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
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 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. Hesam Abedini composition, theory
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
Ken McGrath* percussion
Dr. Gregory X. Whitmore
University Symphonic Winds conductor
Michael Yoshimi* clarinet
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 spring 2026 events season at Cal State Fullerton’s College of the Arts. We have been hard at work in every classroom, practice room, and studio across campus preparing to share new sounds and bold creativity with all of you. We are thrilled you are here.
Our students and their success form the core of our purpose in the College of the Arts but unlike their counterparts in other colleges, their paths are not solely formed through classroom learning; they are revealed in the moments when talent meets opportunity. Like when a dancer attends an intensive, or when a musician travels abroad on tour, or an actor or artist is mentored – this is where promise is transformed into possibility. The Dean’s Fund for Excellence gives students access to meaningful experiences like these and many more, including masterclasses, research opportunities, materials, and professional conferences. You can help ensure creativity isn’t limited by circumstance. Consider a gift of any amount to the Dean’s Fund for Excellence today.
This spring semester is brimming with performances and exhibitions for all to enjoy –some that will make you laugh and others that will make you think. In the School of Music, Sibarg Ensemble, featuring our own Hessam Abedini, explores the musical intersections of Iranian music and jazz on February 20. In April, Benjamin Britten’s comic opera “Albert Herring” follows the shy, virtuous title character as he rebels against his prudish upbringing. Join us in the Little Theatre beginning March 5 for the musical “Once Upon a Mattress” – an uproarious sendup of Hans Christian Anderson’s fairytale, “The Princess and the Pea.” If you’re craving something completely different, Eugène Ionesco’s “Rhinoceros” opens March 19 to hold a mirror to the absurdity of mob mentality and the struggle to maintain individuality in the face of mass hysteria. And in late spring, our dancers and choreographers return to demonstrate their inimitable power and grace in “Spring Dance Theatre.”
Across the walkway from where you’re seated are the College of the Arts Galleries. You can still catch exhibitions from Soo Kim and Carol Caroompas until May, or stop by the galleries on Wednesdays for our bi-weekly Student Galleries opening receptions. They are always full of energy, and you might even find student artwork to purchase and take home!
Whether you’re returning to our venues or here for the first time, we are so excited to present another season to you. Thank you for joining us.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
SCAN THIS QR DONATE TODAY TO THE DEAN’S FUND FOR EXCELLENCE
PROGRAM
Give Me Your Tired, Your Poor (from Lady Liberty) ....................................
Katelyn Cruz, soprano
Is Anybody There (from 1776) .........................................................
Alexei Rehorn, tenor
Blow, Ye Winds (from Five Sea Chanties)
Dominc Preston-Mann, tenor
Bring My Brother Back to Me
The Drummer Boy of Shiloh
Irving Berlin
Sherman Edwards
Celius Dougherty
Stephen Foster
Hart Chen, tenor
Richard Pearson Thomas (based on the song by Will. S. Hays)
Em Nguyen, soprano
Look Down Fair Moon (from Five Poems of Walt Whitman) .......................
Ned Rorem
Miles Rojo, baritone
Down Eas .................................................................................................. Charles Ives
Joshua Evans, tenor
The Dodger (from Old American Songs) ...............................................Aaron Copland
Hart Chen, tenor
Shall We Gather by the River.................................................................Aaron Copland (based on the hymn by Robert Lowry)
Miles Rojo, baritone
The Indians ................................................................................................ Charles Ives
Alexei Rehorn, tenor
He is There ................................................................................................ Charles Ives
Topher Esguerra, tenor
Anthony Alcain, flute
In Flanders Fields ......................................................................................
