"University Symphony Orchestra w/ Concerto-Aria Winner" program
University Symphony Orchestra feat. Music Associates Student Concerto/Aria Competition Winner
February 23, 2025
RONALD S. ROCHON
President, California State University, Fullerton
AMIR H. DABIRIAN
Provost and VP for Academic Affairs
ARNOLD HOLLAND, EDD
Dean, College of the Arts
DR. RANDALL GOLDBERG Director, School of Music
KIMO FURUMOTO
Assistant Director, School of Music
BONGSHIN KO
Assistant Director, School of Music
SCHOOL OF MUSIC FULL-TIME FACULTY AND STAFF
FACULTY
CONDUCTING
Kimo Furumoto instrumental
Dr. Robert Istad choral
Dr. Christopher Peterson choral
Dr. Dustin Barr instrumental
JAZZ AND COMMERCIAL MUSIC
Bill Cunliffe* jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
PIANO, ORGAN, PIANO PEDAGOGY
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class piano
Myong-Joo Lee piano
Dr. Robert Watson piano
MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL
Dr. Christopher Peterson choral
Dr. Gregory X. Whitmore* instrumental
MUSIC IN GENERAL EDUCATION
Dr. John Koegel*
Dr. Katherine Reed
MUSIC HISTORY AND LITERATURE
Dr. Vivianne Asturizaga musicology
Dr. John Koegel* musicology
Dr. Katherine Powers musicology
Dr. Katherine Reed musicology
STRINGS
Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko cello
Dr. Ernest Salem* violin
THEORY AND COMPOSITION
Dr. Pamela Madsen, composition, theory
Dr. Ken Walicki* composition, theory
VOCAL, CHORAL, AND OPERA
Dr. Robert Istad Director of Choral Studies and University Singers conductor
Dr. Kerry Jennings* Director of Opera
Dr. Christopher Peterson CSUF Concert Choir and Singing Titans conductor
Dr. Joni Y. Prado voice, academic voice courses
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis flute
Sycil Mathai* trumpet
Dr. Gregory X. Whitmore University Symphonic Winds conductor
STAFF
Michael August Production Manager
Eric Dries Music Librarian
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* denotes Area Coordinator
Welcome to the College of the Arts Spring 2025 Season. As we come together to enjoy incredible art, dance, music and theatre programming from across the college, I know we are all still reeling from the recent fires that tore through the communities of Altadena and Pacific Palisades. In many ways, we are all Angelenos and when our city breaks, we break. Many of our students, faculty, and staff are finding comfort in processing complex thoughts and emotions the only way we know how: through the arts. It is our calling and what ties us to our community. Through our programming, we hope to provide a bit of respite to all of you during this time of regrouping and rebuilding.
In the College of the Arts, every note, every movement, and every word spoken on stage brings opportunity for discovery and connection. Whether you are a fellow Titan, family member, or community supporter, we are thrilled to have you here. You are now part of something much larger than this single performance. You are joining a vibrant and diverse collective of artists and technicians working together to push the boundaries of their craft.
Spring 2025 brings us a season of fresh programming to challenge our perceptions and immerse us in new perspectives. Later this month, the School of Music presents “Hajar,” a contemporary opera synthesizing ancient Jewish and Islamic stories into a modern immigration tale. Theatre begins their season with “Significant Other,” a heartfelt tale of love and longing in 21st century New York City. If you haven’t yet seen our spectacular new gallery building, make time to see “Chris O’Leary: Gravity Well” – an exploration of the cosmic phenomena of gravitational waves using video, sound, and images. In May, our dancers and choreographers return to the intimate Hallberg Theatre in “Spring Dance Theatre: From All Sides,” where viewers will experience a variety of dance forms from every angle of the stage.
It takes more than just the emotional support of friends, family, professors, and mentors to enable students to take creative risks of expression. As a college, we remain committed to providing these aspiring arts professionals with scholarships, financial assistance, and the industry-ready equipment, facilities, and opportunities to further develop their skills outside the classroom. Our resolve is steadfast, but we need your continued support to sustain and expand our educational mission, ensuring our students have the tools necessary to succeed. Please consider a donation of any amount to the Dean’s Fund for Excellence today.
