“Ninety Trips Around the Sun: A Celebration of Terry Riley”
Sarah Cahill, piano with CSUF New Music Ensemble
8pm • Wednesday, March 18, 2026 • Meng Concert Hall
RONALD S. ROCHON
President, California State University, Fullerton
SEAN E. WALKER
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. 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
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
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Dr. Vivianne Asturizaga musicology
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Dr. Katherine Reed musicology
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Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko cello
Dr. Ernest Salem* violin
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Dr. Hesam Abedini composition, theory
Dr. Pamela Madsen composition, theory
Dr. Ken Walicki* composition, theory
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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
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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
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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
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CSUF NEW MUSIC SERIES
presents
This year the New Music Series celebrates “The Space Between”—between genre, gender, form, instrumentation, venue, and medium. We launch the series with a concert of Approaches and Departures, featuring Molly Pease, vocalist and composer, with extraordinary CSUF alumni pianist David Bergstedt premiering a new work by faculty composer Pamela Madsen. The season includes a tribute to founding guest composer-Deep Listener Pauline Oliveros.
The genre and time period spanning season features ModernMedieval vocal trio; pianist Inna Faliks; Brightwork newmusic “Ring of Fire” Quartet for the End of Time ensemble; Sarah Cahill, pianist, in celebration of Terry Riley’s 90th birthday with CSUF New Music Ensemble; Nicholas Isherwood, bassbaritone, in an experimental concert of The Electric Voice; and Sibarg Ensemble, directed by our new faculty composer Hesam Abedini, exploring intercultural music as wide as Persian music, jazz, and free improvisation.
Dr. Pamela Madsen, director
Dr. Hesam Abedini, assistant director
Dr. Eric Dries, new music ensemble director
Dr. Ken Walicki, composers forum director
PROGRAM
Keyboard Studies (1964) ............................................................................... Terry Riley
Fandango on the Heaven Ladder (1994) ....................................................... Terry Riley
Shade Studies (2015) .....................................................................Samuel Carl Adams
The Walrus in Memoriam (1991) Terry Riley
A Trilling Piece for Terry (2015) .............................................................Pauline Oliveros with members of CSUF New Music Ensemble
The Great Beauty (2016)................................................................................ Terry Riley with members of CSUF New Music Ensemble
Be Kind to One Another (2008, rev. 2014) ..................................................... Terry Riley
Tread on the Trail (1965) ................................................................................ Terry Riley with CSUF New Music Ensemble
PROGRAM NOTES
Keyboard Studies
TERRY RILEY
I had been playing Keyboard Studies No. 1 and No. 2 (1965) for a couple of years before notating them. Both are repetitive studies of time, hand coordination, improvisational flow, and texture. John Cage had asked me for a page of music for his Notations book of graphic scores, and I submitted Keyboard Study No.2. These studies are intended to be played as long meditational exercises.
-Terry Riley
Fandango on the Heaven Ladder
TERRY RILEY
“The Heaven Ladder” is a reference to the work of the early 20th century Swiss artist Adolf Wólfli, who lived his entire adult life in a psychiatric asylum and developed his own system of musical notation. Wölfli inspired many of Terry Riley’s compositions over the years, and “The Heaven Ladder” is an ongoing project. A Fandango is a lively Spanish dance—the most famous in the classical repertoire is from Boccherini’s Guitar Quintet in G major (and the most famous reference is Procol Harum’s “light fandango” in Whiter Shade of Pale). The opening chords of Riley’s Fandango contain the kernel which generates the entire piece. The extroverted Fandango theme morphs into a slinky pianissimo melody and undergoes permutations in various keys ranging from a funky bass groove to Lisztian virtuosity. Riley says that the concluding quote from the last movement of Beethoven’s “Tempest” Sonata was unintentional. The Heaven Ladder Book Seven was commissioned by a consortium of pianists: Gloria Cheng, Kathleen Supové, Stephen Drury, and Charles Wells.