Benjee Benjelloun, soprano
Charles Ives
PROGRAM
Songs for the People (from Miss Wheatley’s Garden) ................... Rosephanye Powell
Joshua Evans, tenor
I Do Not Know What I Know (from Say Your Name) ................................ Reena Esmail Em Nguyen, soprano
Brother Can You Spare a Dime? (from Americana) .................................... Jay Gorney
Dominic Preston-Mann, tenor
America (from West Side Story)....................................................... Leonard Bernstein
Benjee Benjelloun, Katelyn Cruz, Amber Napoli,
Em Nguyen, Rachel Williams
Climb Every Mountain (from The Sound of Music) .............................Richard Rodgers
Rachel Williams, mezzo-soprano
Blowin’ in the Wind (from The Tambourine Man) ................................. John Corigliano
Amber Napoli, soprano
Strange Fruit ..................................................................... Lewis Allan (Abel Meeropol)
Benjee Benjelloun, soprano
Come Back (from Dogfight) ...................................................... Benj Pasek/Justin Paul Topher Esguerra, tenor
Everything I Know (from In the Heights) ........................................Lin-Manuel Miranda
Katelyn Cruz, soprano
The Lady of the Harbor ................................................................................ Lee Hoiby
Amber Napoli, soprano
PROGRAM NOTES
Give me your tired, your poor
(from Miss Liberty)
IRVING BERLIN (1888-1989)
“Give me your tired, your poor” appears in the 1949 musical Miss Liberty, whose comic plot involves trying to get to the bottom of who served as the model for the Statue of Liberty. Berlin caps off the story with a warm musical setting of the famous inscription used on the monument taken from Emma Lazarus’s 1883 poem “The New Colossus.” The song reflects the themes of refuge, hope, and the promise of America as a haven for immigrants.
Is Anybody There (1776)
SHERMAN
EDWARDS (1919-1981)
Sherman Edwards was the composer and lyricist for 1776, which premiered on Broadway in 1969. Prior to his success with the musical, Edwards worked as a songwriter in the late 1950’s and early 1960’s, with his most notable contribution being Flaming Star, the theme song for an Elvis Presley film. In the excerpt “Is Anybody There,” John Adams is feeling doubts about the passage of the Declaration of Independence because Southern delegates won’t sign it unless the clause abolishing slavery is removed. He manages to rally nonetheless in his hopes for the achievement of freedom in an soon-to-be independent America.
Blow, Ye Winds
(from Five Sea Shanties) CELIUS DOUGHERTY (1902-1986)
Dougherty used only four of the traditionally sung ten verses of “Blow, Ye Winds,” which is more accurately classified as a ‘Fo’c’sle song’ (Forecastle song) as it was sung while sailors were off-duty on deck or in the forecastle. It would have been sung by sailors both on and off the ship and contains a specific perspective that describes the recruiting and work of sailors on a New England whaling ship.
Bring My Brother Back to Me
STEPHEN FOSTER
(1826-1864)
Foster, known for his popular minstrel songs and sentimental ballads, achieved an honored place in the music of the United States. He grew up near Pittsburgh and, though largely self-taught, absorbed musical influences from parlor songs, Black church music, minstrel shows, and work songs. He achieved early success with hits like “Oh! Susanna” and later wrote for minstrel performer Edwin P. Christy. “Bring My Brother Back” is a sentimental Civil War song that expresses a sibling’s longing for his brother’s safe return from war.
The Drummer Boy of Shiloh
RICHARD PEARSON THOMAS (B. 1957)
Richard Pearson Thomas is a prolific writer of songs in the classical and cabaret genre and is currently on faculty at Columbia University Teachers College. William Shakespeare Hays (1837-1907) was an American poet and lyricist from Kentucky. In his career, Hays published around 350 songs and sold as many as 20 million copies of works. His original melody “The Drummer Boy of Shiloh” refers to a notorious Tennessee battle early in the Civil War in which the Union forces, though victorious, lost even more men than the Confederates.
Look down, fair moon
NED ROREM
(1923-2022)
“Look down, fair moon” is a setting of a poem of the same name by Walt Whitman and is part of his collections Drum-Taps; it is part of Rorem’s collection Five Poems of Walt Whitman, pubished in 1970. The song, though only 12 measures long, depicts the appalling scene of the slain on the battlefield at night.
PROGRAM NOTES
Down East
CHARLES IVES (1874-1954)
Charles Ives stands as one of America’s most original musical voices. A New Englander to his core, Ives drew deeply from the sounds of small-town life: church hymns, band marches, parlor songs, and the overlapping musical textures of community gatherings. His music often feels like memory itself. “Down East” reflects Ives’s lifelong preoccupation with his New England identity, portraying a state of mind rooted in rural simplicity, independence, and quiet resilience. The song quotes and transforms the popular Protestant hymn “Nearer My God to Thee” along the way.
The Dodger
AARON COPLAND (1900-1990)
“The Dodger” is from Copland’s first set of Old American Songs, composed in 1950. It’s a witty and satirical setting whose tune was used during the 1884 campaign of Grover Cleveland against James Blaine. The text humorously criticizes various types—the politician, the preacher, the lover—as “dodgers,” and the composer underscores this through lively rhythms, sharp accents, and a banjo feel in the accompaniment.