I thank you for being here, for your ongoing support, and for your conviction in the power of the arts. Together, we can accomplish the extraordinary.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
PROGRAM
Overture to .............................................................................Wolfgang Amadeus Mozart
Die Zauberflöte (The Magic Flute), K. 620 (1735-1791) Jieming Tang, graduate student conductor
“Ach, ich fühls” .......................................................................Wolfgang Amadeus Mozart (from Die Zauberflöte, K. 620)
“Quel guardo, il cavaliere” .................................................................... Gaetano Donizetti (from Don Pasquale) (1797-1848)
Amber Napoli, soprano Overall Grand prize Winner of the 2024 Music Associates Concerto-Aria Competition
Pictures at an Exhibition (Kartinkis vïstavki) ..................................... Modest Mussorgsky (orchestration by Maurice Ravel) (1839-1881) Promenade
1. Gnomus Promenade
2. The Old Castle Promenade
3. Tuileries
4. Bydło Promenade
5. Ballet of the Chicks in Their Shells
6. Samuel Goldenberg and Schmuyle
7. Limoges – The Market
8. Catacombs - Cum mortuis in lingua mortua
9. The Hut on Fowl’s Legs – Baba Yaga
10. The Great Gate of Kiev
Overture to Die Zauberflöte (The Magic Flute)
WOLFGANG AMADEUS MOZART
PROGRAM NOTES
Mozart’s incomparable musical gifts enabled him to compose at the highest level of artistic brilliance in almost every musical genre. We are privileged to experience his legacy in symphonies, chamber music, wind serenades, choral music, keyboard music—the list goes on and on. But, unquestionably, his greatest contributions to musical art are his operas. No one—not even Wagner, Verdi, Puccini, or Richard Strauss excelled the perfection of Mozart’s mature operas. The reason, of course, is clear: his unparalleled musical gift is served and informed by a nuanced insight into human psychology that is simply stunning. While Mozart composed both comic operas and serious operas, and in both German and Italian, his major body of work lies in his opera buffe—Italian comic operas. Almost every music lover cherishes his Cosi fan tutte, The Marriage of Figaro, and Don Giovanni, but his last opera is rather different from these.
Die Zauberflöte was given its première in 1791 in Vienna, the last year of Mozart’s life; it is in German, with spoken lines written by his collaborator, Emanuel Schikaneder. It garnered immediate popularity, never diminishing to this day, for any number of ingratiating elements. A varied cast of singers and characters entertain us from the rise of the curtain: a comic, feathery pair of bird/human lovers, an earnest pair of real human lovers, an evil Moor (standard in Viennese drama of the times—the Turks were a very real threat to Europe), a noble high priest and his chorus of priestly followers, an evil queen and her retinue, a pair of ghostly men in armor, trios of boys and virtuous wraith-like women, and to top it all off, enchanted animals. On the stage! Did I mention “magic” futes and bells? You get the picture—something to please almost anyone.
But it’s not all fun and games— this allegory, like, perhaps, Shakespeare’s Midsummer’s Night Dream, is a profound exploration of some of life’s deepest and most essential issues. Courage, transfiguration, wisdom, romantic love, illusion and perception, freedom, and brotherhood—all are examined in depth. It has been said that one definition of a masterpiece is that it is rather like an artichoke: one peels tasty layer after layer only to find the best part hidden at the center. And thus it is with this work.
Many significant men of the Enlightenment were Masons, and so were Mozart and Schikaneder. Generations of Masons and scholars have found that The Magic Flute is permeated from beginning to end with Masonic values and symbolism, and we hear it right from the opening chords of the overture: three chords, dominated by three trombones, and in the key of E-Flat (three flats). This emphasis upon the symbolic three continues throughout the opera, with a plethora of other symbolic allusions. After the somber opening, the strings zip off in a vivacious fugato (you can hear each section come in one after the other) that takes us to a dramatic ending that sets a perfect introduction to a perfect opera— one that speaks to the common nature of us all.
