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!
El Fiel Enamorado ..........................................................
Miguel Matamoros (1894-1971) arr. Miguel Astor (b. 1958)
Rose Taylor, graduate assistant conductor
Only in Sleep Ēriks Ešenvalds (b. 1977)
Armand Padilla Nguyen, soloist
Water Fountain
Nathan Brenner and Merrill Garbus arr. Kristopher Fulton
Intermission
*****
University Singers
Robert Istad, conductor
Bekka Knauer, graduate assistant conductor
David Bergstedt, collaborative pianist
Whoever You Are ..........................................................................
Jeffrey Derus (b. 1989) text by Jalaluddin Rumi
Two Motets, op. 29, II. Schaffe in mir Gott ...................... Johannes Brahms (1833-1897)
Jumalo .................................................................................... Laura Jekabsone (b. 1985)
His Eye is on the Sparrow arr. Zanaida Robles
Jubilate Deo ............................................................................... Hyowon Wood (b. 1974)
PROGRAM NOTES
Wild Forces
JAKE RUNESTAD
Wild Forces, composed by Jake Runestad in 2015, is the second movement of a larger work called The Hope of Loving. This six movement work pulls poetry from Daniel Ladinsky’s Love Poems from God: Twelve Sacred Voices from the East and West Wild Forces uses Ladinsky’s translation of a poem by St. Francis of Assisi, the saint of animals and the environment. Runestad creates a liberating freedom through a driving rhythmic force for the heartbeat of the piece.
There are beautiful, wild forces within us. Let them turn millstones inside filling bushels that reach to the sky.
-St. Francis of Assisi, trans. Daniel Ladinsky
Oh dear woods, oh dear Happy freedom!
Laudate Dominum LEVENTE GYÖNGYÖSI
The Hungarian composer Levente Gyöngyösi is known for composing Treble chorus music. This Laudate Dominum, composed for SATB, opens ambiguously before rushing into a rhythmic motive that keeps the entire piece together. He masterfully reworks thematic material to create entire new sections of music, depending on which text of the Laudate he is setting.
O care selve
LUDWIG VAN BEETHOVEN, ARR. GIACOMO MEZZALIRA
Though Beethoven is known mostly for his bombastic orchestral works, such as his symphonies, he also composed German Lieder for solo voice. He wrote O care selve in 1795 while he was working on his reputation as a composer and performer in Vienna. The simple but beautiful melody has been set by Giacomo Mezzalira with the addition of modern harmonic style and the inclusion of a reworked piano accompaniment.
O care selve, o cara Felice libertà!
Qui, se un piacer si gode, Parte non v’ha la frode, Ma lo condisce a gara Amore e fedeltà.
O care selve, o cara Felice libertà!
Oh dear woods, oh dear Happy freedom!
Here, if a pleasure is enjoyed, There is no falsehood, But he becomes excited in a race to Love and fidelity.
Laudate dominum in excelsis. Laudate omnes angeli eius, Laudate omnes virtutes eius, Laudate eum, sol et luna, Laudate, omnes stellae lucentes. Alleluia! Laudate dominum de caelis!
Praise the Lord in the highest. Praise all his angels, Praise all his virtues Praise him, sun and moon, Praise, all shining stars.
Alleluia! Praise the Lord from heaven!
Music of Stillness
ELAINE HAGENBERG
Many composers enjoy setting Sarah Teasdales’ poetry to music. Elaine Hagenberg sets her famous poem, There will be rest. The title, Music of Stillness, focuses the listener on the theme that this piece personifies. She masterfully combines dynamic phrasing with a slow, tuneful harmonic progression that demands the listener to be at peace.
There will be rest, and sure stars shining Over the roof-tops crowned with snow, A reign of rest, serene forgetting, The music of stillness holy and low. I will make this world of my devising Out of a dream in my lonely mind. I shall find the crystal of peace, –above me
Stars I shall find.
- Sara Teasdale
El Fiel Enamorado MIGUEL MATAMOROS, ARR.
PROGRAM NOTES
MIGUEL ASTOR
Miguel Astor arranged this popular tune, originally composed by Miguel Matamoros and performed by his Trio Matamoros. This music group popularize the genre Son cubano, a style of song that combine Cuban and West African musical influences. El fiel enamorado, written in the Son cubano style, is a first-person narrative from a man who wants to be closer to his beloved.
