"University Singers & Concert Choir" program

March 24, 2024

University Singers & Concert Choir

Robert Istad & Christopher Peterson, conductors

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

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

SCAN THIS QR DONATE TODAY TO THE DEAN’S FUND FOR EXCELLENCE

PROGRAM

Concert Choir

Christopher Peterson, conductor

Fernando Muñoz, graduate assistant conductor Mark Salters, collaborative pianist

I Am Loved ......................................................................................

Christopher H. Harris (b. 1985)

Come to Me, My Love

Norman Dello Joio (1913-2008)

Ngana ..........................................................................................................

Fernando Muñoz, graduate assistant conductor

Stardust ......................................................................................................

Fernando Muñoz, graduate assistant conductor

Stephen Leek (b. 1959)

Kelvyn Koning (b. 1994)

Pakkanen .......................................................................................................

Soila Sariola (b. 1977)

Where the Light Begins

Kaitlin Chheng and Gabby Roberts, soloists

Susan Labarr (b. 1981)

Ezekiel ......................................................................................................

Stacey V. Gibbs (b. 1962)

PROGRAM

University Singers

Robert Istad, conductor

Zachary Lindquist, graduate assistant conductor

David Bergstedt, collaborative accompanist

Bura Fera ........................................................................................

Jessica Salsgiver, soloist

Traditional Yorta Yorta arr. Ollie Lambert

Fre O .....................................................................................................

Haitian Traditional arr. Sten Källman

Kenson Gomez, Angel Hudak Hawkins, and Savana Thomas, soloists

Joy Dorko, Bryce Rivera, Mitchell Sampang, percussion

The Long Road .........................................................................................

Eriks Esenvalds

Elizabeth Provencio, ocarina

Adam Daruvala and Adrian Rangel-Sanchez, recorder

Yellow ..................................................................................................................

Coldplay arr. Saunder Choi

Love

Michael Engelhardt

Descant: Angel Hudak Hawkins, Erika Jackson Small Ensemble: Kenson Gomez, Jenna Hansen, Bekka Knauer, Zachary Lindquist, Ahlitney Lucas-Krebs, Rose Taylor

Precious Lord ...........................................................................................

Thomas Dorsey arr. Arnold Sevier

Jerusalema (South Africa)

Master KG and Nomcebo Zikode arr. Jacob Narverud

Alexi Rehorn and Bryce Rivera, percussion

PROGRAM NOTES

I Am Loved

CHRISTOPHER H. HARRIS

Christopher H. Harrison’s setting of Sara Teasdale’s poetry is one that is full of life and excitement. Full, lush cluster chords and soaring soprano lines pair with the driving piano accompaniment to create an inspiring message. The a cappella middle section has a delicate and sensitive texture to reflect the wonder of being loved. An outward expression of the joy of love and life is the opener to a concert that continues to connect to this same theme.

I am wild, I will sing to the trees, I will sing to the stars in the sky, I love, I am loved, he is mine, Now at last I can die!

I am sandaled with wind and with flame, I have heartfire and singing to give, I can tread on the grass or the stars, Now at last I can live!

Come to Me, My Love NORMAN DELLO JOIO

Norman Dello Joio’s composition paints a picture of mysticism as the poet enters a dreamstate. The text talks about being visited by a loved one in a dream and reliving memories as a result. This idea is supported harmonically and melodically by non-traditional chord progressions and disjunct lines. There is a gentle ending and settling of tonality as the dream comes to an end.

Come to me in the silence of the night; Come in the speaking silence of a dream; Come with soft rounded cheeks and eyes as bright

As sunlight on a stream; Come back in tears

O memory, hope, love of finished years

Oh dream how sweet, too sweet, too bitter sweet

Whose wakening should have been in Paradise

Where souls

brimfull of love abide and meet;

Where thirsting longing eyes

Watch the slow door

That opening, letting in, lets out no more

Yet come to me in dreams, that I may live My very life again though cold in death: Come back to me in dreams, that I may give

Pulse for pulse, breath for breath: Speak low, lean low

As long ago, my love, how long ago!