Shade Studies
SAMUEL CARL ADAMS
Shade Studies examines the counterpoint between the acoustic resonance of the piano and sine waves. The music is quiet and built of cadences, silences, and repeated gestures. As the work unfolds, the two resonance systems engage through masking and illumination, creating a brief exploration of musical “shade.” This work was generously commissioned by Russ Irwin and is dedicated to Sarah Cahill and Terry Riley.
- Samuel Carl Adams
The Walrus in Memoriam TERRY RILEY
The Walrus in Memoriam was commissioned by Aki Takahashi for her Hyper Beatles project, and is inspired by The Beatles’ song “I Am the Walrus.” Almost every measure contains a fragment of the song, although the unsettling psychedelia is disguised as a jaunty rag. Walrus travels through an ever-shifting landscape of styles and moods, from the opening swinging rag to the tender lyricism of the “Sitting in an English garden” quote. Riley also conjures up the song’s complex orchestration, the melody’s dotted rhythms, and the lovely blue-note descending figure of “I’m crying.” In the last three pages, reminiscent of Bach’s C minor Prelude from the Well-Tempered Clavier, the hands travel further and further apart until they’re at the extremes of the keyboard, the right hand venturing into the stratospheric range which concludes the Beatles song, while the left hand descends into the lowest bass.
A Trilling Piece for Terry PAULINE OLIVEROS
A Trilling Piece for Terry was commissioned by Sarah Cahill for Terry Riley’s eightieth birthday year in 2015. A Trilling Piece for Terry
PROGRAM NOTES
deconstructs trilling by interpreting the trill as alternating between two or more sounds or tones at any speed from extremely slow to extremely fast and explores sounds over the entire piano including the keyboard. The piece may be performed by one or more players.
- Pauline Oliveros
The Great Beauty
TERRY RILEY
Terry Riley and Pauline Oliveros first met in the mid-1950s in composition class at San Francisco State University and became lifelong friends, founding the San Francisco Tape Music Center together (with Ramon Sender) in 1962. The Great Beauty is dedicated to “the celebration of the life of Pauline Oliveros,” written in the year of her death, and can be played by one or more pianists. The duration of the total piece is 85 seconds. While the score resembles the Keyboard Studies, the result is very different, reflecting the fifty years in between the two works. The score states: “Play either right hand alone or both hands, with the intention of arriving at the last F at 85 seconds.”
Be Kind to One Another
TERRY RILEY
As with many other of my piano works, Be Kind to One Another began as a late night improvisation. Its gentle inviting atmosphere with interjected old timey ragtime references and somewhat naïve and at times romantic atmosphere hooked me from the beginning and it soon became a hit with my then very young twin grandchildren, who always wanted me to play it for them as they snuggled into bed at night.
In its improvised version, it is basically laid out in four related sections (A,B,C, and D) and it can take many forms with each section being repeated and extemporized upon as many times as
desired before moving on to the next. When the last section is concluded it can jump back to any one of the first three sections and from there create different variations on each section until ending usually on section B.
When Sarah Cahill told me about her songs for peace project, I decided to contribute this work and to make a through composed concert version, somewhat more virtuosic and grander than the original improv. I gave the material a more overall long arching structure and I added related interludes and developments that were not in the improvisations.
The title is taken from something Alice Walker said at a gathering which took place in the days immediately following 9/11 as she was introducing the eminent Vietnamese Buddhist teacher Thich Nhat Hanh. Her words struck me as the most profound response of all coming out of that calamity.
“We must learn to be kind to one another now.”
- Terry Riley
Tread on the Trail
TERRY RILEY
Although it was premiered in the summer of 1965 in a concert at the San Francisco Tape Music Center, Tread on the Trail is far less performed than Riley’s classic In C. Dissatisfied with the premiere, Riley left the score in a drawer for 35 years, revising it only in 2000 for a performance in Moscow, and then again in 2017. The score states: “Tread on the Trail is comprised of six lines (A, B, C, D, E, and F). Each line is made up of this sequence of measures: 3-2-53-5-4-4-5-3-5-2-3-2. After the first six measures, the piece retrogrades back to the beginning and adds a two-beat tag, making each line 44 beats long. This cyclic process is repeated for all six lines with only the melodic and rhythmic details being varied from line to line.”