“Ach, ich fühl’s” (from Die Zauberflöte) WOLFGANG AMADEUS MOZART
Prince Tamino and his sidekick Papageno must pass trials to be received into the circle of initiates. Only then will Tamino be able to marry Pamina. During his trial Tamino gets his flute back. Pleased he plays the instrument and Pamina appears, attracted by the sound. When she speaks to him, Tamino remains silent and Pamina thinks she has
PROGRAM NOTES
lost Tamino’s love. She doesn’t know that Tamino’s silence is part of the test.
Ach ich fühls, es ist verschwunden Ewig hin der Liebe Glück!
Nimmer kommt ihr, Wonnestunden, Meinem Herzen mehr zurück. Sieh Tamino, diese Tränen Fliessen Trauter, dir allein. Fühlst du nicht der Liebe Sehnen, So wird Ruh im Tode sein!
Ah, I can feel it, love’s happiness Is fled forever!
Nevermore, O hours of bliss, Will you return to my heart! See, Tamino, these tears Flow for you alone, beloved. If you do not feel love’s yearning, I shall find peace in death!
“Quel guardo, il cavaliere” (from Don Pasquale) GAETANO DONIZETTI
Norina is reading an old romance about a knight whose heart is so utterly pierced by a lady’s glance he falls to his knees and swears he’ll never even think of another woman. With a laugh, the opera’s high-spirited young heroine declares she knows all about the magic a well-timed tear or smile can work on a man’s heart; then she goes on to prove it in composer Gaetano Donizetti’s 1843 comic masterpiece.
“Quel guardo, il cavaliere in mezzo al cor trafisse, Piegò i lginocchio e disse: Son vostro cavalier. E tanto era in quel guardo Sapor di paradiso, Che il cavalier Riccardo, Tutto d’amor conquiso, Giurò che ad altra mai, Non volgeria il pensier.” Ah, Ah!
So anch’io la virtu magica D’un guardo a tempo e loco, So anch’io come si bruciano I cori a lento foco, D’un breve sorrisetto Conosco anch’io l’effetto, Di menzognera lagrima, D’un subito languor, Conosco i mille modi Dell’amorose frodi, I vezzi e l’arti facili Per adescare un cor.
Ho testa bizzarra, son pronta vivace, Brillare mi piace scherzar: Se monto in furore Di rado sto al segno, Ma in riso lo sdegno fo presto a cangiar, Ho testa bizzarra, Ma core eccellente, ah!
“That look, pierced the knight in the middle of the heart, He folded his body, bent at his knees and said I am your knight. And so it was in that look a taste of paradise, That the knight Richard, Conquered by love, Swore that never to another, Woman would he ever think about.” Ah, ah!
I too know the magical power of a look at the right time and place, I know how the heart burns in slow fires, of a brief smile I know the effect, Of lying tears, On a sudden languor, I know a thousand ways love can fraud, The charms and arts are easy To fool the heart.
PROGRAM NOTES
I have a bizarre mind I possess a ready wit, I like joking:
If I get furious
I’m rarely able to remain calm, But my disdain can soon turn to laughter, I have a bizarre mind But an excellent heart, ah!
Pachamama
JAIME MENDOZA-NAVA
Jaime Mendoza Nava, born in La Paz, Bolivia, on December 1, 1925, showed remarkable musical talent from an early age. He began his studies in Bolivia with the well-known Bolivian composer Humberto Viscarra Monje (1898-1971). Driven by his passion for music, he continued his education at prestigious institutions abroad, including the Spisso Conservatory in Buenos Aires, Juilliard in New York, the Royal Conservatory in Madrid, and the Sorbonne in Paris. During this time, he studied with renowned figures such as Robert Shaw (1916-1999), Reverend Nemesio Otaño (1880-1956), Conrado del Campo (1878-1953), Alfred Cortot (18771962), and Nadia Boulanger (1887-1979).