Tan solo persiguiendo tu cariño. Yo vivo desafiando el porvenir Y mientras tenga en mis venas sangre Te seguiré queriendo, te seguiré adorando Y serás para mi todo mi corazón
Pica mi caballo, que está en la puerta, allá del camino real
Quisiera, blanca paloma, subir a tu palomar Junto contigo volar, aunque a mí me parta un rayo Y se muera mi caballo que está en la puerta, ya del camino real
Quisiera ser tu bohío, tu almohada y tu tocador
Quisiera ser esa flor, que pronto vas a regar Y montarte en el caballo que está en la puerta, ya del camino real
Quisiera ser de tu pecho, el alfiler que te pones
Quisiera ser los botones de tu frondoso rosal Y montarte en el caballo que está en la puerta, ya del camino real
Only in pursuit of your affection I continue to challenge the future, And as long as I have blood in my veins I will continue to love you, I will continue to adore you, And all my heart will be for you.
Spur my horse that is at the door over there in the high road. I would like, dove, to come up to your pigeon loft. Fly together with you, even if a lightning bolt breaks me, And my horse be killed that is at the door over there in the high road.
I would like to be your hut, your pillow, and your dresser. I would like to be that flower that you are about to water, And place you upon my horse that is at the door over there in the high road.
I would like to be the pin that you wear on your chest. I would like to be the flower buds in your blooming rose bush, And place you upon my horse that is at the door over there in the high road.
Only in Sleep ĒRIKS EŠENVALDS
The University of Louisville Collegiate Chorale and Cardinal Singers commissioned Only in Sleep in 2010. A soprano soloist begins the poem as the chorus accompanies her on a soft hum. Throughout the piece, the chorus sets the tone of a dream through a soft accompaniment as the soloist recollects their stories from childhood.
Only in sleep I see their faces, Children I played with when I was a child, Louise comes back with her brown hair braided, Annie with ringlets warm and wild.
Only in sleep Time is forgotten— What may have come to them, who can know?
Yet we played last night as long ago, And the dollhouse stood at the turn of the stair.
The years had not sharpened their smooth round faces, I met their eyes and found them mild— Do they, too, dream of me, I wonder, And for them am I too a child?
-Sara Teasdale
Water Fountain
NATHAN BRENNER AND MERRILL GARBUS, ARR. KRISTOPHER FULTON
Experimental musician Merril Garbus wrote Water Fountain in 2013 with co-writer Nathan Brenner during a drought. Garbus was inspired to write this song as she considered what the world would be like without mutual
PROGRAM NOTES
aid or social support. Her band, The Tuneyards, premiered the song. Fultun wrote this arrangement for the Vancouver Youth Choir, who premiered it at ACDA National in 2019.
No water in the water fountain
No side on the sidewalk
If you say Old Molly Hare, whatcha doin’ there?
Nothing much to do when you’re going nowhere
Woohaw! Gotcha
We’re gonna get the water from your house.
No water in the water fountain
No wood in the woodstock
And you say old Molly Hare
Whatcha doin’ there?
Nothing much to do when you’re going nowhere
Woohaw! Gotcha
We’re gonna get the water from your house.
Nothing feels like dying like the drying of my skin and lawn
Why do we just sit here while they watch us wither til we’re gone?
I can’t seem to feel it
I can’t seem to feel
I’ll kneel the cold steel
You will ride the whip you’ll ride the crack
No use in fighting back
You’ll sledge the hammer if there’s no one else to take the flak
I can’t seem to feel it I can’t seem to find it
Your fist clenched my neck
We’re neck and neck and neck…
No water in the water fountain
No phone in the phone booth
And you say old Molly Hare Whatcha doin’ there
Jump back, jump back Daddy shot a bear
Woohaw! Gotcha
We’re gonna get the water from your house
I saved up all my pennies and I gave them to this special guy
When he had enough of them he bought himself a cherry pie
He gave me a dollar A blood-soaked dollar
I cannot get the spot out but
It’s okay it still works in the store
Greasy man come and dig my well
Life without your water is a burning hell
Serve me up with your home-grown rice
Anything make me look nice
Se pou zanmi mwen, se pou zanmi mwen
And the two-pound chicken tastes better with friends
A two-pound chicken tastes better with two
And I know where to find you so
Listen to the words I said
Let it sink into your head
A vertigo round-and-round-and-round
Now I’m in your bed
How did I get ahead?