Ngana STEPHEN LEEK

Stephen Leek utilizes words from an indigenous australian language to create ocean soundscapes as a welcome greeting. There is a rhythmic driving force as well as canonic sections to demonstrate a multitude of being who are being welcomed. “Ngana” an indigenous Australian word for “Shark,” “Lina” is the word for “water,” “Mangana” is the word for “fish,” and “Yah” is the word for “welcome”

Stardust

KELVYN KONING

Up and coming choral composer in the Boston area, Kelvyn Koning has a gift for writing for the voice in accessible and modern ways. He also writes much of his own poetry to pair with his compositional style. In this way, he achieves a strong connection between text and music.

“Stardust” was written during the time of the COVID pandemic when it was only possible to be performed virtually, but was an important message for the world to hear then and even now.

We are all stardust, matter recycled through time to create new stars, We would not be without those who were, nor will the next be without us.

I am you and you are I, I matter and you matter.

PROGRAM NOTES

We make up the cosmos, the heavens in our hearts and hands. Starlight gleams in our eyes and each smile is a sunbeam, Every tear is a splash of moon.

The stars watch over us, twinkling with delight, for they know that we carry on our legacy, And that one day we will join their merry orbit, And dust returns to stardust as new stars are born.

We are all stardust.

Pakkanen

SAILA SARIOLA

Saila Sariola is a Finnish composer who has written a piece that accurately reflects the bitter cold of a snowy, Finnish winter. There is a driving rhythmic force that rarely relents and striking dissonances that signify the icy weather, but also ostinatos that help build the song to the end.

Where the Light Begins

SUSAN LABARR

Susan LaBarr’s setting of Jan Richardson’s advent text is a lovely gesture of self reflection about the act of love. A simple melody begins with treble voice with an idea that maybe love doesn’t need to be created, started, or found. Maybe rediscovering what we’ve known all along is all it takes. That same simple melody is passed along to the other choral parts and built upon as a overwhelming gesture of the discovery of love.

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 in us.

Ezekiel

ARR. STACEY V. GIBBS

Many sources of the text used in African American spirituals stem from the old testament of the bible, especially around the Jewish people being led to the promised land. There have been many musical settings of the story of Ezekiel, but Stacey Gibbs chose to set his piece as an exciting double choir celebration. Many melodies are passed around the choir and shared as duets while the other choral parts have an accompanimental role that symbolizes “turning wheels.” This double choir Jubilee of a spiritual makes for an energetic and fun closer to any concert program.

Ezekiel saw the wheel way up in the middle of the air

And the little wheel run by faith

And the big wheel run by the grace of God

A wheel in a wheel way up in the middle of the air

Some go to church to sing and shout

Before six months they’ve all turned out

And the little wheel run by faith

And the big wheel run by the grace of God

A wheel in a wheel way up in the middle of the air

Prepared by Fernando Muñoz, Concert Choir Graduate Assistant

Bura Fera

ARR. OLLIE LAMBERT

Bura Fera is a song that comes to us from the Yorta Yorta people of Australia, an Aboriginal Australian tribe from Southeastern Australia. The Yorta Yorta people learned the song from a series of performances given by the Fisk Jubilee Singers, one of the first all-Black choral ensembles in the United States. The Fisk Jubilee Singers toured Australia in 1886, and performed

PROGRAM NOTES

African-American Spirituals and gospel music throughout the country. One of the pieces they performed, “Turn Back Pharaoh’s Army,” left an immense impression on the Yorta Yorta people. No one knows how the song became translated into the native language, but it has been passed down for many years with the title “Bura Fera.” The story of the text derives from Miriam’s Song, recorded in Exodus 15. It tells the story of Moses’ heroic efforts to free the Israelites from the Egyptians.

Wom raka moses yenyen wala

Wala yepuny e pudge, Mara burra ferra yumina yala.

Ngara burra ferra yumina yala yala.

Yenuk becu jesu

Barrun bucana yumina

Mara burra ferra yumina yala.

When Moses struck the waters

The waters came together

And drowned old Pharaoh’s army

Alleluia

We’re going to sing to Jesus

To bring some valiant soldiers’

To drown old Pharaoh’s army

Alleluia

Fre O

HAITIAN TRADITIONAL, ARR. STEN KÄLLMAN

The Republic of Haiti was created in 1804 by slaves who revolted against France, believing that the message of the French Revolution that all men are free and equal brothers was as true for the black man as it was for the white man. Because of this, Haitian cultural life is a rich mix of influences from French, West African nations, and Taino Indians. The song Frè O is an expression of grief. As a man lies dying from illness, his relatives appeal to the Voodou spirits of Dambala, the serpent, and Ayida, the rainbow. These married spirits are very old images brought from

West Africa to Haiti and symbolize our connection to the past, the present, and the future, which we feel more strongly in the face of an impending death.