At the River
AARON COPLAND
Copland’s arrangement is from his second set of Old American Songs, composed in 1952. The original title was “Shall We Gather at the River,” whose melody and words were written by Baptist minister Robert Lowry in 1864. It has since almost gained the status of being a virtual African American spiritual due to its demeanor and popular appeal. Charles Ives has also made a setting of the hymn.
The Indians
CHARLES IVES
Charles Sprague (1791-1875), known as the “Banker-Poet of Boston,” authored this haunting poem written about the insidious takeover of Native American land instigated by white settlers throughout all of America’s early history. Sprague references the theft of their land and resources, and how they and their future generations are exiled from their home and sent away to die. (We note that ‘Indians’ was the common term for Native Americans at the time of this poem’s writing and is no longer in acceptable use.) Ives’ brooding music of this song existed initially as a small ensemble piece for what was known in his era as a theater orchestra; he only employs a single stanza out of the thirty that make up the poem’s length.
He is There!
CHARLES IVES
Composed during World War I and revised in the 1940s (to fit a new war), “He Is There!” is one of Charles Ives’s most overtly patriotic and political songs. Written in response to America’s entry into the war, the piece is both a rallying cry and a painting of national identity. Weaving in snippets of known war tunes, Ives brings to the fore a spirit that extols what it means to have patriotic pride in one’s country. He quotes “Tenting Tonight” and “Battle Cry of Freedom;” a jaunty flute obbligato adds atmosphere that references the festive music Ives experienced in his youth around this bandmaster father.
In Flanders Fields
CHARLES IVES
“In Flanders Fields” is a poem written in 1915 by Canadian Lieutenant-Colonel John McCrae who was inspired by the death of a friend during the First World War. Ives was commissioned by his insurance partner Julian Myrik to write a song based on McCrae’s poem in 1917.
PROGRAM NOTES
It was published in Ives’ landmark volume “114 Songs” as part of Three Song of the War. There are allusions to drum beats in the accompaniment as well as quotes from the “Marseillaise” and “My Country ‘Tis of Thee.”
Songs
for
the People
(from Miss Wheatley’s Garden) ROSEPHANYE POWELL (B. 1962)
Rosephanye Powell is an acclaimed composer choral and solo vocal music and is the Charles W. Barkley Endowed Professor at Auburn University. Her cycle Miss Wheatley’s Garden is set to poems by Frances Ellen Watkins Harper that honor Phillis Wheatley, an 18th-century African American poet whose very existence challenged the racial assumptions of her time.
I Do Not Know What I Know
(from Say your Name)
REENA ESMAIL (B.1983)
Reena Esmail is an Indian American composer who style is a blend of Hindustani and Western classical music. She’s been commissioned by numerous ensembles such as the LA Master Chorale and the Seattle Symphony and resides in Los Angeles. Rebecca Gayle Howell (b. 1975) has collaborated with the composer on multiple works, including the Suffrage Rights cantata Say Your Name, which premiered in 2022. It centers around the story of a woman named Democracy, who is battered by gaslighting and confusion. She finds the courage to remember who she is and learns that to guard our thoughts is to guard our nation.
Brother, Can You Spare a Dime?
(from Americana)
JAY GORNEY (1894-1990)
Often considered the anthem for the common man during the Great Depression, Gorney’s song to lyrics by Yip Harburg (1896-1981) reflects the fear, grief, and anger that Americans were
forced to deal with daily in that era. The speaker in the text has been promised the fulfillment of a dream that required only that he build, work and fight for his country—a promise left unrealized for many.
America (from West Side Story)
LEONARD BERNSTEIN (1918-1990)
“America” is an ensemble piece from the musical West Side Story with music by Leonard Bernstein and lyrics by Stephen Sondheim from 1957. The story was inspired by Shakespeare’s Romeo and Juliet and set in 1950s New York City. Rosalia and Anita debate the immigrant experience with their friends; while the first is nostalgic for her Puerto Rican homeland, the other idealizes the American Dream.
Climb Every Mountain (from The Sound of Music)
RICHARD RODGERS (1902-1979)
Richard Rodgers and Oscar Hammerstein were a revered musical theater team in the mid-20th century. Their award winning musical, The Sound of Music (1959), based on the life of the singing von Trapp family, produced a number of hits such as “Climb Every Mountain,” sung by the Mother Abbess at the end of Act I and in the finale to the show. While intended as encouragement for Maria to live her dream and follow her beloved Captain Georg von Trapp, it can also be seen in the context of American culture as a hymn to positive self-determination.