In 1951, following his conducting engagements with the Madrid and Lima Symphony Orchestras, Mendoza Nava became the conductor of the Bolivian National Symphony Orchestra. However, political upheaval in Bolivia prevented his return after he traveled to Pasadena, California, in 1953 to attend the Congress of International Music. He began working at the Walt Disney Studios in Burbank, California, where he met his wife, Billie. As a member of the music department at the Studios, he scored music for television programs like the “Mickey Mouse Club” and “Zorro,” thus beginning his exploration of film music. After leaving Disney, he became the music director for United Productions of America, the creators of the Mr. Magoo cartoon series. He then founded his own independent film post-production company. Over his forty-year career
in film, he composed music for over three hundred feature films, television episodes, animated works, documentaries, and commercials. He recorded with top Hollywood studio musicians, the Graunke Symphony Orchestra (Munich, Germany,) and even composed the music for CBS’s televised coverage of the Apollo 11 moon landing and each subsequent Apollo missions.
The work you will hear today is Jaime Mendoza Nava’s symphonic poem, Pachamama, which he wrote in August 1948. It was premiered on February 24, 1949, by the Bolivian National Symphony Orchestra under the direction of Erich Eishner at the concert celebrating the “Primera Fiesta Nacional del Arte,” the first national Arts competition in which this work won first prize. Remarkably, Mendoza-Nava composed Pachamama in just four days, drawing inspiration from El Poema del hombre y la raza [The Poem of Man and Race] by Bolivian poet Julio Ameller Ramayo (1913-1977). In a letter to his father, the 22-year-old composer described his work: “It is by far the most serious thing I have produced: it is dissonant, modern, and something that, in terms of instrumentation, form, and rhythmic characteristics, no one has done. I greatly fear that it is too modern for the judging panel. Then, as a counterweight and faithfully interpreting the first part of the Poem… I have passages that are simple, rhythmic, and carry the earth’s blood in its most candid form…My interpretation of the storm is something brutally barbaric, the same as the calm, expressed with the naivety of a hill that still rings in life and its frivolous charms. The beginning and the end are the Indigenous soul, developing what is ours and expressing it in today’s world, not in the one that died with classics and romantics.”
To read the poem this piece is based on, go to the following link: music.fullerton/edu/programnotes.
PROGRAM NOTES
Pictures at an Exhibition MODEST MUSSORGSKY
A staple of piano recitals given by virtuosi, this work is probably more familiar to many in its orchestration by Ravel. Unquestionably, a tour de force for the solo pianist, it is equally a sound spectacular for the modern orchestra. It lends itself admirably to reinterpretation in the orchestral idiom for the simple reason that few works in the repertoire consist of such deliberate and vivid depictions of a variety of colorful images from the physical realm. It was composed by Mussorgsky in 1874 during three weeks in June as a tribute to the distinguished Russian architect and artist, Viktor Hartmann, who had unexpectedly died of an aneurysm the age of only 39. Hartmann, a Volga German, was one of the champions of a new resurgence of indigenous Russian art, along with his close friend Mussorgsky In recognition of Hartmann’s work, an exhibition of some 400 of his drawings and paintings was given in the Academy of Fine Arts in St Petersburg in February and March of 1874. Mussorgsky’s musical tribute to his friend takes the form of a suite of movements that vividly depict the subjects of ten of the paintings (few of the art works survive).
Pictures at an Exhibition is so replete with such a variety of colorful, eccentric and unique visual references that it almost begged for a setting for orchestra, with that group’s magnificent palette of sound “colors.” Yet, in all fairness it must be said that it is unquestionably equally successful as a solo piano work—imagine one person drawing all of the color, drama and power out of one instrument! To my mind, a comparison between the original piano version and its orchestration is rather like imagining a Western vista photographed in black and white by Ansel Adams on the one hand, and the same vista painted on a grand scale by Alfred Bierstadt. Both would be equally stunning
interpretations. In any case, Mussorgsky’s work was almost immediately seized upon by orchestrators and literally dozens of orchestral interpretations have been pumped out during the past 135 years—many by distinguished familiar conductors, composers, and orchestrators. Some of these occasionally are performed today, but only one has achieved almost universal acclaim and dominates today’s concert performances, and that is the one done by Maurice Ravel in 1922. His gift for orchestration is well familiar to audiences, and his choices in the orchestration have now well nigh defined the work in the world’s imagination.
In keeping with the composer’s desire to mimic as much as possible the experience of a visitor to the exhibit, he starts the series of vignettes with a short movement (Promenade) that literally depicts the viewer walking from painting to painting. The music of this short introduction appears several times throughout the suite in various guises as the visitor moves from picture to picture. The effect of walking is cleverly created by music that is without a steady metre—Mussorgsky self-deprecatingly said that it alluded to his own rather lumbering gait.
