew Fang
Ruisi Gong+
Miriam Ibanez
Daryuish Khashayar
Alicia Kuch
Haesol Lee
Jordan Nava
Tan Phuoc Ngo
Soo Hyun Park
Joshua Teng
Hannah Thai
Margaret Wu*
Shaohong Zhou
Viola
Esra Arin
Yangyu Chen
Ethan Gathe+
John Harris
Ty Kanauchi
Jacob Mladineo
Dani Tam
Jieming Tang
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
Piccolo
Crystal Lee
Flute
Daniella Arditti+
Rogelio Justo
Crystal Lee
Oboe
America Dionati
Stephanie Marquez+
Johnston Nguyen+
Clarinet
Daniel Hernandez+
Yilin Li
Manami Ogura
E-Flat Clarinet
Yilin Li
Bass Clarinet
Jesús Santiago
Bassoon
Nayalin Guzman
Emma Johnson Miranda+
Adrian Wu
Contrabassoon
Adrian Wu
Horn
Andrew French
Grant Laren+
Timothy Moy
Quintin Toma
English Horn
Johnston Nguyen
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
Keyboard
Daria Muzanova
Harp
Brian Noel
*Concertmaster
+Principal
ABOUT THE DIRECTOR
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.
ABOUT THE DIRECTOR
Cal State Fullerton Professor of Music Bill Cunliffe is a jazz pianist, composer, Grammy Award-winning arranger and record producer. He is known for blending jazz with classical and pop genres based on a deep knowledge of, and a lively curiosity about, musical styles. As a solo artist and bandleader, he has more than a dozen albums to his name and has appeared on numerous recordings. He grew up in Andover, Massachusetts and began piano lessons with his mother at the age of eight. At 20, having been captivated by the music of Oscar Peterson, he changed his focus from classical music to jazz. As an undergraduate at Duke University, he studied with jazz legend Mary Lou Williams.
At the Eastman School of Music, he studied jazz piano with Bill Dobbins and arranging with Rayburn Wright. In 1989, he won the Thelonious Monk International Piano Competition.
Cunliffe began his career as pianist and arranger with the Buddy Rich Big Band and worked with Frank Sinatra, Joe Henderson, Freddie Hubbard, Benny Golson and James Moody. Later he toured and recorded with the Clayton Brothers and the Clayton-Hamilton Jazz Orchestra, drummer Joe La Barbera, trumpeter Terell Stafford and jazz flutist Holly Hofmann.
Cunliffe’s score for Kareem Abdul-Jabbar’s 2011 documentary “On the Shoulders of Giants” received two NAACP nominations for Outstanding Album and Outstanding Group or Duo Collaboration. In 2009, he was awarded a Grammy for Best Instrumental Arrangement and has received four other Grammy nominations including two for Best Instrumental Composition. The Los Angeles Jazz Society honored Cunliffe in 2010 with its Composer/Arranger Award.
In addition to teaching full time, Cunliffe is a longtime faculty member of the Skidmore Jazz Institute and the Vail Jazz Workshop.
Drummer and composer Rodolfo Zuñiga is a sought-after sideman and educator originally from San José, Costa Rica. He has shared the stage with Gary Campbell, Ira Sullivan, Bill Mays, Silvano Monasterios, Tomasz Dabrowski, Stephen Scott, Troy Roberts, Roxana Amed, Martin Bejerano, Camila Meza, John Hart, Michael Dease, Rotem Sivan, Melissa Aldana, Andy Laverne, Othello Molineaux, Randy Brecker, Lew Tabackin, Don Friedman, Jonathan Kreisberg, Benny Golson, and Slide Hampton, to name a few.
As an educator, Zuñiga has a wealth of experience, holding previous positions at Florida International University, Broward College and Miami Dade College teaching Jazz, Music Production and Music Business. He has performed and presented at the Jazz Education Network convention and has been a Thelonious Monk Institute Clinician. He has taught masterclasses at The Royal Conservatory of Music in Denmark, The American Modern School of Music in Paris, The Universidad de las Americas in Ecuador, The New World School of the Arts in Miami, The University of Costa Rica, and the Symphonic Conservatory in San José. As a sideman, he has toured the world with highly creative jazz projects performing in festivals throughout the world.
Zuñiga approaches teaching and performing with an open mind and a hunger to maintain a constant expansion of knowledge in areas such as the intersection of jazz and world music, music technology and nurturing diversity in jazz education. He is a proud Zildjian Cymbals and Vic Firth Sticks endorser.
$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
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
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
Bent Frequency Duo Project with CSUF New Music Ensemble
November 6 • Meng Concert Hall
Michael Yoshimi, clarinet
November 8 • 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 Mariachi Divas 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