Whoop!
Thread your fingers through my hair
Give me a dress
Give me a dress
I give a thing a caress
Would-ja
Listen to the words I say!
Sound like a floral bouquet
A lyrical round-and-round Okay
Take a picture it’ll last all day,
Run your fingers through my hair
Do it ‘til you disappear
Gimme your head!
We’re gonna get the water from your house, your house.
Whoever You Are
JEFFREY DERUS
text by Jalaluddin Rumi
Jeffrey Derus is a nationally recognized composer, local music educator, and CSU Fullerton School of Music alum. His work I Will Go was the winning composition of the 2023 ACDA Brock Prize for Professional Composers. He is also a recipient of a Helene Wurlitzer Foundation of New Mexico residency and a Britten-Pears and Holst Foundation residency in Aldeburgh, UK. The following notes were made by the composer himself.
Whoever You Are is a piece that answers a cry with a call. This is a call of internal activism. We all want to do what we can to help others but often forget to help ourselves first. As a response to the first movement of Brahm’s Schaffer in mir, Gott, Rumi writes from the lens of a higher power, inviting the listener
PROGRAM NOTES
to join the call of inner work, “Come, come, whoever you are.” Given the time in which we live, we focus heavily on outward notions of love and support for others. But if we focus on how to heal ourselves, we will hold space with such openness and compassion with a greater love that we have only dreamed of knowing. Rumi says, “Ours is not a procession of despair” but one of unconditional selflove. We can change the world by changing ourselves first. Whoever you are, you deserve the love you so freely give.”
Come, Come, Whoever You Are Wanderer, worshiper, lover of leaving. It doesn’t matter.
Ours is not a procession of despair. Come, even if you have broken your vows a thousand times Come, come Whoever you are.
Two Motets, op. 29, II. Schaffe in mir Gott JOHANNES BRAHMS
Schaffe in mir, Gott is an undisputed gem of the choral music world. Written in the earlier stages of Brahms’ career, the German composer had just undergone a series of disappointing setbacks including poor reception of his self-performed first Piano Concerto, a failed engagement, and consternation in the musical ideologies and social circles of the time. One can imagine that this gentle text, asking for God’s comfort and sustenance, was in response to the turmoil of Brahms’ tumultuous life. The acappella work premiered in 1860, and the mastery of counterpoint is fully on display throughout a variety of compositional techniques, beginning with a tender homophonic setting of the first two stanzas of the Psalm 51 text. In stark contrast, the next section is a complex fugue, according the convoluted intricacies of human err with the desperate fear of being abandoned for one’s sins. After this emotional outburst, the next section returns to sweet simplicity, asking for peace. Finally, the joyful sustenance of God’s comfort realizes itself in another fugue, this time energetic and jubilant.
Schaffe in mir, Gott, ein rein Herz, und gib mir einen neuen, gewissen Geist.
Verwirf mich nicht von deinem Angesicht und nimm deinen heiligen Geist nicht von mir.
Tröste mich wieder mit deiner Hülfe, und der freudige Geist erhalte mich.
Create a pure heart within me, O God, and grant me a new and sure spirit.
Do not drive me away from your presence, and do not take your Holy Spirit from me.
Comfort me once again with your assistance, and sustain me with your joyful spirit.
Jumalo
LAURA JEKABSONE
Latvian composer Laura Jekabsone is the soprano and artistic director of famed a cappella group Latvian Voices. Her music has been performed internationally by ensembles such as The Real Group (Sweden), the Riga Cathedral Girls Choir Tiara (Latvia), Magi Ensemble (USA), and the Incantare Coro Femenino (Argentina). While her repertoire is often voiced for only treble singers, Jekabsone has instead arranged Jumalo featuring the bass section as narrators of this beloved folk tale. The title “Jumalo” has no direct English translation, but works as a popular refrain in folk songs that speak of prosperity, wealth, and fertility. This story features a newly prosperous young man who has just arrived home to the small village of Kurzeme. He boasts of his new horse, and the beautiful golden bridle he purchased in the big city of Riga. This particular folk tale speaks of a prosperous young man, who had successfully bartered a beautiful steed and golden bridle back to his small village. The percussion incorporated by both the drum and the choir depict the clop of the horses’ hooves, and the growing dynamics between the two sides of the choir represent the gossiping villagers speculating on the village boy’s new wealth.
