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DTSTART;TZID=America/New_York:20260328T150000
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SUMMARY:Falmouth Chamber Players Orchestra Spring Concerts
DESCRIPTION:The Falmouth Chamber Players Orchestra\, under the direction of conductor Thomas Kociela\, will present “Nordic Legends & Mozart’s Masterpiece” on Saturday\, March 28\, at 3 PM\, and Sunday\, March 29\, at 3 PM\, at Morse Pond School Auditorium\, 323 Jones Road\, in Falmouth. \nThomas G. Kociela\, FCPO conductor for the 2025-2026 season\, is also music director of the Rhode Island College Symphony Orchestra and the Parkway Concert Orchestra (Norwood\, MA)\, as well as the Resident Multi-Camera Video Director at Symphony Hall in Boston.  For more information visit: thomaskociela.com \nThe program includes Sibelius’s Karelia Overture\, Grieg’s Symphonic Dances\, and Mozart’s Clarinet Concerto\, performed by soloist Sangwon Lee. \nJean Sibelius (1865-1957) was commissioned by the Viithat Students’ Association to compose incidental music for an historical pageant celebrating the history and culture of the Karelia region\, the source of much of Finland’s mythology and folk music tradition. Karelia sought to retain its own culture at a time when the Russification of Finland aimed to abolish its cultural heritage. \nIn Karelia Music (1893)\, one of Sibelius’s early compositions\, he incorporates the character of local folk music to portray events in the area’s history. The Overture includes elements of its eight tableaus\, including energetic marches\, moments of quiet reflection\, concluding with an exhilarating march. As one reviewer wrote\, the music has “an appealing dignified feel\, as of an army marching joyfully from the fields of victory\, accompanied by birdsong and sunlight.” \nLike Sibelius\, Edvard Grieg (1843-1907) is known for his nationalistic music\, music which bolstered the national identity of his country\, Norway. Sibelius based his Symphonic Dances on folk tunes collected by Ludvig M. Lindemann (1812-1887) and composed them for piano four hands\, a popular genre at the time. They were orchestrated by Hans Sitt. \nThe first and second dances are hallings: vigorous\, acrobatic Norwegian mountain dances that begin quietly and gradually build to a hypnotic intensity. The first is quite spirited\, the second more relaxed\, with a gentle theme provided by oboe\, harp\, and pizzicato strings. The third dance is a lively spring dance melody. The finale draws from an old mountain ballad\, a wedding song\, and a dramatic heroic march. \n“The Symphonic Dances are truly delightful to perform\,” said Melanie Hayn\, FCPO president and principal oboe\, “with melodies passed between woodwind players and with the strings. The oboe part in this work is particularly fun—I feel as if I’m dancing among the sections of the orchestra during some passages.” \nWolfgang Amadeus Mozart (1756-1791) composed his Clarinet Concerto for virtuoso clarinetist Anton Stadler to be performed on basset clarinet\, completing it just a few months before his death. The basset clarinet\, co-invented by Stadler\, could play a few notes lower than the standard clarinet. After Mozart’s death\, the low notes were transposed to be played on the standard clarinet\, and the original basset clarinet score was lost. \nThe concerto is considered one of Mozart’s greatest works. It is a piece of great emotional depth\, conveying peace\, simplicity\, and contentment\, making good use of the full range of the clarinet and the virtuosity of the player. The second movement Adagio\, in particular\, has been described as “achingly beautiful\,” lyrical\, and serene\, with a melancholic thoughtfulness\, while the third movement offers a cheerful and delightful rondo. \nSoloist Sangwon Lee notes that the concerto was written at a difficult point in Mozart’s life. He was beset by poor health and growing debt. “The music\, however\, is uplifting\,” Lee said\, with hints of somber tone.” \n“Like many clarinetists\,” Lee said\, “I have a complicated relationship with the concerto. It’s a piece we have been exposed to as young\, inexperienced players. It’s a piece that has been on virtually every audition we have taken. It’s the piece in the clarinet repertoire. There are times I cherished practicing it. There are times I loathed practicing it. But we always come back to it\, a lot of times not by choice\, and it ‘hits different’ as time goes on\, and we discover something new every time. We love it!” \nSangwon Lee joined the Hartford Symphony as Principal Clarinet in 2023. He has performed with orchestras all over New England\, appearing as guest principal clarinetist in the Boston Pops Orchestra\, New Bedford Symphony\, Dartmouth Symphony\, and others. As a chamber musician\, Sangwon has shared the stage with the late Peter Serkin—performing the Beethoven and the Mozart Quintets for Piano with Winds in multiple performances in 2018.  \nIn addition to performing\, Sangwon is passionate about music education. He has coached woodwind sectionals at Yale University\, Boston Youth Symphony Orchestra\, Boston Latin School\, and elsewhere. He taught clarinet and saxophone at the summer Bard Music Camp and at Bard College at Simon’s Rock in Great Barrington\, MA. \nA donation at the door of $20 for adults and $5 for young professionals is suggested\, with free admission for students. Tickets are available only at the door. For more information\, visit falmouthchamberplayers.org. \nThe FCPO is funded in part by the Arts Foundation of Cape Cod\, the Falmouth Cultural Council\, the Mass Cultural Council\, the Falmouth Fund of the Cape Cod Foundation\, Cape Cod Melody Tent\, and the Woods Hole Foundation.
