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Maverick Concerts program guide 2010


  • 1When I invested in this farm, ten years ago I did it with the idea

    of gathering some good musicians during the summer months and giving chamber music in a rustic music chapel among tall trees at the foot of a hill.

    Hervey WhiteThe New York Times, July 30, 1916.

    Maverick Concerts Celebrates 95 years

    MaverickC O N C E R T F E S T I V A L

    1 9 1 5 - 2 0 1 0

  • Compliments of JACOBOWITZ & GUBITS, LLP158 Orange Avenue, Walden, NY 12586 Ph.: 845-764-4285 Toll Free: 866-535-4743

  • 1Table of Contents 2 Board of Directors Summer Schedule

    3 The Maverick Horse by Cornelia Hartmann Rosenblum

    4-5 A Message From the Director, Alexander Platt

    6 Intimacy: My Maverick by Peter Schickele

    7 Help Us Save the Maverick

    8-11 The Other Woodstock by Harry Rolneck

    12 Young Peoples Concerts

    Photo Credits: Cover: Simon Russell; Renee Samuels. Inside front cover: Simon Russell. This page left column: Renee Samuels. Page 2: Simon Russel; Burt Weinstein. Page 3: Simon Russell. Page 4: Alexander Platt?; inset, Renee Samuels. Page 5: Burt Weinstein. Page 6: Simon Russell; Rene Samuels; Burt Weinstein; Peter Schaaf. Page 7: Steve Tilly. Page 8: Burt Weinstein. Page 9: Renee Samuels. Page 10: Renee Samuels. Page 11: Renee Samuels. Page 13: Renee Samuels. Back cover: Simon Russell

  • 2JUNESun. | 27 | 4 PM Tokyo String Quartet

    JULYSun. | 4 | 4 PM Shanghai Quartet Schumann & Friends

    Sat. | 10 | 11 am Young Peoples Concert Elizabeth Mitchell and Family

    Sat. | 10 | 6 PMWoodstock Legends:An Evening with Folksinger Happy Traum

    Sun. | 11| 4 PMParker Quartet with Shai Wosner, piano

    Sat. | 17 | 11 amYoung Peoples Concert Imani Winds

    Sat. | 17 | 6 PMWoodstock Legends:Steve Gorn and Friends in Indian Ragas

    Sun. | 18 | 4 PM Imani Winds: A Salute to Samuel Barber at 100

    Sun. | 25 | 4 PMTrio SolistiThe Romantic Generation

    Sat. | 31 | 11 amYoung Peoples ConcertBetty MacDonald, violin: What is Jazz

    Sat. | 31 | 8 PMThe 2010 Woodstock Beat Benefit Concert For the Woodstock Byrdcliffe GuildFor tickets, contact the Woodstock Guild at 845-679-2079

    AUGUSTSun. | 1 | 4 PMLara St. John, violin

    Sat. | 7 | 11 amYoung Peoples ConcertGarry Kvistad and Bill Cahn, percussion

    Sat. | 7 | 6 PMOpus TwoAmerican Spirits

    Sun. | 8 | 4 PMMir Quartet

    Sat. | 14 | 6 PMMaria Jette, soprano; Alan Murchie, piano

    Sun. | 15 | 4 PMAmernet String Quartet, with Michael Chioldi, baritone

    Sat. | 21 | 6 PMFred Hersch, jazz piano

    Sun. | 22 | 4 PMEbne Quartet of Paris

    Sat. | 28 | 6 PMJoel Fan, piano; The Maverick Chamber Players, Alexander Platt, conductor; Daron Hagen, composer in residenceHagen, Barber,

    Sun. | 29 | 4 PMBorromeo String Quartet; Judith Gordon, piano

    Special Event: Open rehearsal 3:00-3:30 PM Composer James Matheson and the musicians will share a behind-the-scenes look at the creative process and interaction between composer and musicians.

    SEPTEMBERSun. | 5 | Special time: 3pm Friends of Maverick Concert for DonorsMei-Ting Sun, piano

    Summer Schedule

    CHAIR Susan Rizwani

    VICE-CHAIR David Segal

    TREASURER Helen Bader

    SECRETARY MichaelChang


    David Gubits

    Marilyn Janow

    Dr. Ed Leavitt

    Adrienne Owen

    Lawrence Posner

    Sondra Siegel

    Jane Velez

    Willetta Warberg

    Paul F. Washington


    CHAIR EMERITA Cornelia Rosenblum


  • 2 The name Maverick came to be used

    over the years for the collaborative colony for

    artists that Hervey White established on the

    outskirts of Woodstock. In Colorado in the

    1890s, while visiting his sister, he had been

    told of a white stallion living in freedom

    in the wild known locally as the Maverick

    Horse. In 1911 the Maverick Horse appeared as

    the hero of a poem Hervey wrote, The Adventures of

    a Young Maverick. It was a fitting symbol for

    everything that Hervey held dearfreedom and spirit

    and individuality.

