Maverick Concerts 2010

1 9 1 5 - 2 0 1 0 “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.�

Maverick CONCERT

Hervey White The New York Times, July 30, 1916.

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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

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Help Us Save the Maverick

8-11

The Other Woodstock

by Harry Rolneck

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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 1

BOARD OF DIRECTORS

CHAIR

Susan Rizwani

VICE-CHAIR

David Segal

TREASURER

Helen Bader

SECRETARY

MichaelChang

Summer Schedule JUNE Sun. | 27 | 4 PM Tokyo String Quartet

AUGUST Sun. | 1 | 4 PM Lara St. John, violin

JULY Sun. | 4 | 4 PM Shanghai Quartet Schumann & Friends

Sat. | 7 | 11 am Young People’s Concert Garry Kvistad and Bill Cahn, percussion

Sat. | 10 | 11 am Young People’s Concert Elizabeth Mitchell and Family

Sat. | 7 | 6 PM Opus Two American Spirits

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

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

Sun. | 11| 4 PM Parker Quartet with Shai Wosner, piano Sat. | 17 | 11 am Young People’s Concert Imani Winds Sat. | 17 | 6 PM Woodstock Legends: Steve Gorn and Friends in Indian Ragas Sun. | 18 | 4 PM Imani Winds: A Salute to Samuel Barber at 100 Sun. | 25 | 4 PM Trio Solisti The Romantic Generation Sat. | 31 | 11 am Young People’s Concert Betty MacDonald, violin: What is Jazz Sat. | 31 | 8 PM The 2010 Woodstock Beat Benefit Concert For the Woodstock Byrdcliffe Guild For tickets, contact the Woodstock Guild at 845-679-2079

Sun. | 8 | 4 PM Miró Quartet Sat. | 14 | 6 PM Maria Jette, soprano; Alan Murchie, piano Sun. | 15 | 4 PM Amernet String Quartet, with Michael Chioldi, baritone Sat. | 21 | 6 PM Fred Hersch, jazz piano Sun. | 22 | 4 PM Ebène Quartet of Paris Sat. | 28 | 6 PM Joel Fan, piano; The Maverick Chamber Players, Alexander Platt, conductor; Daron Hagen, composer in residence Hagen, Barber, Sun. | 29 | 4 PM Borromeo 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.

SEPTEMBER Sun. | 5 | Special time: 3pm Friends of Maverick Concert for Donors Mei-Ting Sun, piano

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THE

Maverick Horse

The name “Maverick” came to be used

the horse emerging from the outstretched hands of a man

over the years for the collaborative colony for

who appears in turn to be emerging from the earth.

artists that Hervey White established on the

Hannah Small, who lived at the Maverick during

outskirts of Woodstock. In Colorado in the

the carving, remembers:

1890s, while visiting his sister, he had been

“Everyone on the Maverick was watching.

told of a white stallion living in freedom

They were fascinated. We loved everything that

in the wild known locally as the “Maverick

Flannagan did and we were terribly excited

Horse.” In 1911 the Maverick Horse appeared as

about it. I remember seeing him working; he

the hero of a poem Hervey wrote, “The Adventures of

was working frantically and he was doing the

a Young Maverick.” It was a fitting symbol for

whole thing with an ax. It was the fastest

everything that Hervey held dear—freedom and spirit

work I’d ever seen. When it was finished

and individuality.

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,

John Flannagan, a brilliantly talented, iconoclastic

the horse was moved on large wooden

(and penniless) sculptor, came to join the artists

skids from Edwards’ studio to the stage of

who spent summers in the Maverick. In the summer

the Maverick Concert Hall. Woodstock

of 1924 Hervey White commissioned Flannagan to

sculptor Maury Colow undertook to

carve the Maverick Horse. Believing that all useful

stabilize the sculpture and mount it on a

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

stone base. It is most appropriate that this

more to be rewarded than any other, he paid the

mysterious and magical sculpture presides

prevailing wage of fifty cents an hour. Using an

over the last and most enduring expression

ax as the major tool, the entire monumental

of Hervey White’s original Maverick.

piece was carved from the trunk of a chestnut tree in only a few days. The sculpture depicts

– Cornelia Hartmann Rosenblum

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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:

The Romantic Generations: “Look upward with

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

the mind’s eye!” So declared the poet Goethe in his epic

reward, the Maverick instantly became a summer beacon

Wilhelm Meister, that signal work of the Romantic Era.

