maverick concerts 2010
DESCRIPTION
Maverick Concerts program guide 2010TRANSCRIPT
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“When 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
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Table 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 People’s 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
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JUNESun. | 27 | 4 PM Tokyo String Quartet
JULYSun. | 4 | 4 PM Shanghai Quartet Schumann & Friends
Sat. | 10 | 11 am Young People’s 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 People’s 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 People’s 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 People’s ConcertGarry Kvistad and Bill Cahn, percussion
Sat. | 7 | 6 PMOpus TwoAmerican Spirits
Sun. | 8 | 4 PMMiró 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 PMEbène 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
BettyBallantine
David Gubits
Marilyn Janow
Dr. Ed Leavitt
Adrienne Owen
Lawrence Posner
Sondra Siegel
Jane Velez
Willetta Warberg
Paul F. Washington
LaurieYlvisaker
CHAIR EMERITA Cornelia Rosenblum
BOARD OF DIRECTORS
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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 dear—freedom 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 I’d 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 White’s original Maverick.
THE
Maverick Horse
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– Cornelia Hartmann Rosenblum
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The Romantic Generations: “Look upward with
the mind’s 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, Woodstock’s
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.
I’m told that in the early years of the Maverick’s 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 Maverick’s house-style
A message from the director:
ALEXANDER PLATT
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 you’ll join us frequently this year and
agree that this summer is no exception to our quietly grand and glorious heritage.
Notes on the Season:
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of 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 one’s 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 summer of “music in the woods” as ultimately a kind of
kaleidoscope, in which the same theme has been viewed
from an infinite array of angles.
Thus in 2010 our “central theme,”
around which everything spins, is the
Romantic Spirit, born of revolution at the
end of the 18th century, churning its way
through “the century of peace” that would
be initiated by the Congress of Vienna and
crashing in flames a century later with the
Guns of August in 1914. No two composers
came to more greatly personify that
passionate and ultimately dangerous spirit
than Robert Schumann and Frederic Chopin.
Chopin’s music is indeed the very music of
revolution—both national, given his Polish background, and
personal, while Schumann, trying in vain to combine his
headstrong artistic nature with a bourgeois German identity,
would actually write music for the failed revolts of 1848,
not long before his own descent into madness. Schumann’s
music on offer this summer will range from his familiar
string quartets to late, forgotten art songs; one of Chopin’s
monumental piano sonatas will be positioned between
equally monumental examples of American Romanticism
by Samuel Barber and Hudson Valley master Daron Hagen,
whose upcoming 50th birthday we happily observe.
With Chopin, we get above all else an intense devotion to
beauty, refinement and personal freedom; with Schumann,
as Charles Rosen so deftly observed, we receive that sense
of “unease” that remains with Western culture to this day.
Chopin, if you will, heralded Romanticism; Schumann
absorbed it. Samuel Barber, born in the more comfortable
surroundings of Philadelphia’s Main Line just as the Romantic
Age was in collapse, spent his entire career lamenting a
bygone era, physically living a long life but artistically dying
much sooner. As I was growing up, Samuel Barber (then
still alive, to the surprise of some) was treated as a living
relic, a glorified joke, the composer of nothing more than
the Adagio for Strings; a European salon-
Romantic trapped in a postwar American
topcoat (imagine Robert Schumann,
shorn of his artist’s locks and sealed into
a Chesterfield, waiting for the 5.22 to
Bryn Mawr). In our new century, born in
a crucible but at least cleansed more of
prejudice, we can view him now for what
he is: a lyric genius, connecting American
modernism to all that was noble in our
19th-century past. That we will have the
chance this summer to hear that Adagio
for Strings in not one but two different settings, one in its
initial role as the central movement of Barber’s only String
Quartet; the other, standing on its own, in conversation
with another Adagio by one of our great living American
masters, Gunther Schuller says much about the forgotten
and inherent diversity of Barber’s musical language and the
way we’ll present it this year.
Obviously there is much to tell in describing the
programmatic details of each of the concerts and their
myriad links with each other, but you’ll have to attend the
concerts to hear about that, as you enjoy Miriam Berg’s fine
program notes and we indulge in the little conversations that
precede each work. Suffice it to say each of our programs
will provide a feast of musical dialogue in which these three
great musical spirits will converse with us, their colleagues
and each other, enriching our lives in the uniquely idyllic
setting that is Woodstock’s own monument to the Romantic
Era’s most selfless ideals.
Warmest wishes,– Alexander Platt, Music Director
“No two composers
came to more
greatly personify
that passionate and
ultimately dangerous
spirit than Robert
Schumann and
Frederic Chopin”
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Okay, so maybe I’m a bit of a curmudgeon
when it comes to outdoor concerts. Unless
they consist of good-old band music—music
to be accompanied by potato salad and
devilled eggs—I get too annoyed by the distractions of the
great outdoors to give myself completely to the music. And
the big open-ended sheds like the one at Tanglewood aren’t
much better.
