maverick concerts 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

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

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.

THE

Maverick Horse

3

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:

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 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