CAL STATE FULLERTON
SYLVIA A. ALVA
President, California State University, Fullerton
AMIR H. DABIRIAN
Provost and VP for Academic Affairs
ARNOLD HOLLAND, EDD
Dean, College of the Arts
CSUF SCHOOL OF MUSIC
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
Ning An – piano
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
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
William Lemley – Audio Technician
Jeff Lewis – Audio Engineer
Chris Searight – Music Instrumental Services
Paul Shirts – Administrative Assistant
Elizabeth Williams – Business Manager
* denotes Area Coordinator facebook.com/CSUFMusic instagram.com/CSUFMusic soundcloud.com/csufmusic music.fullerton.edu
Welcome to the Spring 2024 Performing Arts Season at Cal State Fullerton’s College of the Arts. Whether you are a first-time or long-time patron, a friend, or parent to one of our exceptional students, thank you for joining us. Your support makes all the difference to their success.
I am pleased to present another semester of programming powered by the incredible gifts of our Art, Dance, Music, and Theatre students. This spring, the School of Music starts the season with a trio of concerts February 16–18 by artists-in-residence Talich Quartet; faculty artist Damon Zick and his Quarteto Nuevo featuring fellow faculty artist Bill Cunliffe; and University Symphony Orchestra. In May, University Symphony Orchestra and Symphonic Chorus will close the concert season with a performance of Mozart’s emotionally charged “Requiem.” Begovich Gallery presents the Begovich Visual Arts Lecture Series with visiting artists’ talks throughout the semester, including multidisciplinary artist Hings Lim on February 22, whose work will also be exhibited at Grand Central Art Center. The Department of Theatre and Dance begins their season in March with “Marisol,” a darkly comedic fantasy where the title character must find hope in a post-apocalyptic Brooklyn where angels are taking up arms and coffee is extinct. Hilarious, multiple Tony award-winning modern musical send-up “Urinetown” closes the theatre season just as CSUF’s dancers and choreographers take to the stage for “Spring Dance Theatre.”
When our students demonstrate their talents on stage and in the studio, their creative energy is undeniable, but the sacrifice and struggle it took to get there is often less perceptible. We can’t see the hours spent creating, the days of rehearsals, and the years of practice. For many students, the sparks of innovation and artistry that drove them to pursue the arts are often diminished by the high cost of an education. The Dean’s Fund for Excellence provides support for students in need through scholarships, artist residencies, and other financial assistance, ensuring them the opportunity to thrive in the arts. If you believe in their sparks of brilliance, please consider a donation of any amount to the Dean’s Fund for Excellence.
Thank you again for joining us this season and for championing the arts in higher education. I hope to see you at one of the college’s many performances and events this spring.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
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PROGRAM
Singing Titans
Christopher Peterson, conductor
Adrian Rangel-Sanchez, graduate assistant conductor
David Bergstedt, collaborative pianist
Sing to the Lord .............................................................................
Dan Davison (b. 1956)
Ave Maria Camille Saint-Saëns (1835–1921)
Sisi ni moja (We Are One) .........................................................
Bryce Rivera, djembe
Alto Rhapsody, op. 53 .....................................................
Joni Prado, alto
Music in the Air
Jacob Narverud (b. 1986)
Johannes Brahms (1833–1897)
Traditional Spiritual arr. Ryan Murphy (b. 1971)
Time Jennifer Lucy Cook (b. 1988)
These Things Shall Never Die...................................................... Mark Burrows (b. 1971)
Hello Mary Lou .............................................................................................. Gene Pitney arr. David Wright (b. 1949)
Walk in Jerusalem ..............................................................................
Traditional Spiritual arr Rollo Dilworth (b. 1970)
Intermission
*****
*****
PROGRAM
Titan Voices
Kimberly Nason, conductor
Rose Taylor, graduate assistant conductor
Mark Salters, collaborative pianist
“How Can I Keep from Singing?”
This semester, our songs are all about singing. It’s as simple as that. We sing because we can’t help ourselves. We sing in response to difficult times or when we feel wonder or joy. We were born to sing. We sing like the birds because it is part of who we are. As the song says, “I started out singing” and I keep singing to share who I am and to create something beautiful with my friends. We hope you keep on singing, too. In the car. In the shower. Wherever you feel like making music. It’s a glorious thing to do!
How Can I Keep from Singing?
There Will Come Soft Rains.....................................................