-from Sten Källman’s forward

Frè O di nou, di malaysia pa gaya. Na jwe na rele.

Ou malad mwen di yo.

Na jwe Papa Dambala eh!

Mape mande Dambala Wedo gade nou. Nou tout chante Ayida Wedo men pitit ou yo!

O brother, you tell us your sickness will not be healed. We are playing (the drums and singing) and weeping.

You are sick - I will tell the others. We are playing the drums and singing to Papa Dambala!

We are asking Papa Dambala to look after us. We all sing to Ayida Wed: “See your children!”

The Long Road ERIKS ESENVALDS

Long Road is a setting of a love poem by Paulīna Bārda (widow of the eminent poet Fricis Bārda), who died in 1983 at the age of ninety-three; set in the original Latvian, it was Ešenvalds’s contribution to Love madrigals, a collection of new commissions to celebrate the twentieth anniversary of the remarkable youth choir Kamer…, and this English version was specially made for Stephen Layton and Polyphony, to whom it is dedicated. It has the plain sincerity of a hymn, being homophonic throughout, and its thorough-going diatonicism is straightforward yet lush. At the midway point, a gentle susurration of bell-sounds and ocarinas appears unexpectedly, there is a brief downwards shift of a third, followed by an elated return to the home key, decorated by soloistic descants, before sustained

PROGRAM NOTES

vocalise and a return of the evanescent tinkling ushers the piece to its close.

– Gabriel Jackson, 2011

I love you night and day

As a star in the distant sky.

And I mourn for this one thing alone

That to love, our lifetime was so short.

A long road to heaven’s shining meadow

And never could I reach its end.

But a longer road leads to your heart

Which to me seems distant as a star.

High above the arch of heaven bends

And light so clear is falling. Like a flow’ring tree the world is blooming. Overwhelmed,

my heart both cries and laughs.

- Paulina Barda (1890-1983)

trans. Elaine Singley Lloyd

Yellow

COLDPLAY, ARR. SAUNDER CHOI

Popular british band Coldplay, made up of Chris Martin, Jonny Buckland, Guy Berryman, and Will Champion, have been performing music together for almost 30 years. Their hit song, “Yellow” was the second single to be released from their debut studio album, Parachutes. The song quickly rose to the top of the charts in both the UK and the US and kickstarted the band’s long and illustrious career. The song was written during their studio sessions recording the album. As the stories go, the band was taking a break and went outside the rural Welsh studio and their producer Ken Nelson looked up and said “look at the stars.” Chris Martin took to the words and wrote the structure of “Yellow” in about ten minutes. The word “yellow” throughout the song has no literal meaning, but was an attempt to express an emotion and feel. Though the word is nonsense, Martin said no other word or color sounded right.

Look at the stars, look how the shine for you and everything do Yeah, they were all yellow.

I came along, I wrote a song for you and all the things you do, And they were all yellow.

So then I took my turn, Oh, what a thing to have done, And it was all yellow.

Your skin, oh yeah, your skin and bones turn into something beautiful And you know I love you so.

I swam across, I jumped across for you Oh, what a thing to do, ‘Cause you were all yellow.

I drew a line, I drew a line for you oh, what a thing to do, And it was all yellow.

Love

MICHAEL ENGELHARDT

Michael Engelhardt composed “Love” with only one word. The chorus repeats the word “love” throughout the entire piece, and Engelhardt’s setting reveals the many meanings the word “love” can mean. “Love” can be grounding, meditative, cathartic, hopeful, melancholic, and nostalgic. “Love” can fill us with joy and belonging. Engelhardt is able to express all of these feelings in his setting of one single word. The opening section is underscored with a bubbling exuberance, as more voices join to support the main theme. The middle section transfers this rhythmic energy into a quiet moment of reflection that builds into an exuberant finale. Engelhardt’s setting reveals the ways love can be magnified into a final explosion of joy, gratefulness, and hope.