URL:https://artsfalmouth.org/event/falmouth-chamber-players-orchestra-spring-concerts/
LOCATION:Morse Pond School\, 323 Jones Road\, Falmouth\, MA\, 02540\, United States
CATEGORIES:Classical music,Concerts
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ORGANIZER;CN="Falmouth Chamber Players Orchestra":MAILTO:FCPO@falmouthchamberplayers.org
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SUMMARY:Woods Hole Film Festival: The Shepherd and the Bear
DESCRIPTION:The Woods Hole Film Festival’s Dinner & A Movie series presents the feature documentary\, The Shepherd and the Bear\, on Saturday\, March 28\, at 7 PM\, in Redfield Auditorium\, Woods Hole Oceanographic Institution\, Doors open at 6:30 PM. \nThe film is by Max Keegan\, UK/US/France\, 2025\, 101 minutes\, French with English subtitles. \nTickets: $18 general admission | $14 members | $10 students & military \nSet high in the majestic French Pyrenees\, The Shepherd and the Bear explores a conflict provoked by the reintroduction of brown bears amid a traditional shepherding community. The film follows an aging shepherd who struggles to find a successor as bears prey on his flock\, and a teenage boy who becomes obsessed with tracking the bears. Through its breathtaking cinematography and immersive storytelling\, The Shepherd and the Bear is a modern folktale about tradition\, community and humanity’s relationship with a vanishing natural world. \nThe film was nominated for Cinema Eye Award and British Independent Film Award. \nDirector’s Statement: \nThe French state started releasing Slovenian brown bears into the Pyrénées in 1996 as part of an EU-wide program called LIFE. At this point there were just five Pyrenean brown bears left. The decision to release apex predators into a region whose primary industry is traditional open range sheep farming was immediately controversial. Not just because of the potential dangers this posed\, but also because of who was perceived to have taken this decision–farming communities across Europe have faced increasing economic hardship and political marginalization for decades\, and there was little local consultation for this project legislated for a world away in urban Paris and Brussels. \nOn both sides of the debate\, the bear represents different fears. For the ecological lobby\, it’s the fear that humanity has overreached itself. The bear is a manifestation of mother nature – it’s a powerful figure that can take back the reins from us and manage the environment outside of our corrupting influence. For the anti-bear farmers\, the bear is an aberration foisted on them by distant powers. Something that represents the state’s irreverence of their industry and their culture at a time when both these things are already facing extreme pressures. \nI didn’t want to make an activist film\, a call to arms\, or an exposé. These are complicated issues\, and the truth is\, on some level both sides are right. I wanted to make a film that captured the complexity of this story\, and that humanized both sides of the debate. \nAlthough this film takes place in the Pyrénées\, it speaks to issues that affect rural communities everywhere. We are living through an era of radical and rapid change\, not just environmentally\, but also culturally. Urban spaces account for less than one percent of land use but now house more than half of the global population. Across the world young people are migrating\, leaving villages and towns and moving to cities. The economic stresses of modern life atomize communities\, sever generational relationships to the land\, and threaten the perpetuation of local traditions. Hard won knowledge developed over hundreds of years is lost in the space of one absent generation. \nI chose to take a cinema verité approach to the storytelling\, because I felt that a character driven narrative would be more emotionally engaging and effective in bringing an audience round to understand both perspectives. By eschewing standard documentary techniques\, I hope to present our subjects as sympathetic characters rather than simply as voices ‘for’ and ‘against’. We spent two years living in the Pyrénées to experience and understand this issue first-hand and deliver a human story that transcends its direct subject matter. \nI don’t think that the themes this film deals with could be more urgent. We need to protect and preserve wild species where they are threatened\, but we can only do so in concert with local people. Equally\, we must strive to valorize and defend traditional lifestyles\, which in many cases hold the keys to understanding how to live in better harmony with the natural world. \nABOUT DINNER & A MOVIE \nDinner & A Movie is part of the Woods Hole Film Festival’s Winter/Spring Film Series\, featuring twice-monthly in-person screenings of independent films from September 2025 through June 2026. Screenings are held at the Woods Hole Oceanographic Institution’s Redfield Auditorium\, located at 45 Water Street in Woods Hole. \nTickets are available in advance at www.woodsholefilmfestival.org and at the door if not sold out. \nBefore the screening\, ticket holders may receive a discount on the meal portion of dinner at Quahog Republic Leeside Pub\, 29 Railroad Avenue\, Woods Hole. \nFor more information\, email info@woodsholefilmfestival.org or call (508) 495-3456.
URL:https://artsfalmouth.org/event/woods-hole-film-festival-the-shepherd-and-the-bear/
LOCATION:Redfield Auditorium\, 45 Water Street\, Woods Hole\, MA\, 02543\, United States
CATEGORIES:Documentaries,Environment,Film
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ORGANIZER;CN="Woods Hole Film Festival":MAILTO:info@woodsholefilmfestival.org
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