Bill Cunliffe* jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
PIANO, ORGAN, PIANO PEDAGOGY
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class piano
Myong-Joo Lee piano
Dr. Robert Watson piano
MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL
Dr. Christopher Peterson choral
Dr. Gregory X. Whitmore* instrumental
MUSIC IN GENERAL EDUCATION
Dr. John Koegel*
Dr. Katherine Reed
MUSIC HISTORY AND LITERATURE
Dr. Vivianne Asturizaga musicology
Dr. John Koegel* musicology
Dr. Katherine Powers musicology
Dr. Katherine Reed musicology
STRINGS
Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko cello
Dr. Ernest Salem* violin
THEORY AND COMPOSITION
Dr. Pamela Madsen, composition, theory
Dr. Ken Walicki* composition, theory
VOCAL, CHORAL, AND OPERA
Dr. Robert Istad Director of Choral Studies and University Singers conductor
Dr. Kerry Jennings* Director of Opera
Dr. Christopher Peterson CSUF Concert Choir and Singing Titans conductor
Dr. Joni Y. Prado voice, academic voice courses
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis flute
Sycil Mathai* trumpet
Dr. Gregory X. Whitmore University Symphonic Winds conductor
STAFF
Michael August Production Manager
Eric Dries Music Librarian
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* denotes Area Coordinator
Welcome to the College of the Arts 2024–2025 season – our first in three years where performing and visual arts programming will take place on one cohesive arts campus following the completion of the Visual Arts Modernization Project. We are thrilled you have joined us! As our visitors, you are part of our extended family of patrons, parents, friends, and fellow Titans, and we strive to reflect your stories and experiences in the programming we present.
To us, community engagement is more than just opening the doors of our performance and exhibition spaces and inviting you in; it’s about creating a space for dialogue through the work we share. This season, we are proud to bring you a slate of exhibitions, concerts, and performances that not only reflect our humanity but also have the power to transform how we see ourselves and others. In Theatre, “The Prom” opens the season with a joyful celebration of love and acceptance that follows teen Emma Nolan and her quest to attend the prom after she is disinvited for being gay. Will Emma get the prom she deserves? Next, Begovich Gallery presents four exhibitions to celebrate the public opening of Building G on November 2, including “Vitae: A New Generation” featuring CSUF visual arts alumni whose work explores self-discovery and issues of social justice. The following week, the Fullerton Jazz Orchestra and University Symphony Orchestra, along with guest artists Mariachi Divas de Cindy Shea, perform in “Fullerton Pops!” Our award-winning choreographers and dancers take the stage in December for “Fall Dance Theatre,” a powerfully moving collection of performances in a variety of dance styles. And don’t forget everyone’s holiday concert favorite, “Deck the Hall at Cal State Fullerton!” on December 14 and 15.
With the completion of the Visual Arts complex this past summer, we are one of the largest comprehensive colleges of the arts in the CSU system. The complex boasts digitally enhanced classrooms, a green screen lab for film and animation, an expanded photography studio, four art galleries, and several indoor and outdoor spaces to encourage cross-disciplinary exploration. But with the distinction of being a large college of the arts comes great need, and many of our students face personal and financial challenges that prevent them from continuing their education. The Dean’s Fund for Excellence provides our students with funding for immersive, off- and on-campus experiences that contribute to their academic success, including CSU Summer Arts, conferences, and study abroad programs. Your support is not just appreciated; it is vital. If the arts and their continued importance in higher education are essential to you, please consider a gift of any amount to the Dean’s Fund today.
I thank you for joining us and for championing the arts in our community. Your support means the world to me and to our students. When you return, I invite you to visit the Visual Arts complex to see what’s new and to check out the galleries in Building G, across from Clayes Performing Arts Center and open late on select performance nights beginning in November. I hope to see you there!