Issac Chyun, oboe
I Started Out Singing
Laudate pueri
arr. Rollo Dilworth
Kevin A. Memley (b. 1971)
Jocelyn Hagen (b. 1980)
Felix Mendelssohn (1809-1847)
Songbird .......................................................................................Sarah Quartel (b. 1982)
Spark (To Music)
Eric William Barnum (b. 1979)
Where the Light Begins ................................................................
Susan LaBarr (b. 1981)
Psallite
Kyle Pederson (b. 1971)
.................................................................
PROGRAM NOTES
Sing to the Lord
Dan Davison
This energetic composition sets a text adapted from the Psalms. The piano part is written to be played by two pianists and provides a brilliantly rhythmic accompaniment to the voices. The multi-metric rhythm of this song is meant to enhance the text by portraying a God who is majestic, active, and powerful.
Ave Maria
Camille Saint-Saëns
Camille Saint-Saëns was a French Romantic composer, who is often remembered for his composition “The Swan” from The Carnival of the Animals. He composed Ave Maria in 1860 when he was in his mid-twenties and one can hear musical similarities between the two pieces: a rippling accompaniment accompanies a lush sustained melody. The text for this work is in Latin and translates to “Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.”
Sisi ni moja (We Are One)
Jacob Narverud
Jacob Narverud composed this piece in 2015 to celebrate unity and community across cultures. Narverud details the conception of the title of the piece: “I sought to write a text that would reflect all people and all cultures. I asked [one of my students from Kenya] to assist me with a Swahili phrase that I could combine with a new original text, which would translate to ‘We are One.” The combination of the text with a rhythmic and recognizable chord progression create a popular-style vibe and help create an energetic drive that propels the message of the text.
Alto Rhapsody, op. 53
Johannes Brahms
This piece was originally composed by German Romantic composer Johannes Brahms for contralto soloist, TTBB chorus, and orchestra. The piece is a setting of verses from Goethe’s poem Harzreise im Winter (Winter Journey in the Harz). It was
written in 1869, as a wedding gift for Robert and Clara Schumann’s daughter, Julie. Brahms scholars have speculated that the composer may have had romantic feelings for Julie, which he may have integrated into the text and music of the Alto Rhapsody. The text, with its portrayal of a poor soul who is urged to throw off the shackles of his suffering, has powerful parallels in Brahms’s life and character. The Singing Titans are joined by Dr. Joni Prado and several guest singers in this performance.
Music in the Air
Traditional Spiritual, arr. Ryan Murphy
This melody and text is an African American spiritual, a genre of music that was created and sung by the enslaved populations in the United States. Despite the grim circumstances of slavery, spirituals often focused on positive and optimistic messages, paralleling ideas of escaping slavery with religious images of an afterlife or promised land. This spiritual promotes a message of encouragement through music itself as it states “When I’m alone, when I’m afraid, when it’s dark, when I’m weary, I hear music in the air!”
Time
Jennifer Lucy Cook
“Time, like money or borders between one country and another, is one of those funny human-made concepts that dictate our lives but are fundamentally meaningless if we didn’t all agree to go along with it. And yet, we experience aging, the changing of seasons, and growth, undeniably. The line between time’s reality and its invention is blurry, and there was no better way I could think of to depict that than by writing a repeating lyric that erodes as the piece unfolds. As lyrics disappear, phrases take on new meaning, like the way a 30th birthday differs from a fifth birthday, or how old memories can appear sharper than yesterday’s. We lose time when we try to keep it, we spend time as we try to save it – and since it insists upon eluding us, we can only notice the fact that time has been winking at us all along. This wit, this relentlessness, and this freedom is the spirit behind Time, and this piece is my way of winking back.”
- Jennifer Lucy Cook
PROGRAM NOTES
These Things Shall Never Die
Mark Burrows
The text for this piece comes from a poem written by British author Charles Dickens, who is best known for his novels such as Oliver Twist, A Tale of Two Cities, A Christmas Carol and Great Expectations. This poem highlights the enduring and immutable nature of virtuous qualities. It states that qualities such as goodness, compassion, love, and aspiration, endure despite the passage of time. The composition matches with a tone that is uplifting, emphasizing the importance of leading a life guided by these values. The piece begins gently and quietly, but slowly builds to a glorious finale that affirms the central idea of Dickens’ poem.
