Fabian Ziegler, percussion" program

March 6, 2024

Fabian Ziegler, percussion feat. CSUF Percussion Ensemble

Photo by Akvile Sileikaite

CALIFORNIA STATE UNIVERSITY, FULLERTON CSUF SCHOOL OF MUSIC

SYLVIA A. ALVA

President, California State University, Fullerton

AMIR H. DABIRIAN

Provost and VP for Academic Affairs (Interim)

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. 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

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PROGRAM

Atalanta (2020).............................................................................................

John Psathas (b. 1966)

Rhythmic Caprice (1989)

Leigh Howard Stevens (b. 1953)

“Her Alchemy” (2016) .................................................................................. John Psathas (from Koolish Zein (solo version))

Eravie (2009) ........................................................................................

Alexej Gerassimez (b. 1987)

Kyoto (2011)

John Psathas featuring CSUF Percussion Ensemble members

Andrew Alvidrez - Victoria Canonizado

Salvador Montano - Wilson Le

RealBadNow (2021) .....................................................................................

John Psathas Movements 1 & 5

Metro (2020) ............................................................................................

Russell Wharton (b. 1990)

ATALANTA • John Psathas

I’ve always been strongly influenced by the performers I write for. In the case of Atalanta I was affected by the knowledge that percussionist Fabian (Ziegler) and pianist Akvilė (Šileikaitė) were a couple and soon to be married. There is a sense of youthful love and warmth in the piece, and of two young spirits chasing each other at high speed.

The literal meaning of the word Atalanta (from Greek mythology) is ‘equal in weight’ – not a bad concept for the foundation of a marriage. Atalanta is also the name of a Greek heroine, a swiftfooted virgin who eschewed men and devoted herself to the huntress Artemis.

She agreed to marry only if a suitor could outrun her in a footrace, which she knew was impossible. If the suitor was unsuccessful, he would be killed. Many suitors died in the attempt until Hippomenes prayed to the goddess Aphrodite for assistance and received three irresistible golden apples. During the race Atalanta, was diverted off the path as Hoppmenes tossed an apple for her to retrieve; each time Atalanta caught up with Hippomenes, he would toss another apple, ultimately winning the race and Atalanta herself.

The backing track features a recording of Taonga Puoro performed by the recent Richard Nunns (if you listen closely, you can hear his voice sung through the body of a Putorino).

- John Psathas

RHYTHMIC CAPRICE •

Leigh Howard Stevens

In the 1980s, Stevens began writing what he called a “demonstration piece” to show composers possible techniques and sound effects. “I wanted a virtuosic, bring-the-house-down kind of piece, so I performed for every composer who would listen,” he says. “I never got that piece, so I ended up writing it myself.” Leigh’s “Rhythmic Caprice” was premiered in

1989 and continues to be one of his most popular encores.

-Leigh Howard Stevens

HER ALCHEMY (from Koolish Zein (solo version)) • John Psathas

Koolish Zein is an orchestra-less concerto written for Michael Burritt. In place of the symphony orchestra is a percussion quartet and a track of richly layered audio. The soloist is the storyteller from start to finish, navigating an ever-changing terrain of dynamic textures and grooves. The three parts of Koolish Zein each look to evoke resonances of an imagined future. “Her Alchemy” emerges from women’s voices transformed digitally within the software Alchemy. “London Busking 2149” imagines what it might be like busking at Trafalgar Square some 125 years from now, evoked with the sound of flying vehicles coming and going, the loose quality of the music, and a duet with a passing robotic improvisor.

The up-tempo “Trimetrical Hub” (an anagram of Michael Burritt) begins in a Macedonian dance rhythm of 17/8 (4+6+7) and eventually transforms into a high-spirited groove inspired by a 6/8 Moroccan wedding dance.

ERAVIE • Alexej Gerassimez

When listening to the beautiful choral by Nikolai Kedrov, Sr. “Otche Nash” (The Lord’s Prayer), I instantly started to develop the idea to compose a piece influenced by this choral. I started to play the beginning on a marimba and tried to let the instrument “sing.” The first six bars are based on the harmonies by Kedrov.

The excerpt from J.W. Goethe’s Egmont “Now shouting in triumph, Now sunk in despair” crossed my mind while I wrote the music. The title Eravie that is made up from French literature, represents the felling of ups and downs in life. Eravie is dedicated to Julie.