Introduction and Rondo Pastoral Nocturne Dance Variations
Downey Overture
Oscar Navarro (b. 1981)
PROGRAM NOTES
Cathedrals
KATHRYN SALFEDLER
Boston-based composer Kathryn Salfelder’s music has been performed by the Minnesota Orchestra, New England Philharmonic, Yale Philharmonia, Eastern Connecticut Symphony Orchestra, Dallas Wind Symphony, and by over one hundred ensembles at the nation’s leading music schools and conservatories. Recipient of the 2012 ASCAP Morton Gould Young Composer Award and 2008 ASCAP/CBDNA Frederick Fennell Prize, Kathryn has been commissioned by Boston Musica Viva, the Albany Symphony, the United States Air Force Band Washington D.C., and the American Bandmasters Assoc. Kathryn earned a D.M.A in Composition at the New England Conservatory, an M.M. in Composition from the Yale School of Music and a B.M. in Composition with Academic Honors from New England Conservatory. Her primary teachers include Michael Gandolfi, Aaron Jay Kernis, and David Lang. She is the recipient of NEC’s 2009 Donald Martino Award for Excellence in Composition, 2009 George Chadwick Medal, and 2012 Tourjee Alumni Scholarship. She is currently a lecturer in music theory at the M.I.T.
Salfelder offers the following remarks about Cathedrals: Cathedrals is a fantasy on Gabrieli’s Canzon Primi Toni from the Sacrae Symphoniae, which dates from 1597. Written for St. Mark’s Cathedral in Venice, the canzon is scored for two brass choirs, each comprised of two trumpets and two trombones. The choirs were stationed in opposite balconies of the church according to the antiphonal principal of cori spezzati (broken choirs), which forms the basis of much of Gabrieli’s writing.
Cathedral is an adventure in «neo-renaissance» music, in its seating arrangement, antiphonal qualities, 16th-century counterpoint, and canonic textures. Its form is structured on the golden ratio (1:0.618), which is commonly found not only in nature and art, but also in the motets and masses of Renaissance composers such as Palestrina and Lassus. The areas surrounding the golden section and its series of extrapolated subdivisions
have audible characteristics, often evidenced by cadences, changes in texture, or juxtaposition of ideas.
The work is a synthesis of the old and the new, evoking the mystery and allure of Gabrieli’s spatial music, intertwined with the rich color palette, modal harmonies, and textures of woodwinds and percussion.
California
DAVID MASLANKA
David Maslanka was born in New Bedford, Massachusetts in 1943. He attended the Oberlin College Conservatory where he studied composition with Joseph Wood. He spent a year at the Mozarteum in Salzburg, Austria, and did masters and doctoral study in composition at Michigan State University where his principal teacher was H. Owen Reed.
Maslanka’s music for winds has become especially well known. Among his more than 150 works are over 50 pieces for wind ensemble, including eight symphonies, seventeen concertos, a Mass, and many concert pieces. His chamber music includes four wind quintets, five saxophone quartets, and many works for solo instrument and piano. In addition, he has written a variety of orchestral and choral pieces.
David Maslanka’s compositions are published by Maslanka Press, Carl Fischer, Kjos Music, Marimba Productions, and OU Percussion Press. They have been recorded on Albany, Reference Recordings, BIS (Sweden), Naxos, Cambria, CRI, Mark, Novisse, AUR, Cafua (Japan), Brain Music (Japan), Barking Dog, and Klavier labels. He served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough Community College of the City University of New York, and was a freelance composer in Missoula, Montana from 1990 until his death in 2017.
David Maslanka penned the following comments reagarding his work on tonight’s program: Music is wonderful. It lets us tell ourselves things we can’t speak out in words. It opens the dream space and lets us dream together. It lets us imagine the world as it really is, a place of vitality, power and possibility. We live in fear of destruction,
PROGRAM NOTES
from climate change, nuclear bombs, increasing population, vanishing resources, continuous war. When the troubles are listed like this it is hard to know what we think we are doing with our seemingly simple and innocent music making.
California has always been a place of big dreams. The music of California celebrates the California dream space. There is tremendous beauty here—the forests, deserts, mountains and valleys, the ocean— and also the strength within the people and in the earth to meet the times that are upon us. Music lets us dream, and in that dream is the possibility of a new world, one in which humans live in harmony, within themselves, with all other people, with all other species, with the planet. Is this dream impossible? Are circumstances too complex? Will human nature never change? My answer to these questions is no. The dream starts somewhere. Let our music making be one such place.