PROGRAM NOTES
Tread on the Trail is dedicated to the jazz saxophonist Sonny Rollins, whom Riley saw performing right before starting to compose the piece. Riley remembers Rollins’s concert:
I went to see Sonny play in 1965, just shortly before I wrote this piece, and he came out from New York with four or five musicians, but didn’t give them any music. It was an interesting night, because he just sat up on the stage, and he would start improvising something with his horn, and he would kind of glance at the musicians and expect them to interact with the music he was playing. It resulted in a really fascinating night of music, because you could sense the anticipation and the kind of bewilderment, even, on some of the musicians’ part, about how they were supposed to interact, but it resulted in some really interesting music.
The piece is written for an open instrumental ensemble. The 1965 premiere was performed by a big band made up of players from San Francisco State University.
Terry Riley
California Composer Terry Riley launched what is now known as the Minimalist movement with his revolutionary classic IN C in 1964. This seminal work provided a new concept in musical form based on interlocking repetitive patterns. It's impact was to change the course of 20th Century music and it's influence has been heard in the works of prominent composers such as Steve Reich, Philip Glass and John Adams and in the music of Rock Groups such as The Who, The Soft Machine, Tangerine Dream, Curved Air and many others. Terry's hypnotic, multi-layered, polymetric, brightly orchestrated eastern flavored improvisations and compositions set the stage for the prevailing interest in a new tonality.
While working on a masters degree at UC Berkeley in 1960, he met La Monte Young, whose radical approach to time made a big impact and the two made a life long association. During this time Riley and Young worked out many of their seminal ideas while working with influential dancer Anna Halprin.
During a sojourn to Europe 1962-64 he collaborated with members of the Fluxus group, playwright Ken Dewey and trumpeter Chet Baker and was involved in street theater and happenings. In 1965 he move to New York and joined La Monte Young’s Theater of Eternal Music. 1967 was the year of his first all night concert at the Philadelphia College of Art and he began a collaboration with visual artist Robert Benson resulting in more all night concerts. Recordings of In C, A Rainbow in Curved Air, Poppy Nogood and the Phantom Band and the Church of Anthrax were all issued by CBS Masterworks in 1968-69.
While teaching at Mills College in Oakland in the 1970's he met David Harrington, founder and leader of the Kronos Quartet and began the long association that has so far produced 13 string quartets, a quintet, Crows Rosary and a concerto for string quartet, The Sands (1990), which was the Salzburg Festival's first new music commission and Sun Rings (2003), a two-hour multimedia piece for choir, visuals and Space sounds, commissioned by NASA.
Samuel Carl Adams
Samuel Carl Adams (b. 1985) is an American composer. Gramophone Magazine praised Adams as “among the most interesting composers of the millennial generation in his negotiation of the tensions that shape and define his musical narratives: between directness and implication, silence and resonance, emotion and its aftermath” and Joshua Kosman (SF Chronicle, On a Pacific Aisle) called Adams "clearly a creator of deep originality operating at the highest levels of inventiveness."
Adams’s music has been hailed as “mesmerizing” by The New York Times and The San Francisco Chronicle, “transcendent” by The Chicago Tribune, and
“beguiling” by The Strad magazine. He has been commissioned by a number of major ensembles, including the San Francisco Symphony, Los Angeles Philharmonic, New World Symphony, Australian Chamber Orchestra, Chicago Symphony, Cincinnati Symphony, Dallas Symphony, Los Angeles Chamber Orchestra, and The Living Earth Show. He has also collaborated with many of today's leading artists, such as conductors Esa-Pekka Salonen, Michael Tilson Thomas, Karina Canellakis, and David Robertson; pianists Conor Hanick, Emanuel Ax, Sarah Cahill, and Joyce Yang; and violinists Karen Gomyo, Anthony Marwood, and Jennifer Koh. Adams’s orchestral work No Such Spring, commissioned by the San Francisco Symphony for pianist Conor Hanick and conductor Esa-Pekka Salonen, premiered in February 2023 to widespread acclaim.