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

We forget that it is in that most idealistic and irrational

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

of periods of artistic history that the seeds of what would

irrational… how fitting that we celebrate the bicentennial

become the Maverick Concerts were sown, in the years just

years of both Robert Schumann and Frederic Chopin and

preceding the First World War: Hervey White, Woodstock’s

the centenary of the birth of our great American Romantic,

own answer to Walt Whitman, was nothing but irrational in

Samuel Barber, simultaneously with the 95th anniversary of

convincing a handful of his artist-colony comrades to build

the oldest summer chamber-music series in America.

with their bare hands a “music chapel” based on no more

architectural expertise than a perusal of picture-books of

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

French cathedrals. Building on the success of the Maverick

could join their love of music with that of painting and

Art Colony in establishing a festival in which performing

sculpture. In what has become the Maverick’s house-style 4

I’m told that in the early years of the Maverick’s Concert

of programming over the last few years, our summer of

With Chopin, we get above all else an intense devotion to

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

beauty, refinement and personal freedom; with Schumann,

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

as Charles Rosen so deftly observed, we receive that sense

work, comparing and contrasting different composers and

of “unease” that remains with Western culture to this day.

styles and deepening one’s greater knowledge as a result: an

Chopin, if you will, heralded Romanticism; Schumann

experience in which the musical whole is worth more than

absorbed it. Samuel Barber, born in the more comfortable

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

surroundings of Philadelphia’s Main Line just as the Romantic

the listener, having consummated his love of the art with

Age was in collapse, spent his entire career lamenting a

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

bygone era, physically living a long life but artistically dying

the summer of “music in the woods” as ultimately a kind of

much sooner. As I was growing up, Samuel Barber (then

kaleidoscope, in which the same theme has been viewed

still alive, to the surprise of some) was treated as a living

from an infinite array of angles.

relic, a glorified joke, the composer of nothing more than

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.

“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

the Adagio for Strings; a European salonRomantic 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

revolution—both national, given his Polish background, and

for Strings in not one but two different settings, one in its

personal, while Schumann, trying in vain to combine his

initial role as the central movement of Barber’s only String

headstrong artistic nature with a bourgeois German identity,

Quartet; the other, standing on its own, in conversation

would actually write music for the failed revolts of 1848,

with another Adagio by one of our great living American

not long before his own descent into madness. Schumann’s

masters, Gunther Schuller says much about the forgotten

music on offer this summer will range from his familiar

and inherent diversity of Barber’s musical language and the

string quartets to late, forgotten art songs; one of Chopin’s

way we’ll present it this year.

monumental piano sonatas will be positioned between

equally monumental examples of American Romanticism

programmatic details of each of the concerts and their

by Samuel Barber and Hudson Valley master Daron Hagen,

myriad links with each other, but you’ll have to attend the

whose upcoming 50th birthday we happily observe.

concerts to hear about that, as you enjoy Miriam Berg’s fine

Obviously there is much to tell in describing the

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 5

INTIMACY:

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

My Maverick

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

Okay, so maybe I’m a bit of a curmudgeon

my decision to move to Woodstock full-time.

when it comes to outdoor concerts. Unless

they consist of good-old band music—music

presents performances by ensembles that travel the world to

to be accompanied by potato salad and

great acclaim—ensembles that could and do play large halls

devilled eggs—I get too annoyed by the distractions of the

but who like the setting and the audience in Woodstock.

great outdoors to give myself completely to the music. And

Where else could a quartet get away with playing the scherzo from one of Bartok’s string quartets as an encore, and have the

the big open-ended sheds like the one at Tanglewood aren’t

listeners love it?

much better.

It may feel like a large living room, but the Maverick

The great exception, in my experience, is the Maverick

Vincent Wagner (for most of my years here the person

who booked groups into the Maverick) and now Alexander

Concert Hall. It’s funky but handsome, and it opens on a

Platt have managed, with hard work, a special venue and

lovely and well-behaved forest. Most importantly, it’s the right

years of tradition to combine a world-class stage with a living

size for chamber music.

room in the woods.