Blowin’ in the Wind
JOHN CORIGLIANO (B. 1838)
John Corigliano, composer of the opera The Ghosts of Versailles, is a Pulitzer Prize winner, the recipient of five Grammy Awards, the Grawemeyer Award, and an Academy Award. He wrote the cycle Tambourine Man: Seven Poems of Bob Dylan for Sylvia McNair to fulfill a commission by The Carnegie
PROGRAM NOTES
Hall Corporation. It was premiered at Carnegie Hall on March 15, 2000. Inspired by several texts of poet Bob Dylan, Corigliano disregards the known melodies by the poet and resets the texts as original art songs. He states that “Blowin’ in the Wind” demonstrates the “beginnings of awareness of a wider world.”
Strange Fruit
LEWIS ALLAN (ABEL MEEROPOL) 1937
Strange Fruit is an anti-lynching protest song from 1937, written and composed by Jewish schoolteacher Abel Meeropol under the pseudonym Lewis Allan. The song was famously recorded by Billie Holiday in 1939 and later by Nina Simone in 1965. With its metaphor of the ‘strange fruit’ of hanging corpses, it is considered one of the first and most significant songs of the Civil Rights movement and was called a “declaration of war” against racism.
Come Back (from Dogfight)
BENJ PASEK (B. 1985)
JUSTIN PAUL (B. 1985)
The musical Dogfight is based on the movie of the same name from 1991 and was premiered at the Second Stage Theater in 2012. It follows a group of Marines on the eve of their deployment to Vietnam. “Come Back” is sung by Eddie Birdlace after he forms an unexpected connection with Rose Fenny during a cruel bet known as a “dogfight.” In this quiet, vulnerable moment, Eddie confronts the fear of war and the weight of his own mistakes. The song becomes both a plea for survival and a longing for redemption.
Everything I Know
(from
In The Heights
)
LIN-MANUEL MIRANDA (B. 1980)
Everything I Know is a heartfelt ballad from In the Heights by Lin-Manuel Miranda. It is sung by Nina following the death of Abuela Claudia who was
a beloved matriarchal figure in the Washington Heights community of Manhattan. Nina reflects on Abuela’s sacrifices and wisdom, recognizing how her strength and love have shaped the person she is growing to become. As Nina tells Abuela’s story, we learn of her sacrifice in leaving Cuba at such a young age to pursue opportunity with her family in America, gradually working toward the American Dream that immigrants from all over the world strive to achieve. It ultimately honors the resilience, hope, and lasting contributions of immigrants–reminding us that their stories are deeply woven into the fabric of America and will always live on. It honors the resilence, hope, and lasting contributions of immigrants, reminding us that their stories are deeply woven into the American experience.
Lady of the Harbor LEE HOIBY (1926-2011)
This piece is the second song in Lee Hoiby’s song cycle Three Women (1985). Hoiby, who studied piano and composition with Gian Carlo Menotti at the Curtis Institute of Philadelphia, is known for his operas The Scarf, Summer and Smoke and The Tempest. The lady in question is, of course, the Statue of Liberty, who represents asylum, safety, and hope. We bookend our concert with the words of Emma Lazarus immortalized on Liberty Island:
“Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tossed to me: I lift my lamp beside the golden door!”
ABOUT THE PIANIST
Mark Robson
Mark Robson is equally comfortable in styles ranging from early music played on the harpsichord and organ to the great Romantic repertoire and beyond to contemporary piano works demanding theatrical participation from the performer. As a collaborative artist with singers and instrumentalists, he commands the respect of his peers in both the recital and chamber settings. He presents an annual recital for the L.A. series Piano Spheres and has performed for Jacaranda on numerous occasions. As an organist, he has also appeared as a soloist in the Minimalist Jukebox at Disney Hall and has performed on the organ in Mahler’s 8th Symphony at the Hollywood Bowl in their 2008 season.
After completing conservatory and university training, Mark amplified his musical studies with extensive study in Paris—where he was a pupil of Yvonne Loriod, widow of composer Olivier Messiaen—and through his work as an assistant conductor and assistant chorus master for the Los Angeles Opera. During this time, he worked with renowned international singers and conductors, gaining great insight into the lyric art. He has also been a musical assistant at the Salzburg and Spoleto (Italy) festivals.