The suite begins with the Promenade, played by solo, unaccompanied trumpet. It doesn’t last long, and we arrive at the first picture, Gnomus, the music for which stutters to and fro, depicting a grotesque little gnome. The promenade takes us to the next picture, Il vecchio castello (the old castle), a serene and antique scene in front of which a troubadour sings. In this case, Ravel has given the troubadour’s song to a smoothly lyrical saxophone. The promenade next takes us to the Tuileries, the famous garden near the Louvre, where children are noisy (and contentiously) at play. This short scene features light woodwinds and lyrical strings in a consciously naïve and playful style. Without the help of the promenade, we encounter the next movement, Bydlo,
PROGRAM NOTES
dominated by a rustic, lurching Polish oxcart, depicted so famously by the melancholy tuba solo. The movement starts softly, growing louder as the huge cart goes by, and fades as it passes on. Again, the promenade theme presents us with the next picture, a truly bizarre painting of dancing “un-hatched chicks in their shells.” Chirping flutes, pizzicato strings, and a scampering bassoon aptly conjure up frenetic baby birds in a mad avian ballet.
Immediately thereafter, there emerges a dark portrait of two Russian Jews, Samuel Goldenburg and Schmuÿle—one rich, one poor. This clichéd and dated caricature uses a Middle Eastern gapped scale to evoke the two men’s culture, beginning with Goldenburg, followed by a rapidly tongued, muted piccolo trumpet passage for Schmuÿle. The two portraits are then combined, followed by a short, morose tag. The famous market at Limoges comes next, populated by quarrelsome French peasant women. Barking horns and scintillating strings and woodwinds seem to evoke village gossip as it makes the rounds. A sudden pause and then a breakneck coda leads us to the dark and moribund world of the Roman catacombs, subtitled “With the dead, in a dead language.”
Massive low brass and French horn passages ominously begin the first
section, later joined by the trumpets in a powerful evocation of the finality of death. The second section is somewhat less foreboding, with strings and woodwinds creating a somewhat reflective search for the meaning of it all. The next movement takes the concept of “bizarre” to a truly higher level: it pictures the famous Slavic witch, Baba Yaga, who eats small children and lives in a hut standing on chicken legs. This particular hut is in the shape of a clock whose bells enter into the texture. It’s a grotesque exercise in frenetic chasing around, far exceeding what we have heard so far. The end winds up in a whirlwind that spins right into the finale of the whole suite, the “Great Gate of Kiev.” The majestic theme is worked through in several versions—some with intimations of a carillon. Each version seems to be more intense than the one before, with teasing sections of calmness, only to be redoubled by even more massive and imposing renditions that seem to challenge human and musical limitations. The peroration is usually considered to be just about the loudest and most imposing playing of which an orchestra is capable. Enjoy!
Amber Napoli is a lyric soprano working towards completion of her B.M. in Vocal Performance here at Cal State Fullerton, and is currently a junior. She is a classically trained vocalist, who has a passion for singing many genres of music, including jazz, pop, musical theater, and opera. She has performed in numerous opera scene productions, in roles such as Carmen (Carmen), Papagena (Die Zauberflöte), Rosalinda (Die Fledermaus), and Madeline (The Fall of the House of Usher). In Spring 2024, she performed the title role of “Poppea” in Cal State Fullerton’s production of L’Incoronazione di Poppea. She is currently preparing the role of “Pamina” for the School of Music’s production of Die Zauberflöte (The Magic Flute) set for April 2025.
Amber sings in the CSUF University Singers, and has had the opportunity to travel to Rwanda, South Africa, and will be going to Texas for the ACDA conference in March. Through the CSUF choral program, she has performed at the Hollywood Bowl, Disney Hall, and the Kia Forum for many artists such as Andrea Bocelli, Jennifer Hudson, Nadine Sierra, Sierra Boggess, and more. She also performed in the choir for Disney’s Marvel show at the Hollywood Bowl and sang back-up for the Eagles.