Autumn Triptych VIET CUONG
Cuong offers the following remarks about his Autumn Triptych:
Autumn Triptych is a musical setting of three iconic lyric poems by Nguyễn Khuyến (1834-1909), a Vietnamese scholar, teacher, and poet. Thu Điếu (Fishing in Autumn), Thu Vịnh (Writing on Autumn), and Thu Ẩm (Drinking in Autumn) form a melancholy collection of verses written in response to the colonization of Vietnam in the late 19th century. I was first introduced to Nguyễn’s poems six years ago when composer P.Q. Phan invited me to compose a vocal piece with a chamber ensemble accompaniment for the Vietnamese American Society for Creative Arts and Music (VASCAM). I sought advice from my father on a text to set, and he recommended one of his favorite poems, Thu Điếu Vietnamese was my first language, and I spoke no English until I was five, but over the years, I had all
but completely lost my mother tongue. I knew that the song’s melody would need to be shaped by the tonality of the language, so I relied heavily on my father to make sure that my setting preserved the language of the original verse. Though my father had no training as a musician, he was indispensable in helping me to hone the piece. The full wind ensemble version of Thu Điếu, commissioned by the U.S. Army Field Band in 2021, was the last project I completed before his death, and in the years since his passing the song’s melody invariably brings him to mind. His absence was felt all the more keenly as I completed the other two songs for the Triptych this year.
In writing the music for Writing and Drinking, I felt a greater connection to my Vietnamese heritage than perhaps I ever have. Though my brother Nam and I are named in commemoration of our parents’ homeland, it was not a culture we were raised in. A Vietnamese man even once approached me after a concert to say that he had been listening for the sound of Vietnam in my music but had only been able to hear the Blue Ridge Mountains. It is my hope that in these three pieces, the listener might hear some of both, and perhaps in Autumn. Autumn Triptych was commissioned by Vu Nguyen, Albert Nguyen, and Danh Pham and their respective wind ensemble programs at the University of the Pacific, University of Memphis, and Washington State University. Thank you to Vu, Albert, and Danh for your encouragement, as well as soprano Bích-Vân Nguyễn, whose beautiful voice richly brings these songs to life.
Sinfonietta INGOLF DAHL
Ingolf Dahl is an example of a Europeanborn composer who entered completely into the musical life of his adoptive country. After studying music in Germany and Switzerland, Dahl worked as a conductor of the Zurich Opera before immigrating to the U.S. in 1938. Settling in Los Angeles, he found work as a
PROGRAM NOTES
composer and conductor for radio and film. He also became close friends with Arnold Schoenberg and Igor Stravinsky. Dahl became a naturalized citizen in 1943 and joined the faculty of the University of Southern California in 1945. In addition to his work at USC, where he remained until his death, Dahl served on the faculty of the Berkshire Music Center at Tanglewood (1952–55). The composer received many awards and commissions throughout his lifetime.
His Sinfonietta was commissioned by the Northwestern and Western Divisions of the College Band Directors National Association and premiered in 1961 by the University of Southern California Wind Orchestra, conducted by William Schaefer. The piece is in three movements, with the outer movements unified by a set of six notes that serve as the primary melodic material. In composing the Sinfonietta, Dahl used the instruments of the band in a chamber music fashion by consistently avoiding writing for the full ensemble.