- Alexej Gerassimez

PROGRAM NOTES

KYOTO • John Psathas

Kyoto, premiered by the Ju Percussion Group in Taiwan City on May 20, 2011, was commissioned by the group for the Taipei International Percussion Convention. Departing from my earlier intense and physically demanding percussion compositions, such as Drum Dances and “Etude” from One Study One Summary, Kyoto shares stylistic similarities with his marimba concerto Djinn. The piece maintains a constant rhythmic semiquaver pulse that drives the momentum, transitioning through varying time signatures and punctuated by moments of silence that give rise to shifts in harmonic content. Two contrasting ideas, rhythmically driven melodic lines and vibraphone arpeggios, alternate before converging in a climactic moment. The title of the work is inspired by a 1976 improvisation by pianist Keith Jarrett recorded in Kyoto, which served as a transformative catalyst for my journey as a composer.

- John Psathas

REALBADNOW • John Psathas

A solo percussion and digital audio work commissioned by commissioned by: Fabian Ziegler, Switzerland - Alex Georgiev, Austria - Adelaide Férrière, France - Omar Carmenates, USAZhengdao Lu, China - Sam Um, USA Pei Ching Wu, Taiwan - James Larter, UK - Vassilena Serafimova, Bulgaria - Gaku Ueno, Japan - Edoardo Giachino, Italy. If you’re interested in this piece I thought it might be useful to know some more about the thinking and feeling behind the composing.

I was inspired by the book “Disposable Futures: The Seduction of Violence in the Age of Spectacle” by Brad Evans and Henry Giroux. This book is where the movement titles come from . . .

Part 1

I. Individualize the Social

The spaces in the world where we

used to gather socially (and be physically present together) have been drastically reduced, some would say deliberately, so that there are fewer and fewer opportunities for us to come together as groups and communities. Of course, this weakens us. What used to be social space is now individual space. Even when we connect digitally, we do so when we are (usually) physically alone and this is not the same thing. This movement is designed to give the feeling of floating freely and alone, in a universe of one.

Part 2

II. Normalize Catastrophic Imagination

III. Encourage Citizens to Participate in Their Own Oppression

IV. Create Zones of Terminal Exclusion

You can see in the score where each of these sub-sections begin. This movement is a reflection on the idea that we are encouraged to think catastrophically, and to accept that we can do nothing about the way things are and where we are heading. But that is not enough, we are also encouraged now to participate in our own oppression, contributing to, and admiring, the success and glory of those who are accumulating the majority of resources and wealth. For the unluckiest in the world this has led to ‘zones of terminal exclusion,’ where the hopelessness is made permanent and sections of societies are considered increasingly ‘disposable,’ with no escape from this status.

Part 3

V. Prepare for Defiant Acts of Radical Imagination

Of course, this does not have to be the way, and it does not have to be permanent.

But for change to occur in the 21st century, a much stronger kind of defiance is needed. All the ‘isms’ (communism, capitalism, fascism, neo-liberalism, etc.) have failed.

Protest and resistance need to be inspired by radical imagination, not by the old methods. The world needs a new idea. Positively charged, collective energy is represented here with music that is confident, celebratory, and pumping with determination.

Part 4

VI. Teach appreciation of the Aesthetics of Violence

VII. Prevent Solidarity at All Costs

VIII. Instigate and Perpetuate a War of All-On-All

We live in an era in which violence has become the main spectacle in life, whether it is filmed entertainment, news clips, or social media. The line between real and fictional violence (and real and fictional suffering) has been almost completely erased. We are well past being desensitised; violence as a spectacle now has its own aesthetic criteria. And it is greatly enjoyed as entertainment by billions of people every day. The big tomtom sections in this movement represent that violence-as-entertainment.

Along with this is a very clear message that ‘each of us is in this alone’. That each person must learn to be selfreliant and look after themselves. This prevents the development of solidarity and community strength. By becoming hyper-individualised we not only focus almost entirely on what is good for each of us as an individual, but we also start to enter into an individualised competition for resources and rewards. This is the establishment and perpetuating of a war of all-on-all.

Part5

IX. Epilogue: RealBadNow

Here is the final expression. A sadness about things having arrived at the ‘real bad’ place.