Hello Mary Lou
Gene
Pitney,
arr. David Wright
This song was originally written and performed in 1961. It has been recorded by many artists and groups including Ricky Nelson, Led Zeppelin, and Queen. It has gained popularity as a standard in the Barbershop repertoire. Barbershop harmony is a uniquely American style of close harmony that can be traced back to the early 1900’s. Barbershops were gathering places where men would amuse themselves by harmonizing melodies to popular songs. Barbershop harmony is still evolving today, and its characteristic sound is performed and enjoyed by people of all genders and ages in quartets and choruses around the world.
Walk in Jerusalem
Traditional Spiritual, arr. Rollo Dilworth
This piece is also an African American spiritual, here arranged by American conductor and composer Rollo Dilworth. The repeating text “I wanna be ready to walk in Jerusalem just like John” sets the foundation for the piece as the chorus, which is repeated between various verses. Piano accompaniment would have been atypical for spiritual singing at the time the song was created, but in this version, the song is arranged in a quasi-Gospel style with an energetic piano accompaniment. The piece features a big ending that builds from one section singing alone as other voices are added.
How Can I Keep from Singing?
arr. Rollo Dilworth
The joyous folksong How Can I Keep from Singing? is set by Dilworth in an iconic gospel style. This piece, like many American folksongs, is anchored in the Christian religion; however, this song has grown beyond faith through the years and particularly became a symbol of social justice in the 20th century, celebrated and shared by many. Choral composers have set this popular text for generations. The origin of this tune is unknown, but its first foray into the public was in 1868 through a poetry submission to The New York Observer
My life goes on in endless song
Above earth´s lamentations, I hear the real, though far-off hymn That hails a new creation.
Through all the tumult and the strife I hear its music ringing, It sounds an echo in my soul. How can I keep from singing?
While though the tempest loudly roars, I hear the truth, it liveth. And though the darkness ‘round me close, Songs in the night it giveth.
No storm can shake my inmost calm, While to that rock I´m clinging. Since love is lord of heaven and earth How can I keep from singing?
When tyrants tremble in their fear
And hear their death knell ringing, When friends rejoice both far and near How can I keep from singing?
In prison cell and dungeon vile
Our thoughts to them are winging, When friends by shame are undefiled How can I keep from singing?
There Will Come Soft Rains
Kevin A. Memley
Sarah Teasdale wrote the haunting poem
There Will Come Soft Rains in 1918, near the end of WWI, at the beginning of the flu epidemic. Teasdale sensitively encapsulates the futility of war by comparing mankind’s
PROGRAM NOTES
actions to that of persistent, infallible nature. This composition, published in 2013, includes a sorrowful oboe that mimics the sound of nature awakening.
There will come soft rains and the smell of the ground, And swallows circling with their shimmering sound; And frogs in the pools singing at night, And wild plum trees in tremulous white,
Robins will wear their feathery fire Whistling their whims on a low fence-wire;
And not one will know of the war, not one Will care at last when it is done.
Not one would mind, neither bird nor tree If mankind perished utterly;
And Spring herself, when she woke at dawn, Would scarcely know that we were gone.
I Started Out Singing
Jocelyn Hagen
Jocelyn Hagen’s I Started Out Singing, written specifically for treble voices, exults in the way singing empowers us to take hold of life and celebrate it! The poet, Naomi Shihab Nye, uses simile and unique poetic structure to shape the sentences. Listen for the way Hagen uses word painting to accentuate these moments of wordplay.
I started out singing oh yes oh yes in a voice as clear as a penny and a dime in time in time I came to be as tall as a riddle as full as a shadow as far as the wind that blows itself alone to the sea
I started out smiling oh yes oh yes with my face tipped up to the moon’s soft stare
a halo of giggles tied in my hair with a sleep as deep as desert sand my dreams were the stories that crossed the land
Laudate pueri
Felix Mendelssohn
Felix Mendelssohn, a German Romantic-era composer, published Laudate pueri in 1838. It is part of a trio of Latin motets Mendelssohn wrote for treble chorus and organ. Each motet is written for different events in the traditional liturgical calendar. It is sung in a traditional bel canto style.
Laudate pueri
Laudate, pueri, Dominum; laudate nomen Domini. Sit nomen Domini benedictum ex hoc nunc et usque in [sæculum]
Praise the Lord, children
Praise the Lord, ye children; praise ye the name of the Lord. Blessed be the name of the Lord, for now and for eternity.
Songbird
Sarah Quartel
The piece Songbird, published originally in 2013, evokes the sound of playful birds singing a tune in English. Sarah Quartel, who wrote both the poetry and music, employs light madrigal-style accompaniment that flows from voice to voice. Listen for the spirited way the melody springs between parts.