PROGRAM NOTES

Precious Lord

THOMAS DORSEY, ARR ARNOLD SEVIER

Thomas Dorsey wrote the original Precious Lord, Take My Hand after the tragic death of his wife and son during childbirth in 1932. This hymn has strong roots in gospel and blues traditions, and has gone on to touch the hearts of many people, including Dr. Martin Luther King. Dr. King’s last words before being assassinated were to request that his favorite hymn, Precious Lord, be played at a fundraiser that evening. Five days later Mahalia Jackson sang the hymn at Dr. King’s funeral. Arnold Sevier’s arrangement of Precious Lord honors the intent of the original composition through the simple treatment of the text and harmonic choices. The simple rhythms lend the choral sound a sense of freedom. The tempo can fluctuate, much like a solo singer at a piano, while still instilling a sense of movement at important moments. The harmonic language reflects the blues and gospel influences from Dorsey’s original composition. It is easy to sense the pain that Dorsey was feeling when he wrote this piece, but at some moments glimmers of hope for a brighter future shine through.

-Sierra Farquhar-Wolff, 2021

Precious Lord, take my hand

Lead me on, let me stand

I am tired, I am weak, I am worn; Through the storm, through the night

Lead me on to the light

Take my hand, Lord, and lead me home.

When my way grows drear, precious Lord linger near, When my life is almost gone, At the river, Lord, I stand, guide my feet and hold my hand: Take my hand, Lord, and lead me home.

Jerusalema MASTER KG AND NOMCEBO ZIKODE, ARR. JACOB NARVERUD

South African music producer Master KG took the world by storm when the Jerusalema dance challenge hit social media. This highly energetic a cappella arrangement employs layered polyrhythms, articulate handclaps, and generous divisi to capture the essential character of the isiZulu original.

Jerusalema ikhaya lami

Ngilondoloze

Uhambe nami

Zungangishiyi lana

Ndawo yami ayikho lana

Mbuso wami awukho lana

Ngilondoloze

Zuhambe nami

Yebo, ungangishiyi ngingedwa bo Jerusalema umuzi okhanyayo

Jerusalem is my home. Save me. Go with me. Do not leave me here.

My place is not here My kingdom is not here. Save me.

Go away with me.

Yes, do not leave me alone. Jerusalem is a bright home.

Prepared by Zachary Lindquist, University Singers Graduate Assistant

CONCERT CHOIR

Soprano I

Gabriela Atkinson*

Emily Nguyen

Hannah Park

Sara Preston

Gabby Roberts

Marissa Valenzuela

Quintessa Wedell

Soprano II

Kathlyn Bowles

Sarah Cabrera*

Kaitlin Chheng

Irene Crain

Sarah Gediman

Jeannette Hunker

Sophia Khurana

Jing Wang

Sidney Wu

Alto I

Elizabeth Butler

Emily Hernandez*

Logan MintzHernandez

Emily Morley

Katelyn Pacpaco

Hyerin Song

Veronica Torres Diaz

Sarah Turner

Alto II

Kimberly Calica

Z Dickerson

Karlee Dix

Alexis Farah

Gabriela Gonzalez

Madeline Miranda

Marilyn Negron

Korie Smith*

Rachel Williams

Tenor 1

Juan de Leon*

Aron Demarest

Angus Feath

Reinhard Siedenberg

Frank Watnick

Tenor II

Michael Eskovitz

Nathan Oelkers

Anthony Osborn

David Pulanco*

Tung Tran

Michael Vargas

Baritone

Mario Hong

Emerson Kimble

Jason Magallanes

Allan Morales

Jeremy Peña-Barrios

Mason

Schoenfeld

Justin Senneff

Bass

Timothy Cervenka*

Gerrit Hoevers

CJ Koehn

Jonathan Ongman*

Fernando Muñoz

Ben Reyes

Miles Rojo

* Section Leader

Soprano

Alliah Anid

Martina Goldring

Jenna Hansen

UNIVERSITY SINGERS

Angel Hudak Hawkins

Erika Jackson*

Amber Napoli

Nya Nulty

Rose Taylor*

Alto

Katelyn Cruz

Joy Dorko

Bekka Knauer*

Ahlitney Lucas-Krebs

Elizabeth Provencio*

Jessica Salsgiver

Savana Thomas

Melanie Whiter

Tenor

Michael Judge Ferrer

Kenson Gomez

Jacob Gonzalez

Ryan Guidotti

Zachary Lindquist*

Alexei Rehorn

Jaime Reza

Bryce Rivera

Bass

Adam Daruvala

Daniel Freeman

Ashton Hackwith

Bryson Huang

Emilio Lopez Felix

Fernando Muñoz*

Adrian Rangel-Sanchez*

Mitchell Sampang

* Section Leader

ABOUT THE CONDUCTOR

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 Chorale, Pacific Symphony Orchestra, Musica Angelica Baroque Orchestra, Sony Classical Records, Yarlung Records, Berkshire Choral International, and Long Beach Symphony Orchestra. Istad 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 Istad 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.