The great exception, in my experience, is the Maverick
Concert Hall. It’s funky but handsome, and it opens on a
lovely and well-behaved forest. Most importantly, it’s the right
size for chamber music.
I had a brother who was a fanatic string quartet player,
and I spent my teenage years surrounded by chamber music,
sitting a few feet away from the musicians. There’s nothing
more exciting or involving. At the Maverick I feel as if I’m in
one of those living rooms of my youth, surrounded by good
friends and great music.
The Maverick’s sense of intimacy is matched by its
sense of tradition. The rough wooden walls and irregular
windows reflect the aesthetic of the men who built it almost
a century ago, and the carved wooden horse that looks out
over the audience and gives the venue its name is inspiring
and surely unique. The feeling of community is enhanced
by the photographs of musicians who were prominent in
the history of the hall, and also of the town, that adorn the
walls; as it happens, I live on a road named after one of those
musicians.
It’s a great pleasure
to have been a part of the
Maverick as an audience
member, a performer,
and a composer. I’ve
sung my songs there, I’ve
narrated (along with my wife, Susan Sindall) William Walton’s
Façade and I’ve heard the Audubon Quartet premiere my
String Quartet No. 5 there. Subtitled “A Year in the Country,”
and inspired by a year I took off from living primarily in New
York City and touring, it was entirely appropriate that the
quartet was commissioned by the Maverick and premiered
there; the piece, it turned out, was a harbinger of Susan’s and
my decision to move to Woodstock full-time.
It may feel like a large living room, but the Maverick
presents performances by ensembles that travel the world to
great acclaim—ensembles that could and do play large halls
but who like the setting and the audience in Woodstock.
Where else could a quartet get away with playing the scherzo
from one of Bartok’s string quartets as an encore, and have the
listeners love it?
Vincent Wagner (for most of my years here the person
who booked groups into the Maverick) and now Alexander
Platt have managed, with hard work, a special venue and
years of tradition to combine a world-class stage with a living
room in the woods.
– Peter Schickele
INTIMACY: My Maverick
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In the summer of 2007 the House of Representatives
approved Congressman Maurice Hinchey’s request of
$150,000 for a wide array of improvements to the Maverick
Concert Hall in Woodstock. Our then-91-year old, all-
wooden landmarked Hall was on its way to being preserved
for the future. The House Appropriations Committee, of
which Hinchey is a member, approved the funds as part
of the Interior Appropriations Bill for Fiscal Year 2008. The
full House voted and approved it. It was later sent on to the
Senate where it was passed.
The Maverick was granted $148,000, the highest
amount for which we could qualify. In order to get this
money we have to match this grant, dollar-for-dollar. At this
point we have matched over $90,000 and must raise the
remainder of the funds before the end of 2010.
Thus far we have used some of the funds to replace
the exterior porch and begin the preservation of the antique
windows and mullions. All of this work is under the direct
supervision of the one of the finest historic architects
in America, Steve Tilly. Steve’s detailed work on the
preservation of the historic buildings of the United States is
well known.
We have many more preservation projects to
accomplish and will do all of them as soon as we raise the
remainder of the matching funds.
Among our plans, we hope to expand the artists’
room in a way that is consistent with the building’s original
structure, install lighting in the unpaved parking area,
construct a storage facility, fix the remaining windows,
replace the four outhouses with environmentally safe,
waterless electronic toilets that do not require septic
systems, and create a bluestone patio to replace the gravel
around the Hall.
In order to help us “Make the Match,” please make
your tax-deductible donation to Maverick Concerts, Match,
P.O. Box 9, Woodstock, NY 12498.
Help us save the Maverick for the Future
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The Other Woodstock Festival
Query: What and where is the oldest summer
music festival in America?
Hint: Compared to the winner, Tanglewood is a
toddler, Glimmerglass is a gangly teenager. And
when they began, centenarian Elliott Carter was
a mere 7 years old.
– Harry Rolneck
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The answer is Maverick, which could be called the
other Woodstock Festival, though they prefer to call
themselves “Music in the Woods”. For 93 years straight,
this beautiful barn, with its 30-foot-high timbered roof, its
big paneled windows looking out on the forest, its giant
equestrian sculpture and spacious stage has been a delight
not only to the 600-odd visitors each weekend concert but
to musicians, who love the wrap-around acoustics of the
all-wooden interior.