Zirgs pie zirga rats pie rata
Jumalo, jumalo
Viss uz Rigu aizripoja
Tie atvede Kurzeme
Visuz rigus darguminus
PROGRAM NOTES
“Kur tu nemi teva dals?
Tik razenu kumelinu.”
Riga pirku naudu devu
Ar tiem zelta iemaukteim
Pavadina galina rita zvaigzne ritinaj
Horse to horse, wheel to wheel Jumalo, jumalo
It all rolls to Riga They brought to Kurzeme All of Riga’s treasures
“Where did you get it, father’s son? A colt this big.”
“In Riga I bought and gave money for those golden bridles at the end of the leash.”
His Eye is on the Sparrow ARR. ZANAIDA ROBLES
While many confuse His Eye is on the Sparrow for a spiritual, it is actually a hymn composed by Charles H. Gabriel, a 21st Century composer of thousands of American gospel tunes. The lyricist was his artistic contemporary Civilla D. Matin, a CanadianAmerican hymn-writer whose husband was a Baptist minister. Inspired by passages in both the Old Testament and New Testament, Martin crafted the text to focus on a mixture of verses in Psalms and Matthew. While already popular in American churches, the hymn gained national recognition from Broadway great Ethel Waters in the 1950 production of Carson McCuller’s The Member of the Wedding. Local California composer Dr. Zanaida Robles’ arrangement was published in 2005, while she was still a graduate student at CSU Northridge. It is inspired by her own experience as a young Black singer in church and her first Black choral educator Dr. Paul Smith. Robles states “The words “I sing because I’m happy, I sing because I’m free” represent the joy and freedom I experienced being fully seen and heard by my teacher on a daily basis.”
“Let not your heart be troubled.” His tender word I hear, And resting on His goodness, I lose my doubt and fear. Though by the path He leads me, but one step I may see:
His eye is on the sparrow, and I know He watches me. Why should I feel discouraged? Why should the shadows come? Why should my heart be lonely And long for heav’n and home, When Jesus is my portion, A constant friend is He. His eye is on the sparrow, And I know He watches me.
His eye is on the sparrow, and I know He watches me. I sing because I’m happy— I sing because I’m free— His eye is on the sparrow, and I know He watches me.
His eye is on the sparrow, and I know He watches me.
Jubilate Deo HYOWON WOO
Born in South Korea, composer Hyo-Won Woo is a director and teacher whose works are performed across the globe. Her signature compositional style marries Korean traditional music with Western contemporary choral music as seen in today’s performance of her Jubilate Deo. In the Catholic liturgy, “jubilate deo” is number 99 in the Latin Vulgate, with its direct translation found in Psalm 100. Woo’s setting of this text is exuberant, integrating the “joyful noise” with Korean syllabic and phonic effects like “ta ttang” and “tu-ki tung.” Woo divides the text into two distinct sections, the opening and closing jubilate portion, and the penitent servite middle section. While the piece is bookended with a quick tempo and exciting rhythmic patterns, the slower middle portion is thoughtful and nuanced, offering the listener an opportunity to come before the Lord in humility and quietness before rejoicing once again.
Jubilate Deo omnis terra Servite Domino, in laetitia Introite in conspectu ejus in exsultatione.
Make a joyful noise to the Lord all ye lands Serve the Lord with gladness: Come before his presence with singing and exultation.