The 2025–26 season features a number of premieres and notable performances. A new work for the Marmen Quartet and percussionist Dominique Vleeshouwers will premiere at Het Muziekgebouw as part of the Amsterdam String Quartet Biennial, in an evening titled Time is How You Spend Your Love alongside Adams’s Sundial and works by Feldman, Miller, and Beethoven. Adams’s song cycle First Work—featuring poetry by Pádraig Ó Tuama, Malachi Black, and Tracy K. Smith—will receive its world premiere at the Aspen Music Festival, followed by performances from co-commissioners Oberlin Conservatory, San Francisco Contemporary Music Players, and the USC Thornton School of Music.
Adams lives and works in Seattle, WA.
Pauline Oliveros
Pauline Oliveros' life as a composer, performer and humanitarian was about opening her own and others' sensibilities to the universe and facets of sounds. Her career spanned fifty years of boundary dissolving music making. In the '50s she was part of a circle of iconoclastic composers, artists, poets gathered together in San Francisco. In the 1960's she influenced American music profoundly through her work with improvisation, meditation, electronic music, myth and ritual.
She was the recipient of four Honorary Doctorates and among her many other awards were the William Schuman Award for Lifetime Achievement, Columbia University, New York, NY, The Giga-Hertz-Award for Lifetime Achievement in Electronic Music from ZKM, Center for Art and Media, Karlsruhe, Germany and The John Cage award from from the Foundation of Contemporary Arts.
Oliveros was Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, Troy, NY, and Darius Milhaud Artist-in-Residence at Mills College. She founded "Deep Listening®," which came from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro-acoustics. She described Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, of one's own thoughts as well as musical sounds.
SarahCahill
Sarah Cahill, hailed as “a sterling pianist and an intrepid illuminator of the classical avant-garde” by The New York Times, has commissioned and premiered over seventy compositions for solo piano. Composers who have dedicated works to her include John Adams, Terry Riley, Pauline Oliveros, Frederic Rzewski, Julia Wolfe, Roscoe Mitchell, Annea Lockwood, and Ingram Marshall. She was named a 2018 Champion of New Music, awarded by the American Composers Forum (ACF). Recent performances include the Metropolitan Museum of Art, The Barbican Centre in London, The National Gallery of Art, Detroit Institute of Arts, and an NPR Tiny Desk concert. Sarah’s discography of more than twenty albums includes Eighty Trips Around the Sun, a four-disc tribute to Terry Riley. Sarah’s radio show, Revolutions Per Minute, can be heard every Sunday evening from 6 to 8 pm on KALW, 91.7 FM in San Francisco. She is on the faculty of the San Francisco Conservatory and is a regular pre-concert speaker with the San Francisco Symphony.
Pamela Madsen, artistic director
Eric Dries, director
CSUF New Music Ensemble, under the direction of Pamela Madsen and Eric Dries focuses on the instruction in the techniques of contemporary concert music, and preparation of performances of contemporary instrumental, vocal, improvisational and electroacoustic music literature from the Twentieth and Twenty-First Centuries. We study and perform a wide range of repertoire from the contemporary period: from, experimental, atonal, to extended tonal, minimalism, post-minimalism, post-modernism to multi-media collaboration, film music, deep listening and improvisational forms to explore both the repertoire and performance practice in New Music. As part of the New Music Series we work with guest composers, performers and perform with contemporary New Music Ensembles. Chosen by Los Angeles Audience Choice Award as the Best New Music Ensemble in 2022, we have worked with guest ensembles Los Angeles based Brightwork newmusic, Stacey Fraser, HEX Vocal Ensemble and guest artists Jean Ferrandis, and Dominique Williencourt.
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Giovanni Guillen, guitar
Jonathan Binns, guitar
Luke Templeman, piano
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