    John Flannagan, a brilliantly talented, iconoclastic

    (and penniless) sculptor, came to join the artists

    who spent summers in the Maverick. In the summer

    of 1924 Hervey White commissioned Flannagan to

    carve the Maverick Horse. Believing that all useful

    work was of value, and the work of an artist no

    more to be rewarded than any other, he paid the

    prevailing wage of fifty cents an hour. Using an

    ax as the major tool, the entire monumental

    piece was carved from the trunk of a chestnut

    tree in only a few days. The sculpture depicts

    the horse emerging from the outstretched hands of a man

    who appears in turn to be emerging from the earth.

    Hannah Small, who lived at the Maverick during

    the carving, remembers:

    Everyone on the Maverick was watching.

    They were fascinated. We loved everything that

    Flannagan did and we were terribly excited

    about it. I remember seeing him working; he

    was working frantically and he was doing the

    whole thing with an ax. It was the fastest

    work Id ever seen. When it was finished

    he went off and had another drink.

    The heroic sculpture standing eighteen feet

    high marked the entrance of the road to the

    concert hall (and the now-vanished theatre)

    for thirty-six years. For a while the sculpture

    had a little roof over it as protection from

    the elements but it began to weather

    alarmingly and artist Emmet Edwards, a

    painter who knew Flannagan well, moved it

    into his nearby studio to protect it.

    It remained there, hidden from view,

    for twenty years. In 1979 through the

    generosity and cooperation of Edwards,

    the horse was moved on large wooden

    skids from Edwards studio to the stage of

    the Maverick Concert Hall. Woodstock

    sculptor Maury Colow undertook to

    stabilize the sculpture and mount it on a

    stone base. It is most appropriate that this

    mysterious and magical sculpture presides

    over the last and most enduring expression

    of Hervey Whites original Maverick.


    Maverick Horse


    Cornelia Hartmann Rosenblum

  • 4 The Romantic Generations: Look upward with

    the minds eye! So declared the poet Goethe in his epic

    Wilhelm Meister, that signal work of the Romantic Era.

    We forget that it is in that most idealistic and irrational

    of periods of artistic history that the seeds of what would

    become the Maverick Concerts were sown, in the years just

    preceding the First World War: Hervey White, Woodstocks

    own answer to Walt Whitman, was nothing but irrational in

    convincing a handful of his artist-colony comrades to build

    with their bare hands a music chapel based on no more

    architectural expertise than a perusal of picture-books of

    French cathedrals. Building on the success of the Maverick

    Art Colony in establishing a festival in which performing

    the music of the masters would be little more than its own

    reward, the Maverick instantly became a summer beacon

    for many of the greatest artists of its time, a tradition that

    surely lives on to this day. Wild, passionate, idealistic,

    irrational how fitting that we celebrate the bicentennial

    years of both Robert Schumann and Frederic Chopin and

    the centenary of the birth of our great American Romantic,

    Samuel Barber, simultaneously with the 95th anniversary of

    the oldest summer chamber-music series in America.

    Im told that in the early years of the Mavericks Concert

    Hall, its walls were used for art exhibitions, so concertgoers

    could join their love of music with that of painting and

    sculpture. In what has become the Mavericks house-style

    A message from the director:


    Welcome to the 95th season of the Maverick Concerts, nestled in the woods just outside of Woodstock, New York.

    Since the very first performances in our beloved Concert Hall in 1916, and going back even further to the founding

    by Hervey White of the Maverick Art Colony in 1905, the Maverick has been part of the very ethos of Woodstock,

    celebrating its core values of artistry, freedom, simplicity and the inner search of mind and spirit. We were here long

    before Woodstock became Woodstock--though few seem to realize the other great Woodstock tradition, that of

    revelry, began here as well and joyfully we labor on, providing friends, neighbors and music-lovers of all kinds with

    summer after summer of delightfully eclectic musical weekends, ever blending the old and the new, the familiar and

    the forgotten, in a way which hopefully makes our founding spirits smile. I hope youll join us frequently this year and

    agree that this summer is no exception to our quietly grand and glorious heritage.

    Notes on the Season:

  • 5of programming over the last few years, our summer of

    concerts is not really a series but rather a gallery of music, in

    which one can imagine going from room to room, work to

    work, comparing and contrasting different composers and

    styles and deepening ones greater knowledge as a result: an

    experience in which the musical whole is worth more than

    the sum of its parts. Hopefully, by the end of each summer,

    the listener, having consummated his love of the art with

    the wisdom of what it has revealed, has come to experience

    the summe