As a composer, Mark has been programmed on concerts in Los Angeles, New York, Chicago, Barcelona and Paris. The BrentwoodWestwood Symphony Orchestra has premiered two of his orchestral works, Apollo Rising and Christmas Suite. Soprano Patricia Prunty has recorded his song cycle A Child of Air and the same piece was presented by Sari Gruber at the winter Ravinia Festival.
The recipient of several scholarships and awards (including the Certificate of Excellence from the Corvina Cultural Circle for artistic contributions to Hungary), Mark has received degrees from the University of Southern California and Oberlin College. He has worked as a vocal coach for the faculties of USC, Chapman University, the California Institute of the Arts, and Cal State Fullerton. Among his formidable musical projects has been the performance in eight concerts of the complete piano sonatas of Beethoven and numerous performances of Messiaen’s massive cycle, Vingt Regards sur l’Enfant-Jésus, and his Diabelli Variations.
ABOUT THE DIRECTOR
Courtney Taylor
Soprano Courtney Taylor is a native of Santa Cruz, CA. Courtney performs regularly with Los Angeles Opera and the Los Angeles Master Chorale both as a preference/ roster chorister and soloist. She is thrilled to have begun working as an artist with LA Opera Connects in 2020. Courtney made her Kennedy Center Debut in November 2019 singing a new work, The Three Paderesky’s as a soloist.
Courtney holds degrees from USC, Graduate Certificate in Vocal Performance 2014, a Master’s Degree in Vocal Performance from Manhattan School of Music, NY and a Bachelor of Music from Chapman University. Some of her professionally performed roles include Pat Nixon, Adams with LAMC, Pamina, Donna Anna, Suor Angelica, Adina, Violetta, Susannah, Musetta and Countess. Notable Oratorio performances include Handel's Messiah, Haydn’s Creation, Mozart C Minor Mass (soprano I and II) and the Beethoven 9th. At the Aspen Opera Theater Center Courtney had the honor of singing the role of Marie alongside Deborah Voigt in Rufus Wainwright's opera Prima Donna.
Courtney has won several prestigious vocal competitions and scholarships among them semi finalist for the Loren L. Zachary National Vocal Competition in 2012 and 2014. Courtney has performed extensively internationally, singing the title role of Suor Angelica in Viterbo Italy with the Tuscia Music Festival ILAR as well as various concert work in Salzburg and Vienna, Austria.
Courtney is a member of SAG-Aftra and has sung on many film and TV scores including Disney’s Mulan, Star Wars: The Rise of Skywalker, Alita Battle Angel, Transformers and, Venom.
James Martin Schaefer
Baritone James Martin Schaefer has an active performing career throughout the United States and beyond. He has received wide acclaim in many of the canonic operatic and oratorio baritone roles. He has performed in numerous productions with Los Angeles Opera and he was a member of Opera Pacific’s O.P.E.R.A. resident artist program.
Some recent engagements include appearances in Los Angeles Opera productions of J.S. Bach’s St. Matthew Passion in which he sang the Bass Soloist role in a coproduction with Hamburg Ballet, the west coast premiere of Rhiannon Giddons and Michael Abels’ Pulitzer Prize winning opera Omar, Verdi’s Otello. He was featured as principal performer in Verdi’s La Traviata. He also appeared as the bass soloist in a performance of Brahms’ complete Liebeslieder Waltzes with Grant Gershon and Jeremy Frank at the piano.
Schaefer has garnered praise for his “marvelously expressive” (Los Angeles Times) and “powerful” (Orange County Register & Long Beach Press Telegram) interpretations of the most beautiful music composed for the baritone voice.
Schaefer has appeared as a featured/solo artist with Los Angeles Opera, the Los Angeles Philharmonic, the Hollywood Bowl Orchestra, the Berkshire Choral Festival, the Pacific Symphony Orchestra, the Boston Pops Esplanade! Orchestra, the Pacific Chorale, the Long Beach Symphony, Les Grande Ballet Canadiens de Montreal, Distinguished Concerts International, New York, The Young Musician’s Fund Debut Orchestra, San Luis Obispo Opera, La Mirada Symphony, The California Quartet, Chorale Bel Canto, Opera Pacific, Intimate Opera of Pasadena, Center Stage Opera, the Bakersfield Symphony, Santa Maria Philharmonic, Pasadena Pro Musica, the Roswell Symphony Orchestra, Southern California Master Chorale, and the Long Beach Camerata.
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