Regarding the Sinfonietta, Dahl wrote: The form of this Sinfonietta is akin to an arch or to the span of a large bridge: the sections of the first movement correspond, in reverse order, to the sections of the last. The middle movement itself is shaped like an arch beginning with an unaccompanied line in the clarinets and ending with a corresponding solo in the alto clarinet. The center of the middle movement, a gavotte-like section, is the keystone of the arch over all three movements. The first movement, “Introduction and Rondo,” proceeds by simple alternation between march-like refrains and rhythmically fragmented episodes. A culmination is reached when the entire clarinet section breaks into a brilliant cadenza. I was inspired to compose the cadenza in this way by a performance of the USC Wind Orchestra where the entire clarinet section performed Carl Maria von Weber’s Concertino in unison. The movement closes in a rare full tutti and with a drum pattern which traditionally would stand at the beginning of a march, but which here ends it. The second movement, a “Notturno Pastorale,” consists of alternations an superimpositions of several musical forms in a single
movement. These forms are: a fugue, a waltz, and a gavotte. The fugue subject is first presented in a lyrical saxophone solo. Superimposed upon the fugue is the waltz, which alternately recedes into the distance and returns to the foreground. By contrast, the middle section—Gavotte—is of a much simpler fabric: a lightly accompanied oboe tune.
The third movement, “Dance Variations,” begins with the most straightforward presentation of the sixtone set. Thereupon the set, serving as the basso ostinato of this passacaglialike movement, undergoes countless transformations. Appearing above these bass variations are a multitude of different little tunes in shifting colors. A lyrical middle section provides contrast. Toward the end, after a rhythmic tutti, the instruments bow out one by one.
Downey Overture OSCAR NAVARRO
Oscar Navarro was born in the village of Novelda (Alicante, Spain), where he began studying music at an early age. He continued his studies of composition and conducting at the Allegro International Music Academy of Valencia. Shortly after, he was selected to study scoring for motion picture and television by the University of Southern California Thornton School of Music. Today, he holds many national and international composition awards, and his music is performed in major performance venues across the world by some of the leading orchestral and wind ensembles. Oscar was recently awarded the “Hollywood Music and Media Award,” in the classical music section. In February 2014, he received a GOYA nomination from the Spanish Film Academy for his soundtrack for the film “The Mule.”
Dedicated to the Downey Symphony Orchestra, Downey Overture is a fast-paced and technically challenging work that rarely gives rest to the woodwind section. Navarro states, “An amalgam of rhythm and musical color wrapped in an atmosphere of dance gives essence to this piece. It is joyful, energetic, and written with all my enthusiasm and dedication. It could not have been any other way for the Downey Symphony Orchestra.”
UNIVERSITY WIND SYMPHONY
Piccolo
Daniella Arditti
Joel Charboneau
Flute
Daniella Arditti
Henry Bransdorfer
Joel Charboneau
Crystal Lee
Jeffrey Nguyen
Oboe
Brett Houston
Johnston Nguyen
Stephanie Marquez
Bassoon
Nayalin Guzman
Theresa Harvey
Emma Johnson Miranda
E-Flat Clarinet
Yilin Li
Clarinet
Grigorii Avetisian
Myko Crisostomo
Daniel Hernandez
Yilin Li
James Nguyen
Ryan Nguyen
Manami Ogura
Josiah Sanchez
Dillan Yoon
Bass Clarinet
Jesus Santiago
Saxophone
Lennon Gamez
Joshua Lopez
Kimberly Orozco
Elijah Samuel
Sam Tobilla
Trumpet
Dominick Bonelli
Trevor Cannon
Isaac Montaño
Alex Santiago
Susanna Sun
Isaiah Velasquez
Rudy Xool
Horn
Tod Beckett-Frank
Michael Clausen
Grant Laren
Quintin Toma
Trombone
Andrew Munoz
Matheu Padua
Samuel Song
Bass Trombone
Paul De La Rosa
Euphonium
Carlo Bonelli
Chris Zavala
Tuba
Deandre Barlow
Eduardo Bonilla
Double Bass
Angelina Salcedo
Percussion
Cameron Abrahamson
Andrew Alvidrez
Wilson Le
Salvador Montaño
Galadriel Pokracki
John Sunderman
Joshua Zepeda
Piano
Haosen Wang
Harp
Brain Noel
Music Librarians
Daniel Hernandez
Emma Johnson Miranda
Johnston Nguyen
Logistics Manager
Daniel Hernandez
Vietnamese-American singer-actress-songwriter, TV host, and jewelry designer Bích-Vân Nguyễn was handed the mandolin by her grandfather when she was four. She started taking piano lessons at age five and singing at six, and has been performing ever since.