Soprano 1
Kaitlin Chheng
Hannah Park*
Sara Preston
Sarah Raber
Rey Riney
Gabby Roberts
Peyton Slaven
Hannah Weisman
Soprano 2
Kate Bowles*
Sarah Gediman
Kaitlyn Gooding
Tabetha Mora
Sonya Ohan
Nicole Rodriguez
Rose Taylor
Marissa Valenzuela
Jing Wang
Soprano I
Gabby Atkinson
Erika Jackson*
Amber Napoli
Quintessa Wedell
Soprano II
Alliah Anid
Sophia Khurana
Em Nguyen
Rose Taylor*
CONCERT CHOIR
Alto 1
Elizabeth Butler
Emily Hernandez
Malila Hollow
Emily Morley*
Armand
Padilla Nguyen
Kelsey Rhebergen
Abby Tyree
Sidney Wu
Alto 2
Alexis Farah*
Annie Guzman
Lindsey Lacanilao
Madeline Miranda
Marilyn Negron
Jenna Scotese
Korie Smith
Veronica Torres Diaz
Rachel Williams
Tenor 1
Anthony Alcain
Hector Jake Esteva
Vincent Navarro
Justin Parron*
Tung Tran
Tenor II
Peter Aluna
Michael Eskovitz
John Nguyen*
Jack Nisbet
Nathan Oelkers
Adam Rooney
Michael Vargas
Baritone
Brenden Baxter
Emerson Kimble
Jason Magallanes
Allan Morales
Jeremy
Peña-Barrios
Mason Schoenfeld
David Wickline
Bass
Derrick (Kro)
DeAndrade
Scott Freeman*
Jack Kendig
CJ Koehn
Ben Reyes
Justin Senneff*
Chris Sun
UNIVERSITY SINGERS
Alto I
Katelyn Cruz
Martina Goldring
Savana Thomas
Melanie Whiter
Alto II
Joy Dorko
Bekka Knauer*
Katelyn Pacpaco
Sarah Turner
Tenor I
Aron Demarest
Alan Garcia*
Kenson Gomez
Jeremy Lee*
Tenor II
Joshua Evans
Steven McCann*
Alexei Rehorn
Bryce Rivera
Baritone
Timothy Cervenka
Adam Daruvala
Gerrit Hoevers
Adrian
Rangel-Sanchez*
Bass
Bryson Huang
Fernando Muñoz*
Miles Rojo
Mitchell Sampang
* Section Leader
Robert Istad
Robert Istad is Director of Choral Studies at California State University, Fullerton and Artistic Director of Pacific Chorale. He regularly conducts and collaborates with Pacific Symphony Orchestra, Musica Angelica Baroque Orchestra, Sony Classical Records, Yarlung Records, Berkshire Choral International, and Long Beach Symphony Orchestra. He 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 he 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, he 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.
Istad 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, 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 William Dehning, John Alexander, and Jon Hurty. He serves on the Executive Board of Directors of Chorus America, and as Dean of Chorus America’s Conducting Academy, and is in demand as an adjudicator, guest conductor, speaker, and clinician throughout the nation.
Christopher Peterson
Christopher Peterson is a teacher, conductor, choral clinician, author, editor, and choral arranger of music and books published in the United States and around the world. In his over thirty years as a music educator he has taught in elementary, middle school, high school, church, community, festival, and collegiate settings. He earned the Bachelor of Science in Music Education from the University of Southern Maine in choral and instrumental music education and taught music for nine years in the public schools of Maine. He earned the Master of Music in Choral Conducting degree at the University of Maine, and the Doctor of Philosophy in Music Education and Choral Conducting at Florida State University.
At CSUF Peterson trains and mentors undergraduate and graduate choral music educators and conductors and directs the Concert Choir and the Singing Titans Chorus. In May of 2019 he was honored as the University-wide recipient of the CSUF Carol Barnes Award for Excellence in Teaching. He has served as State Choral Representative and Southern Section President for the California Music Educators Association (CMEA), as well as the Western Division Representative for the National Association for Music Education’s (NAfME) Council for Choral Education. He has also served the California Choral Directors Association in various offices, including CCDA President since 2021. His collegiate textbook “RESONANCE: The ART of the Choral Music Educator” is published by Pavane and is being used across the United States to train future choral music teachers and conductors.
Peterson has been invited to teach, judge, and conduct choirs in more than thirty US states, five Canadian Provinces, and nine countries including China, England, Sweden, Japan, Germany, New Zealand, and Holland, and has conducted All-State Choirs across the nation including Maine, North Carolina, Oregon, Wisconsin, and California.
Peterson also holds the position of Director of Music at Irvine United Congregational Church in Irvine, CA. His “hobby” for many decades has been enjoying singing barbershop harmony, and he is a BHS District Quartet Champion baritone, a top-5 medalist chorus director, and a four-time gold medalist with the Masters of Harmony, nine-time International Men’s Chorus Champions of the Barbershop Harmony Society.
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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
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
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