Amber is a choral artist in the professional ensemble, Choral Arts Initiative, led by Dr. Brandon Elliott. Through this group, she performed back-up for the band 30 Seconds to Mars, and premieres brand new choral works. She is extremely grateful for the mentorship she has received from her voice teacher, Courtney Taylor, and for the support of her excellent professors, Dr. Kerry Jennings, Dr. Joni Prado, Dr. Robert Istad, and Dr. Christopher Peterson.
Kimo Furumoto
Kimo Furumoto is the Orchestra Director at California State University, Fullerton. He is also Music Director and Conductor of the Huntington Symphony Orchestra (West Virginia) as well as the Whittier Regional Symphony. His guest conducting appearances have taken him throughout the United States and Europe with many stellar orchestras.
Previous positions include music director of the Concert Orchestra at the University of Cincinnati, College Conservatory of Music, conducting assistant with the Cincinnati Symphony Orchestra, and assistant conductor of the Cincinnati Chamber Orchestra. He has worked with noted conductors such as Leonard Bernstein and Robert Shaw.
Furumoto holds degrees in conducting from Chapman University and the University of Cincinnati, College Conservatory of Music. His ballet “The Mandarin Ducks” has been enthusiastically received by audiences.
COLLEGE OF THE ARTS • SELECT
College of the Arts Galleries Exhibitions
Vitae: A New Generation
Chris O’Leary: Gravity Well
Michelle Emami: Arcana Past Forward (Redux) Through May 17
Sergei Babayan, piano
February 16 • Meng Concert Hall
Sō Percussion*
February 20 • Meng Concert Hall
Hajar: Opera In Concert
February 21 • Recital Hall
University Symphony Orchestra feat. Music Associates’ Student Concerto/Aria
Competition Winner
February 23 • Meng Concert Hall
World Citizen Band with Fullerton Chamber Jazz Ensemble
February 26 • Meng Concert Hall
Advanced Vocal Workshop with guest Michael Schütze, piano
March 6 • Recital Hall
Significant Other March 6–15 • Hallberg Theatre
Collage: 18th Annual Benefit Concert
March 8 • Meng Concert Hall
Dr. Joni Prado, soprano & Dr. Kerry Jennings, tenor, with Michael Schütze, piano
March 9 • Meng Concert Hall
Mela Quartet
March 12 • Meng Concert Hall
University Singers & Concert Choir
March 15 • Meng Concert Hall
Bill Cunliffe & Alison Edwards, duo piano
March 16 • Meng Concert Hall
Tuesday Matinée
March 18 • Recital Hall
Ralph Farris, viola, with CSUF Wind Symphony and Rodolfo Zuniga, percussion
March 18 • Meng Concert Hall
Spring Awakening
March 20–29 • Young Theatre
Talich Quartet
March 28 • Meng Concert Hall
University Symphony Orchestra with the Talich Quartet
March 30 • Meng Concert Hall
Inna Faliks, piano
April 8 • Meng Concert Hall
Brightwork New Music and HEX Vocal Ensemble*
April 9 • Meng Concert Hall
Ernest Salem, violin and Alison Edwards, piano
April 13 • Meng Concert Hall
Mozart’s The Magic Flute
April 17–26 • Little Theatre
Fullerton Jazz Chamber Ensemble and Fullerton Latin Ensemble
April 22 • Meng Concert Hall
Cello Choir
April 25 • Recital Hall
University Symphonic Winds
April 27 • Meng Concert Hall
CSUF New Music Ensemble and CSUF Contemporary Chamber Music Ensemble*
April 30 • CPAC 119
University Band
April 30 • Meng Concert Hall
Spring Dance Theatre
May 1–10 • Little Theatre
Fullerton Jazz Orchestra
May 2 • Meng Concert Hall
University Wind Symphony
May 3 • Meng Concert Hall
Jazz Singers
May 5 • Meng Concert Hall
Titan Voices & Singing Titans
May 7 • Meng Concert Hall
University Symphony Orchestra and Symphonic Chorus
Gustav Mahler’s Ein deutsches Requiem
May 10 • Meng Concert Hall
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Ronald L. Katz
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Gifts received from July 1, 2024 to December 31, 2024
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