Previously trained at National Music Conservatory in Vietnam and at Bob Cole Conservatory of Music, Long Beach, California, Bích-Vân recently graduated with a Masters in Musical Theater at New York University, and an Advanced Certificate in Vocal Pedagogy.
Bích-Vân is one of the most versatile and sought-after Vietnamese-American vocalists and has performed as a headliner with Asia Entertainment, the Vietnamese–American Philharmonic, the Ngan Khoi Chorus, and more. She also performs in Opera, Musical Theater, and stage productions, and headlines concerts all over the world at prestigious venues such as Kennedy Center (DC), Rainbow Room at Rockefeller Center (NY), Segerstrom Center for the Arts (CA), Musco Center for the Arts (CA), Carpenter Performing Arts Center (CA), La Mirada Theater (CA), Rachel Schlesinger Concert Hall (VA), Desiring The Arts Festival (IA), Marie Stéphane Concert Hall (Montreal), National Music Conservatory (Vietnam), Quan Ngua Stadium (Vietnam) among others.
Notable roles include the Lead in the World-Prem5iere Monodrama “Count To Ten,” the Muse (Lead) in the Off-Broadway musical “A World Without Harmony,” Mẹ Mõ and Sùng Bà in “Tale of Lady Thi Kinh,” Tuptim in “The King and I,” Kim in “Miss Saigon,” Christine in “Phantom of the Opera,” Cleopatra in “Giulio Cesare,” Nannetta in “Falstaff” among others.
Bích-Vân hosts her own TV acoustic musical show called “Gác Nhỏ THE NOOK Acoustic” and her travel show called “LET’S GO!” while also appearing in countless TV/radio interviews and talk shows. Most recently, she appeared as a guest coach and celebrity judge on SBTN VOICE.
Besides her 13 albums to date, Bích-Vân can be seen and heard on numerous CDs and DVDs. She now resides in Southern California. Besides actively performing, she teaches piano and voice, coaches and directs music and has over ten years of teaching experience, including two years on the faculty of New York University. More info about her music studio with partner Sean Buhr is available at www.VSMusicStudios.com.
The “alluring” (The New York Times), “arresting” (Gramophone), “irresistible” (San Francisco Chronicle), and “exhilarating” (Chicago Tribune) music of Vietnamese-American composer Viet Cuong has been commissioned and performed on six continents by musicians and ensembles such as the New York Philharmonic, Eighth Blackbird, Saint Paul Chamber Orchestra, Sō Percussion, Alarm Will Sound, Atlanta Symphony, Sandbox Percussion, Albany Symphony, PRISM Quartet, and Dallas Winds, among many others. Cuong’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, National Gallery of Art, and Library of Congress, and his works for wind ensemble have amassed several hundreds of performances worldwide, including at Midwest, WASBE, and CBDNA conferences.
In his music Cuong enjoys exploring the unexpected and whimsical, and he is often drawn to projects where he can make peculiar combinations and sounds feel enchanting or oddly satisfying. His notable works thus include concerti for tuba and dueling oboes, percussion quartets utilizing wine glasses and sandpaper, and pieces for double reed sextet, cello octet, and solo snare drum. Passionate about bringing all these different facets of the contemporary music community together, his recent works include Vital Sines, a concerto for Eighth Blackbird and the United States Navy Band, and Re(new)al, a concerto for percussion quartet with a variety of ensemble accompaniments.
Cuong is the Pacific Symphony’s current Composer-in-Residence, and from 2020-23 was the California Symphony’s Young American Composer-inResidence. He has held artist residencies at Copland House, Yaddo, Ucross, the Atlantic Center for the Arts, and at Dumbarton Oaks, where he served as the 2020 Early-Career Musician-in-Residence. His music has been awarded the Barlow Prize, William D. Revelli Prize, Frederick Fennell Prize, Walter Beeler Memorial Prize, Barlow Endowment Commission, ASCAP Morton Gould Composers Award, Theodore Presser Foundation Award, Suzanne and Lee Ettelson Composers Award, Cortona Prize, New York Youth Symphony First Music Commission, and Boston GuitarFest Composition Prize.