I am old now. When I was younger, I was certain things would get better and better.

But that certainty is gone. Now I feel the world has been split into billions of individuals, lost in their own uncertainties, without the knowledge, or will, to build communities, and act in groups for positive change. Yes, depressing. I could have changed the order of the movements so that the 3rd movement was last. That way RealBadNow would finish with a positive, hopeful energy. But that would feel dishonest. I am glad the 3rd movement is part of the piece –because there is still hope in there. But only just. This last movement, with its exquisite sadness and beauty, is almost like a shift in consciousness, especially the last part. A leaving of terrestrial life, drifting into the cosmos, or the afterlife.

I hope you find value in learning and sharing this music.

- John Psathas

METRO • Russell Wharton

Metro is an homage to one of humanity’s greatest achievements; our bustling metropolitan centers. In his own words, Wharton describes our major cities as “both awe-inspiring and deeply frightening,’’ which also perfectly captures the variety of emotions contained within this multimedia piece for solo marimba. At one moment, the music is bright and reverential, at another moment, it’s dark, mysterious, and filled with introspection.

From a performance standpoint, the piece requires a broad range of advanced techniques that will highlight the virtuosity of today’s marimba artist. The solo also features a required audio accompanying track and an optional accompanying video, with stunning shots of some of the world’s most populous and advanced

ABOUT THE GUEST ARTIST

In his young career, Fabian Ziegler has already achieved a goal in commissioning stunning new repertoire for percussion. He is committed to giving life to innovative compositions by renowned composers, such as John Psathas, Avner Dorman, Serj Tankian, Arash Safaian, Daniel Schnyder and many more. His goal is to elevate percussion repertoire to another level, working on original and meaningful projects with leading composers in the international music world. Fabian Ziegler is committed to bring the best of percussion repertoire to the people, to introduce them new and striking pieces for solo percussion and chamber music with percussion instruments. Born in Switzerland, Fabian completed his Bachelor of Arts and Master of Arts in Music at the Zurich University of the Arts with Prof. Klaus Schwärzler, Prof. Raphael Christen, Prof. Benjamin Forster, Martin Grubinger and Prof. Rainer Seegers. In addition to his regular studies, he also took part in international masterclasses with Katarzyna Mycka, Jean Geoffroy, Svet Stoyanov, Conrado Moya, Beverly Johnston, and many more.

In December 2017, Fabian won the Migros Culture Percentage Study Prize for the second time since 2015 for his extraordinary solo performance during the instrumental music competition. Since 2017 he has also been a scholarship holder of the Friedl-Wald-Stiftung and the Rahn Kulturfonds. In 2018 & 2020 he won the Kiefer-Hablitzel / Göhner Music Prize and was a semi-finalist at the International TROMP Percussion Competition in both years.

ABOUT THE DIRECTOR

Percussionist Kenneth McGrath is a highly regarded performer and educator in Los Angeles. He has performed with many of the major orchestras in Southern California including the Los Angeles Philharmonic, Pacific Symphony, San Diego Symphony, Los Angeles Chamber Orchestra, Los Angeles Opera Orchestra and Hollywood Bowl Orchestra. Ken has also appeared frequently with the LA Philharmonic New Music Group, performed on several touring Broadway productions and played with dance companies such as American Ballet Theater, San Francisco Ballet and the Bolshoi Ballet. In 2008, he commissioned, performed, and recorded the world premiere of William Kraft’s Encounters XIII: Concertino for Percussion & Woodwind Quintet with Southwest Chamber Music.

Ken is also an active studio musician performing on numerous motion pictures for such notable composers as John Williams, Alan Silvestri, James Newton Howard, Randy Newman, Alexandre Desplat, Hans Zimmer, Michael Giacchino, Danny Elfman, and Christophe Beck.

Ken currently serves on the percussion faculties of California State University Fullerton, the Colburn Community School of Performing Arts and Pasadena City College. He is an alumnus of the University of California, Los Angeles (summa cum laude) and the Eastman School of Music.

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University Symphony Orchestra feat. Joseph Loi, flute

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loadbang*

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Advanced Vocal Workshop feat. Michael Schütze, piano

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Fabian Ziegler, percussion

March 6 • Meng Concert Hall

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Marisol

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Brightwork Newmusic*

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Urinetown the Musical

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