– Peter Schickele 6

Help us save the Maverick for the Future

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, allwooden 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.

7

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

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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

tiny treasure. Bartók is hardly as

Quartet, hardly played as much

simple, but here the Borromeo

as the next five. Third was the real

showed a special individuality.

rarity. A string quintet by Bruck-

Far from being a seamless tapes-

ner, not a student work but com-

try, these four players had their

posed in his maturity. More on

own personalities. Violist played

that later.

hard muscular solos (especially

The young Borromeo Quar-

in the improvisation-sounding

tet is so highly acclaimed that

first movement), first violin Mi-

they are quartet-in-residence at

chael Kitchen had a tone both

three different schools, from Bos-

strong and sweet, Yeesun Kim’s

ton to New Mexico to Japan. While they naturally swing to

cello technique was faultless, but the sound never really

contemporary music, the violins have a technical innova-

aggressive, and Kristopher Tong offered the filling which

tion: a laptop computer showing the full score as they play.

second violin must have.

But it was the performances themselves, especially in

But the whole was greater than its parts, and that finale

this so natural environment which were astonishing. It be-

was a masterpiece of stops and starts, of rhythmic vitality.

gan with the Italian Serenade, which too often is a Teutonic

Add to this the authentic Magyar folk influences. Bartók

version of Italia. Not here, First violin Michael Kitchen’s bow

realized that Liszt and Brahms were using pop and Gypsy

hardly touched the strings at all, and the others let the boun-

tunes having just finished his adventurous explorations, and

cy opening float above them. Wolf was a song-composer

those exotic relationships and harmonies created a world

above all, and the Borromeo made lyrical light work of the

of whirlwind exotica. More to the point, this quartet had

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moments of sheer romantic (and post-Romantic) beauty,

inspiration, could be compared easily to the finest slow

and the quartet exploited these to the fullest.

movements of Schubert or Beethoven. And in its passion, it

After the intermission came the Bruckner Quintet. The

far exceeds Barber’s own so self-conscious Adagio. Perhaps

composer always called himself “a symphonist”, but this, his

the full quintet will never have the popularity of its rivals.

only mature chamber music could be more digestible at first or

But the crowning beauty of this slow movement could easily

second hearing. The duration, at around 30 minutes, is half the

be performed by itself, even as the final work in a program.

symphonies, and the personnel is five percent of an orchestra.

Note that the Maverick has many more concerts to

– the Maverick has many more concerts to go through September, with details at maverickconcerts.org

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

One never felt that Bruckner was denying himself his

wooden basket. The instructions read: “Place Two Spoonfuls

usual forces, but we listeners (mea culpa!) frequently filled

of Sawdust In The Toilet.”

in the orchestral forces on our own.

in-the-pan phenomena.

Not, though, the Adagio movement, which was a

Obviously, after nearly a century, Maverick is no flush-

heavenly revelation.. The main theme, introduced by viola – Harry Rolnick

2 0 0 8 c a s t o f F I N K S © Wa l te r G a r s c h a g e n

and developed with the most intricate and soul-stirring

Face to Face

with Great New Theater

Join us for a season of new plays and musicals, including world premieres by Pulitzer, Oscar, and Tony winner John Patrick Shanley & emerging playwright Tracy Thorne, a brand new musical from Justin Levine & Alex Timbers, Michael Mayer’s reincarnation of a beloved musical, as well as new works from Eve Ensler, Zoe Kazan, Richard Nelson & Peter Golub, Steven Sater & Duncan Sheik, Patricia Wettig, Jennifer Westfeldt. All offered at very affordable prices. Remember pre-or post-performance to enjoy a light meal at Café on the Quad.

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SATURDAY AT 11 AM Accompanying adults pay only $5.00 and many of our musical artists also perform in the regular afternoon or evening concert series!

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C m u s i c

O i n

N C t h e

E R T S w o o d s

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 Americaâ&#x20AC;&#x2122;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: maverickmuse@aol.com Maverick 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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