Cuong serves as Assistant Professor of Music Composition and Theory at the University of Nevada, Las Vegas, where he teaches composition, orchestration, and music theory. He holds degrees in music composition from Princeton University (MFA/PhD), the Curtis Institute of Music (Artist Diploma), and the Peabody Conservatory (BM/MM). His mentors include Jennifer Higdon, David Serkin Ludwig, Donnacha Dennehy, Steve Mackey, Dan Trueman, Dmitri Tymoczko, Kevin Puts, and Oscar Bettison. During his studies, he held the Daniel W. Dietrich II Composition Fellowship at Curtis, Naumburg and Roger Sessions Fellowships at Princeton, and Evergreen House Foundation scholarship at Peabody, where he was also awarded the Peabody Alumni Award (the Valedictorian honor) and Gustav Klemm Award. A scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals, Cuong has been a fellow at the Orchestra of St. Luke’s DeGaetano Institute, Minnesota Orchestra Composers Institute, Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Cortona Sessions, and Copland House’s CULTIVATE workshop.
ABOUT THE GRADUATE STUDENT CONDUCTOR
Johnston Nguyễn is a passionate music educator, conductor, and oboist. He is currently pursuing a Master of Music degree at California State University, Fullerton, where he studies instrumental conducting with Dr. Dustin Barr and oboe with Dr. Rong-Huey Liu. He is the inaugural recipient of CSUF’s Alan V. Stang, PhD Endowed Scholarship for Instrumental Wind Conducting, and was recently honored as a 2024 Midwest Clinic Reynolds Conducting Institute Fellow, a prestigious national recognition for promising and emerging conductors. Prior to graduate studies at CSUF, Nguyễn was the Band Director at Palm Desert Charter Middle School in Palm Desert, CA where he taught Marching Band, Wind Ensemble, Jazz Band, Concert Band, Beginning Band, and Music Appreciation. At PDCMS, he successfully led students through numerous festivals, competitions, and community engagement events. In 2020, he presented along with Dr. Marc Dickey on “Demystifying Oboe and Bassoon Octave Keys” at the annual Southern California Band and Orchestra Association Conference.
Nguyễn completed his Bachelor of Arts in Music Education, also at California State University, Fullerton. As an undergraduate, he played in the Wind Symphony, Symphonic Winds, University Band, Symphony Orchestra, and various chamber ensembles. He was a recipient of the Willard and Virginia Dickey Instrumental Music Education Student Teacher Scholarship
ABOUT THE CONDUCTOR
Dustin Barr is the Director of Wind Studies and Associate Professor of Music at California State University, Fullerton, where he leads the university’s comprehensive band program. He conducts the acclaimed University Wind Symphony and University Band, oversees the graduate wind conducting program, and teaches courses in conducting and music education. Prior experiences include appointments as Assistant Director of Bands at Michigan State University, Director of Bands at Mt. San Antonio College, and Assistant Director of Bands at Esperanza High School in Anaheim, California.
A leading pedagogue in the field of conducting, Barr collaborated with theatre director Jerald Schwiebert to integrate performance theory with various movement disciplines, pioneering innovative approaches to conducting instruction. Their co-authored book, Expressive Conducting: Movement and Performance Theory for Conductors (Routledge, 2018), has become an essential resource for conductors worldwide. His work in movement theory has resulted in invitations to present masterclasses and lectures throughout the USA and in Spain. Moreover, his research on Scandinavian chamber wind ensemble music resulted in published editions of Asger Lund Christiansen’s Octet, op. 43 and Svend Schultz’s Divertimento for Wind Octet.