I am a Songbird; I will sing anything. Give me a tune, I will spin you gold. Closer you come to the Songbird weaving, Stronger the thread of the music’s hold, Feel in the breeze a breath, a soaring Song to you, and hear me say: ‘I am a Songbird; I will sing anything. Follow the breeze and come my way!’
One little bird on a branch sits fanning Amber wings to the passersby.
PROGRAM NOTES
Two little birds in flight are threading Webs of gold in an endless sky.
Three little birds with brushes painting Moonlit sighs in the heart of day. Four little birds with voices gleaming Breathe to the wind singing ‘come my way!’
Sing little bird so sweetly. Drown my fears completely.
Five little birds with feathers fluffing Stretch and spread in the midday sun. Six little birds are cooing, humming, Drawing the eyes of everyone.
Seven little birds in fountains splashing. Droplets soar, they fawn and play. Eight little birds raise voices higher, breathe to the wind singing, ‘Come my way!’
Sing little bird so sweetly. Drown my fears completely.
Fly, little Songbirds, to the horizon
Land meets sky and sky meets sea. Dance, little Songbirds, flick your feathers, Move the current, carry me!
Sing, little Songbirds, call to your lovers. Draw them in completely. You, little Songbirds, you can sing anything. I follow the wind and I come your way.
Spark (To Music)
Eric William Barnum
Despite the poetry’s simple couplet structure, Eric William Barnum sets this text with a through-composed structure. Each couplet has its own melodic and rhythmic structure. Listen for the word painting and beautiful extended harmonies. The chorus swells to a great crescendo at the end, exploding up into the sky on the final word “fly!”
Fly back where Melodies like lilies grow, My weary heart is bending low;
Fly higher yet to joyful realms above, Where holy Angels dwell in love.
Fly higher still and hear the Angel throng And bring to me their Glory-song:
Ah Music, thou and I above the World May dwell where heaven with shining song is pearled!
While Sun and Moon and all the planets roll I’ll love thee, Music, language of my soul!
Music-lark from on high, song that doth fly, Spark of the sky!
Where the Light Begins
Susan LaBarr
This piece was commissioned for the 2019 National ACDA convention by conductor Amanda Rasom. LaBarr says the following in regard to her setting of Where the Light Begins, “This text, while originally written about Advent and the anticipation of Christmas, uses wonderfully universal words that relate to ideas of peace and hope. Jan’s (Richardson) blessing makes me think that within each of us is the ability to work towards peace. It doesn’t take a monumental action, just many little kindnesses that we can show to others every day which radiate out to bring light to the whole of humanity. When we love, accept, and care for all of our neighbors—despite our differences—we find that the light that the dark world so desperately needs begins in us.”
Perhaps it does not begin. Perhaps it is always.
Perhaps it takes a lifetime to open our eyes, to learn to see
the luminous line of the map in the dark the vigil flame in the house of the heart, the love so searing we cannot keep from singing, from crying out.
Perhaps this day the light begins.
Psallite
Kyle Pederson
The Latin text of Psallite, penned by the American composer Kyle Pederson, celebrates the experience of communal singing. Despite its joyous tempo and energetic harmonic language, the piece was commissioned to be performed at
PROGRAM NOTES
a concert to remember the Armenian genocide’s 100th anniversary. The piece won the 2015/2016 Little Singers of Armenia
Choral Composition Contest.
Psallite
Psallite!
Simul cantate.
Una canite, Simul canite!
Sing for life, for love, for light;
Sing for friends who stay your side.
Sing for tears, sing for joy, Sing for hope, sing for home.
Pro luna sole que candido cantate, Canite pro manu et tempore, Cantate lacrimis, Cantate risu pro gaudio, Jubilate!
Sing Sing! Sing together. At the same time, Sing praises!
Sing for moon and sun that shine, Sing for touch and time, Sing for tears, Sing for joy, Shout for joy!
ABOUT THE FACULTY ARTIST
Joni Prado
Joni Prado, soprano and associate professor of vocal studies at California State University, Fullerton earned a Doctor of Musical Arts degree in vocal arts at the University of Southern California where her areas of specialty included vocal performance, choral music, music education and jazz studies. She holds a Master of Music degree in vocal performance from California State University, Fullerton and a Bachelor of Arts degree in music and psychology from California Baptist University. Teaching areas include private vocal studies, foreign language diction, song literature, vocal pedagogy, and leading vocal workshop.
