Old Dominion University Wind Ensemble Dennis J

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Old Dominion University Wind Ensemble Dennis J

OLD DOMINION UNIVERSITY Department of Music Upcoming Performances Presents Event Name Date Time Location Old Dominion University Wind Ensemble Dennis J. Zeisler, Director Norfolk Chamber Chandler Recital 9/25/13 8:00 Consort ($) Hall Alexandra Borza, Graduate Conductor Sarah Williams, Marimba Soloist Harold Protsman 03/23- Chandler Recital TBA Piano Competition 24/13 Hall Diehn Series: John Chandler Recital 03/25/13 8:00 O’Connor ($) Hall ODU Percussion Chandler Recital 04/04/13 7:30 Ensemble Hall ODU Wind Diehn Fine Arts 04/07/13 3:00 Ensemble Atrium ODU Brass Choir Chandler Recital 04/08/13 7:30 Hall Diehn Fine and Performing Arts Building Atrium February 24, 2013 3:00 PM Program Personnel Fanfare Prelude: O How Shall I Receive J. Robert Hanson Piccolo Alto Saxophone Trombone I Thee Jenna Henkel Philip Rosi Jack Himmelman Chris Byrd Mark Dandridge Flute I Sketches On A Tudor Psalm Fisher Tull Dylan Keefe Tenor Saxophone Trombone II Tim Minter Sam Venable Zachary Freeman Postcard Frank Ticheli Brian Horlor Flute II Baritone Saxophone Tiffany Sitton Wayne Ray Trombone III Concertino for Marimba and Band Op. Paul Creston Monifa Williams Greg Hausmann 21B Cornet I l. Vigorous Oboe James Whittemore Euphonium Sarah Williams – Marimba Soloist Katie Ross Christian Van Deven Pete Echols Jared Raymer Bassoon Cornet II Chris Miller Dances from The Oprichnik P.I. Tschaikovsky Ed Taylor Chris Vollhardt Arr. John R. Bourgeois Katrin Maher Delaney Stadler Tuba Bruce Lord Dennis Zeisler has been on the faculty of Old Dominion University in Clarinet I Cornet III Barron Maskew Norfolk, Virginia for 34 years serving as Director of Bands, Professor of Lexi Borza Evin Turner Lance Schade Clarinet and Saxophone and Chair of the Music Department. Mr. Zeisler Andre Jefferson Jr. Sherley Chabur is a graduate of the University of Michigan where he was solo clarinetist Charles Winstead String Bass of the Symphony band under the direction of Dr. William D.Revelli. He Clarinet II Trianne Smith was solo clarinetist of the Detroit Concert Band under the direction of Sarah Bass Horn I Jimin Kim Katie Rinker Percussion Dr.Leonard Smith and clarinet soloist with the United States Military Chris Montieth Sarah Williams Academy Band at West Point. Mr. Zeisler is a past recipient the Virginia Horn II Dennis Northerner Music Educator of the Year Award and is a member of the American Clarinet III J.P Allgood Amber Hentley Bandmasters Association. He is the founder and conductor of the Virginia Brendan Boone Jelanie Hill Anthony Carlton Wind Symphony. He is on the Board of Directors of the National Band Daniel Foster Andrew Smith Association, The John Philip Sousa Foundation, The Midwest Clinic and Steven Smith Horn III holds the office of Vice-President of the American Bandmasters Taylor Rouse Librarian/Manager Association. Bass Clarinet Barron Maskew Robert Rigby Horn IV Alexandra Borza is currently in the Master of Music Education degree Morgan Hatfield Contra-Bass Clarinet program, studying instrumental conducting with Professor Dennis Ryan Collins Zeisler. She is a graduate of Kellam High School with an undergraduate degree in Music Education from Old Dominion University. Sarah Williams, a Music Performance major from Richmond, Va, is one of the 2012-2013 winners of the Student Concerto Competitions. She is a percussion student of ODU percussion professor, David Walker .

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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
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Das Opernglas – November, 2013, Issue Summary
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