Barr’s accomplishments have garnered wide recognition, including winning Second Prize of the 2024 American Prize in Conducting. His leadership of the CSUF University Wind Symphony has resulted in prestigious performances at the College Band Directors National Association (CBDNA) conferences at both national (2019) and regional (2024) levels, as well as a headlining performance at the 2023 California All State Music Education Conference. The University Wind Symphony’s 2022 album, Effigy, is another noteworthy achievement. This album features the music of composer Brian Baumbusch and was the result of innovative musical practices and remote recording projects undertaken during the COVID-19 pandemic. Under Barr’s direction, the ensemble also received Third Prize in the 2021 American Prize Ernst Bacon Award for the Performance of American Music.
Barr has guest conducted prominent ensembles, including the United States Army Band “Pershing’s Own” and the United States Air Force Band of the Golden West, in addition to numerous collegiate bands across the country. Additionally, he has appeared as guest conductor of leading municipal bands in Valencia and Almería, Spain. He holds a Doctor of Musical Arts in conducting from the University of Michigan, and both Master and Bachelor of Music degrees from California State University, Fullerton. His principal mentors include Michael Haithcock and Mitchell Fennell.
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Very special care has been given to the preparation of this donor listing. Please contact Ann Steichen at (657) 278-7124 with questions or concerns. Gifts received from July 2, 2023 to September 1, 2024 *deceased
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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:
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SPECIAL SUPPORT AND EVENT UNDERWRITING
Fay Colmar John DeLoof
Joann Driggers & Steve Collier
Loraine Walkington
MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Marilyn Carlson
Evelyn K. Francuz
Sandy & Norm Johnson
Marti & Bill Kurschat
Karen & George Mast
Thelma & Earl Mellott
Bettina Murphy
Grace & Ujinobu Niwa
Kerry & John Phelps
Mary & Jerry Reinhart
Ann & Thad Sandford
Dodo V. Standring
Carolyn & Tom Toby
John Van Wey
MORE INFORMATION: Haley Sanford • 657-278-2663
There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts
COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2024
Kirsten Yon and Ernest Salem, violins
September 26 • Meng Concert Hall
Hoang Nguyen & Friends: Alumni Piano Recital: September 27 • Meng Concert Hall
Fullerton Jazz Orchestra
October 4 • Meng Concert Hall
University Symphony Orchestra October 5 • Meng Concert Hall
University Wind Symphony October 6 • Meng Concert Hall
The Prom
October 10–19 • Little Theatre Talkbacks: 10/11; 10/19 matinée
University Symphonic Winds
October 12 • Meng Concert Hall
University Singers & Concert Choir October 20 • Meng Concert Hall
Blood Wedding
October 24–November 19 • Young Theatre
Denis Bouriakov, flute
October 26 • Meng Concert Hall
Advanced Vocal Workshop with guest Mark Robson, piano October 29 • Recital Hall
Vitae: A New Generation; Chris O’Leary: Gravity Well; Michelle Emami: Arcana; and Past Forward (Redux)
November 2, 2024 – May 17, 2025 Begovich Gallery
High School Honor Orchestra & CSUF Chamber Ensembles Orchestra
November 2 • Meng Concert Hall
Bent Frequency Duo Project with CSUF New Music Ensemble
November 6 • Meng Concert Hall
Michael Yoshimi, clarinet
November 8 • Meng Concert Hall
Lost Girl
November 7–16 • Hallberg Theatre
CSUF SCHOOL OF MUSIC PRESENTS Fullerton Pops! feat. Fullerton Jazz Orchestra
University Symphony Orchestra and Mariachi Divas de Cindy Shea
November 10 • Meng Concert Hall
Opera Scenes
November 15–17 • Recital Hall
Jazz Singers
November 20 • Meng Concert Hall
University Wind Symphony
November 22 • Meng Concert Hall
Cello Choir
November 22 • Recital Hall
Fall Dance Theatre
December 5–14• Little Theatre
University Symphonic Winds
December 7 • Meng Concert Hall
Titan Voices & Singing Titans
December 9 • Meng Concert Hall
CSUF New Music Ensemble & CSUF Contemporary Chamber Music Ensemble
December 11 • CPAC 119
University Band
December 11 • Meng Concert Hall
CSUF SCHOOL OF MUSIC PRESENTS Deck the Hall at Cal State Fullerton! December 14,15 • Meng Concert Hall