The history is unique as well. From its outset as a
writers/musicians colony in 1915, with the auditorium built
soon after by its amateur denizens, both theatre and music
have encompassed legends. James Cagney debuted as a
child actor/dancer here. Helen Hayes, Edward G. Robinson
and Lee Marvin, amongst others, acted and schmoozed
and reveled in the arboreal surroundings . Mainly chamber
musicians have played with pleasure, and audiences, both
local and New York City and beyond get involved.
For me, though, Maverick was (gulp, blush) a first time
affair. Woodstock was familiar, but it took a New Yorker
notice encourage a trip up here. And the initial attraction
was not Maverick itself but the highly interesting program
last night.
Wolf’s Italian Serenade is hardly unknown, but is only
a bagatelle. In fact, for some reason, an old program had
listed the opening as Webern’s Langsamer Satz. Not that I
would have minded either one, but the mind had to
switch from a musical spoonful of Oesteria caviar to a
fresh primavera salad.
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Next was the Bartók First String
Quartet, hardly played as much
as the next five. Third was the real
rarity. A string quintet by Bruck-
ner, not a student work but com-
posed in his maturity. More on
that later.
The young Borromeo Quar-
tet is so highly acclaimed that
they are quartet-in-residence at
three different schools, from Bos-
ton to New Mexico to Japan. While they naturally swing to
contemporary music, the violins have a technical innova-
tion: a laptop computer showing the full score as they play.
But it was the performances themselves, especially in
this so natural environment which were astonishing. It be-
gan with the Italian Serenade, which too often is a Teutonic
version of Italia. Not here, First violin Michael Kitchen’s bow
hardly touched the strings at all, and the others let the boun-
cy opening float above them. Wolf was a song-composer
above all, and the Borromeo made lyrical light work of the
tiny treasure. Bartók is hardly as
simple, but here the Borromeo
showed a special individuality.
Far from being a seamless tapes-
try, these four players had their
own personalities. Violist played
hard muscular solos (especially
in the improvisation-sounding
first movement), first violin Mi-
chael Kitchen had a tone both
strong and sweet, Yeesun Kim’s
cello technique was faultless, but the sound never really
aggressive, and Kristopher Tong offered the filling which
second violin must have.
But the whole was greater than its parts, and that finale
was a masterpiece of stops and starts, of rhythmic vitality.
Add to this the authentic Magyar folk influences. Bartók
realized that Liszt and Brahms were using pop and Gypsy
tunes having just finished his adventurous explorations, and
those exotic relationships and harmonies created a world
of whirlwind exotica. More to the point, this quartet had
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FIN
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moments of sheer romantic (and post-Romantic) beauty,
and the quartet exploited these to the fullest.
After the intermission came the Bruckner Quintet. The
composer always called himself “a symphonist”, but this, his
only mature chamber music could be more digestible at first or
second hearing. The duration, at around 30 minutes, is half the
symphonies, and the personnel is five percent of an orchestra.
One never felt that Bruckner was denying himself his
usual forces, but we listeners (mea culpa!) frequently filled
in the orchestral forces on our own.
Not, though, the Adagio movement, which was a
heavenly revelation.. The main theme, introduced by viola
and developed with the most intricate and soul-stirring
inspiration, could be compared easily to the finest slow
movements of Schubert or Beethoven. And in its passion, it
far exceeds Barber’s own so self-conscious Adagio. Perhaps
the full quintet will never have the popularity of its rivals.
But the crowning beauty of this slow movement could easily
be performed by itself, even as the final work in a program.
Note that the Maverick has many more concerts to
go through September, with details at
www.maverickconcerts.org.
Note Two: amongst its less renowned
attributes of the theatre is an adjacent
outhouse, probably the original. It is
immaculately clean but has its original
mechanism. The directions are simple.
On the floor is a wooden spoon and a
wooden basket. The instructions read: “Place Two Spoonfuls
of Sawdust In The Toilet.”
Obviously, after nearly a century, Maverick is no flush-
in-the-pan phenomena.
– Harry Rolnick
– the Maverick has
many more concerts to
go through September,
with details at
maverickconcerts.org
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Yamaha is the official piano of Maverick Concerts. The C7 grand piano appears through the generosity of Yamaha Artist Services.
Maverick Concerts are made possible in part with funds from the New York State Council on the Arts, a state agency. DonateOnline.
A Salute to Samuel Barber at 100 and the Maverick Concerts 95th anniversary festival is supported in part by grants from the National Endowment for the Arts.
Maverick Concerts thanks Congressman Maurice Hinchey for successfully securing matching funding through Save America’s Treasures to preserve and improve the Maverick Concert Hall.
Call 845-679-8217 for ticket information or visit Maverick Concerts on line www.maverickconcerts.org. Email: [email protected] Concerts, P.O. Box 9, Woodstock N.Y. 12498 Maverick Concerts, Inc. is designated as a 501(c) (3) organization. All contributions are fully tax deductible as allowed by law.
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