maverick concerts 2010

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1 “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 White The New York Times, July 30, 1916. Maverick CONCERT FESTIVAL 1915-2010

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Maverick Concerts program guide 2010

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Page 1: Maverick Concerts 2010

1

“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

1 9 1 5 - 2 0 1 0

Page 2: Maverick Concerts 2010

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

Page 3: Maverick Concerts 2010

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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

Page 4: Maverick Concerts 2010

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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

Page 5: Maverick Concerts 2010

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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

3

– Cornelia Hartmann Rosenblum

Page 6: Maverick Concerts 2010

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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:

Page 7: Maverick Concerts 2010

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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”

Page 8: Maverick Concerts 2010

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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

Page 9: Maverick Concerts 2010

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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

Page 10: Maverick Concerts 2010

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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.

Page 12: Maverick Concerts 2010

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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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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

Page 14: Maverick Concerts 2010

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Page 16: Maverick Concerts 2010

1

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.

C O N C E R T Sm u s i c i n t h e w o o d s