Prado performs throughout the Southern California region in concert and recital settings. She has performed with world-renowned ensembles and conductors such as the Pacific Symphony with Maestro Carl St. Clair, the Los Angeles Philharmonic with conductor Esa Pekka Salonen and the Hollywood Bowl orchestra under the direction of John Mauceri. She has also been privileged to share the stage with operatic singers, Alessandra Marc, Richard Margison, Rodney Gilfrey and Andrea Bocelli. Her most recent operatic role was the lead role of the Duchess in Powder Her Face by Thomas Adés, a role appointed by the composer himself.
In addition to teaching and performing, Prado is also in demand as an adjudicator, choral clinician and vocal coach for local school programs and festivals. Earlier this year, she presented a session at CASMEC entitled, “Showing, Not Telling: The Effectiveness of Non-Verbal Communication in Choral Conducting.” She has also assisted on several recording projects as a vocal coach and vocal producer at Skywalker Ranch and Sony Pictures Studios and continues to connect with singers and educators across the country through various singing and speaking engagements.
TITAN VOICES
Soprano 1
Christine Dela Cruz
Grace Dempster
Kaitlyn Gooding
Madison Handley
Daphne Master
Tabetha Mora
Rey Riney
Nicole Rodriguez
Peyton Slaven
Laura Martinez Urrea
Yelka Gonzalez Vargas
Agnes Wang
Soprano 2
Abigail Aikenhead
Briseyda Batz
Odila Dimas
Andrea Hsieh
Leyla Magana
Sarai Ortiz
Caroline Reyes Padilla
Sarah Raber
Michelle Sivitos
Arlo Topete
Angelina Tran
Tenor 1
Hector Jake
Arorong Esteva
Amelia Faber
Imogen Gazzard
John Toan Nguyen
Gavin Smith
Tenor 2
Peter Alunan
Leonardo Bazail
Jonathan Binns
Santiago Carrillo
Angus Feath
Ethan Maun
David Santibanez
Alto 1
Kathleen Adhinatha
Allison Butler
Alyssa Cavero
Carisa Espinosa
Mia Jhawar
Lori Lee
Han Diep
Ellie Ransdell
Sydney Tagarao
Alto 2
Jenna Achtien
Liliana Briseno
Emelia Brown
Rebecca DeCuir
Annie Guzman
Lindsey Lacanilao
Maya Law
Keiva Quinn
Kelsey Rhebergen
Natalie Saucedo
Jadzia Stiff
Yesenia Vazquez
SINGING TITANS
Baritone
Mason Jennings
Adrian Rangel-Sanchez
Brandon Sotelo
Antonio Torres
Daniel Sotelo Villarreal
Eli Ramos Zuniga
Joey Rios
Bass
Brian Edwards
Scott Freeman
Isaac Lopez
Luke Palmbush
Aiden Vu
David Wickline
Guest Singers, Brahms Alto Rhapsody
Aron Demorist
Michael Judge Ferrer
Gerritt Hoevers
Logan Mintz-Hernandez
Madeline Miranda
Ben Reyes
Bryce Rivera
Melanie Whiter
ABOUT THE CONDUCTORS
Kimberly Nason
Kimberly Nason is the director of the Cal State Fullerton Titan Voices. She began directing choirs at the age of 15, and has had the opportunity to work with singers from 5 years old to 80. She recently retired from her 32-year career as a K-8 music teacher with the Capistrano Unified School District. She served as a mentor teacher, director of honor choirs, and frequent presenter at conferences. In 2022, she received the Irene Schoepfle award for lifetime service in music education from the Orange County Music and Arts Administrators.
Nason was also the Director of Traditional Music at Shepherd of the Hills United Methodist Church in Rancho Santa Margarita, and directed the adult and children’s choirs for over 30 years. She is the former Resources and Repertoire Chair for Children’s and Youth Choirs for the California Choral Directors Association (CCDA).
Nason received her Bachelor of Music in Music Education from USC, and her Master of Music in Choral Conducting from Cal State Fullerton. She sings with the Pacific Chorale.
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. He 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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Fram & Julie Virjee
Verne D. Wagner
Tina L. Walker
Patrick Young
Ruth & Wayne P. Zemke
*deceased
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 1, 2022 through November 1, 2023
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
DWIGHT RICHARD ODLE*
SHERRY & DR. GORDON PAINE
DR. JUNE POLLAK & MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
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*
*deceased
The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER
SUPPORT GROUPS
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
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
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
GET INVOLVED GIVING.FULLERTON.EDU
music.fullerton.edu