ABOUT THE CONDUCTOR

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 and is the current Vice President. 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. Dr. 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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Ms. Junko Klaus

Dr. Irene L. Lange

Shirley & Eugene Laroff

Marilyn M. Little

The Loftus Family Foundation

Jason Lomeda

Juan Lopez

Juliette Lunger & John A. Hoyos

Melissa Madsen

Paul Coluzzi & John M. Martelli

Karen & William McClung

Thelma Mellott

Patti & Carl Miller

Jamie M. Spitzer

David Navarro

Grace & Ujinobu Niwa

Debra L. Noble

Tyler Stallings & Naida Osline

Deanna & Arie Passchier

Aleks Lyons & Geoffrey Payne

Peace Mountain Theatre Company Inc

Anonymous

Jim Plamondon

Linda L. & E. B. Powell

The Presser Foundation

Sharon & Dr. Anil K. Puri

R23 International Inc.

Brian Rennie & Lori Rennie

Nancy & Robert Rennie

David Rhone

Liz Riede

Thomas C. Robinson

Mary L. Rupp

D. B. Schmitt

D Barry Schmitt R. Trust

Martha Shaver

Ingrid R. Shutkin

Barbara Kerth & Ms. Lorena Sikorski

Janet L. Smith

Roberta & Robert Sperry

Thomas Statler

Douglas G. Stewart

Ernie Sweet

Carolyn & Tom Toby

Fram & Julie Virjee

Verne D. Wagner

Tina L. Walker

Patrick Young

Ruth & Wayne P. Zemke

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.

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

Talich Quartet

February 16 • Meng Concert Hall

Quarteto Nuevo

February 17 • Meng Concert Hall

University Symphony Orchestra with Talich Quartet

February 18 • Meng Concert Hall

Brightwork Newmusic

February 22 • Meng Concert Hall

University Symphony Orchestra feat. Joseph Loi, flute

February 25 • Meng Concert Hall

loadbang*

February 27 • Meng Concert Hall

Advanced Vocal Workshop feat. Michael Schütze, piano

February 29 • Recital Hall

Fabian Ziegler, percussion

March 6 • Meng Concert Hall

Enrico Elisi, piano

March 7 • Meng Concert Hall

Marisol

March 8– 23 • Little Theatre

Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble

March 8 • Meng Concert Hall

Enrico Elisi & Mengyang Pan, duo piano

March 10 • Meng Concert Hall

Alumni Piano Recital

March 14 • Meng Concert Hall

17th Annual Collage Concert

March 16 • Meng Concert Hall

Accidentally on Purpose

March 22– 30 • Hallberg Theatre

University Singers & Concert Choir

March 24 • Meng Concert Hall

Brightwork newmusic*

March 26 • Meng Concert Hall

Minsoo Sohn, piano

March 27 • Meng Concert Hall

Ernest Salem & Hasse Borup, violins March 28 • Meng Concert Hall

Nicholas Isherwood, bass/baritone*

April 9 • Meng Concert Hall

Gabriel Bianco, guitar

April 10 • Meng Concert Hall

Urinetown the Musical

April 12– 27 • Young Theatre

High School Honor Band & CSUF Wind Chamber Ensembles

April 13 • Meng Concert Hall

CSUF New Music Ensemble & Contemporary Chamber Ensemble

April 17 • Meng Concert Hall

Monteverdi’s The Coronation of Poppea

April 18–21 • Recital Hall

CSUF Symphonic Winds

April 21 • Meng Concert Hall

Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble

April 23 • Meng Concert Hall

University Band

May 1 • Meng Concert Hall

Spring Dance Theatre

May 2–11 • Little Theatre

Fullerton Jazz Orchestra

May 3 • Meng Concert Hall

University Wind Symphony

May 4 • Meng Concert Hall

Jazz Singers

May 6 • Meng Concert Hall

Titan Voices & Singing Titans

May 8 • Meng Concert Hall

Symphony Orchestra & Symphonic Chorus Mozart’s “Requiem”

May 11 • Meng Concert Hall