Maverick Concerts 2016 Program

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If I ever get a place of my own I will call it the Maverick‌ And it will be like a maverick, a wild horse belonging to no one but also to whoever can get it. —Hervey White

Dion Ogust

The Board of Directors of Maverick Concerts is grateful to retiring Chairman David F. Segal for his achievements and leadership serving Maverick for so many years. We are proud to honor him by dedicating this first season in our new century to his accomplishments on our behalf.

Susan Rizwani David Gubits Stephen McGrath

Angela P. Schapiro Mark Flannery Marilyn Janow

Sondra Siegel Jane Velez Willetta Warberg David Wiebe

Table of Contents

Board of Directors............................................................2 2016 Summer Schedule...................................................2 A Message from Our Music Director.................................3 1916 Time Line ...............................................................4 Music Structure 101.................................................6 – 10 Maverick News and Notables........................................ 11 The Future Gallops On.................................................. 12 Maverick Preservation Honored.................................... 13 The Maverick Legacy..................................................... 14 The Gift......................................................................... 15 Alf Evers Remember Maverick................................16 – 17 The Founding of Maverick.....................................18 – 19 Woodstock's First Hippie.............................................. 21 Maverick Memories................................................22 – 23 A Child of Maverick...............................................24 – 25 Historical Festival Photos.......................................26 – 27 The Maverick Horse...................................................... 28 Young People's Concerts................................................ 29

Contributors

Writers: Alexander Platt, Miriam Villchur Berg, Cornelia Rosenblum, Alf Evers, Julia Blelock, Les Gerber, Robin Raymond and Hervey White.

Founder & Editor: David F. Segal Graphic Design & Production: Katie Jellinghaus

What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven.

Photos & Illustrations

Cover: Cover photo of cello by David Aday. www.david-aday.com The cello by David Wiebe of Woodstock is a copy of an Amati cello made in Cremona, Italy in 1616, 400 years old this year.

Sculpture of Hervey White, monument proposal.

Courtesy of James Cox Gallery. Inset photo, Simon russell.

Inside Front Cover: Photo by Dion Ogust

Ludwig van Beethoven

Adam Tendler prepared piano by Angela P. Schapiro 1

Board of Directors

2016 Schedule Honoring Retiring Chairman David F. Segal

SATURDAY, JUNE 25, 11AM Young Peoples Concert ELIZABETH MITCHELL & FAMILY

SATURDAY, JUNE 25, 8 PM ACTORS & WRITERS. A reading of Sleeping Arrangements. Admission is by donation.

CHAIR Susan Rizwani

VICE-CHAIR David Gubits

TREASURER Stephen McGrath

SECRETARY Angela P. Schapiro

BOARD

MEMBERS

CHAIR

EMERITA

Mark Flannery Marilyn Janow Sondra Siegel Jane Velez Willetta Warberg David Wiebe Cornelia Rosenblum

CHAIRMAN EMERITUS David F. Segal

SUNDAY, JUNE 26, 4 PM ESCHER STRING QUARTET Beethoven, Bartók, Dvořák SATURDAY, JULY 2, 11 AM Young Peoples Concert — ARTURO O’FARRILL QUARTET. Afro-Cuban jazz!

SATURDAY, JULY 2, 8 PM Jazz at The Maverick. ARTURO O’FARRILL QUARTET, Afro Latin jazz.

SUNDAY, JULY 3, 4 PM — JUPITER STRING QUARTET, ILYA YAKUSHEV, piano.

Beethoven, Schubert, Shostakovich SATURDAY, JULY 9, 8 PM STEVE GORN, bansuri flute. Indian Ragas with SANJOY BANERJEE, vocals, and SAMIR CHATTERJEE, tabla

SATURDAY, AUGUST 6, 6PM SIMONE DINNERSTEIN, piano. A Benefit for Maverick Concerts. Bach. Philip Glass, Schubert. Benefit ticket prices.

Note the early start time.

SUNDAY, AUGUST 7, 4 PM — IMANI WINDS Scott, Rzewski, Rimsky-Korsakov, Cage SATURDAY, AUGUST 13, 8 PM. Jazz at the Maverick — JULIAN LAGE TRIO SUNDAY, AUGUST 14, 4 PM TRIO SOLISTI. Beethoven, Arensky, Brahms SATURDAY, AUGUST 20, 6 PM CHAMBER ORCHESTRA CONCERT MAVERICK CHAMBER PLAYERS. ALEXANDER PLATT, conductor. ADAM TENDLER, piano, EMMANUEL FELDMAN, cello. AUREA ENSEMBLE, Bach, Copland, Ginastera. Note early start time.

SUNDAY, AUGUST 21, 4 PM BORROMEO STRING QUARTET Haydn, Russell Platt, Beethoven

SUNDAY, JULY 10, 4 PM SHANGHAI STRING QUARTET Bridge, Mendelssohn, Grieg

FRIDAY, AUGUST 26, 8 PM ST. LAWRENCE STRING QUARTET Haydn, Adams, Schumann

SATURDAY, JULY 16, 11 AM Young Peoples Concert HORSZOWSKI TRIO

SATURDAY, AUGUST 27, 8 PM LARA ST. JOHN, violin and MATT HERSKOWITZ, piano.

SATURDAY, JULY 16, 8 PM Jazz at the Maverick — AMIR ELSAFFAR and the TWO RIVERS ENSEMBLE

SUNDAY, AUGUST 28, 4 PM ENSO STRING QUARTET. Haydn, Henri Dutilleux, Joaquin Turina, Alberto Ginastera

SUNDAY, JULY 17, 4 PM — HORSZOWSKI TRIO. Schumann, Tower, Beethoven

SATURDAY, SEPTEMBER 3, 6 PM ANDREW RUSSO & FREDERIC CHIU, duo pianists. Debussy, Ravel, Debussy, arr. Ravel, Stravinsky. Note early start time.

SATURDAY, JULY 23, 11 AM Young Peoples Concert KIM AND REGGIE HARRIS SATURDAY, JULY 23, 8 PM Jazz at the Maverick — VIJAY IYER. Grammy-nominated jazz pianist.

SUNDAY, JULY 24, 4 PM — LATITUDE 41 Haydn, Shostakovich, Mendelssohn FRIDAY, JULY 29, 8 PM — ACTORS & WRITERS. Comic works by Mikhail Horowitz. Admission is by donation only.

SATURDAY, JULY 30, 8PM Jazz at the Maverick — FRED HERSCH, jazz piano, with JANE IRA BLOOM, soprano saxophone.

Simon Russell

SATURDAY, AUGUST 6, 11AM Young Peoples Concert — IMANI WINDS

SUNDAY, JULY 31, 4 PM — DANISH STRING QUARTET. Per Nørgård, Mendelssohn, Shostakovich 2

SUNDAY, SEPTEMBER 4, 4 PM — PEDJA MUZIJEVIC, piano. A Friends of Maverick concert. Haydn: Piano Sonata No. 52 Crumb: Pastorale, from Makrokosmos (1972). Schubert: Piano Sonata No.20, Admission is by contribution only. Donors of $50 receive one ticket, donors of $100 or more receive two.

FRIDAY, SEPTEMBER 9, 8 PM — THE CURSE OF BATVIA. A concert reading of the new original musical comedy. Book and lyrics

by Katherine Burger, music by Roland Tec. Admission is by donation only SATURDAY, SEPTEMBER 10, 8 PM HAPPY TRAUM & FRIENDS SUNDAY, SEPTEMBER 11, 4PM PACIFICA STRING QUARTET Mozart, Schulamit Ran, Beethoven

A Message from Maverick’s Music Director

Alexander Platt

Dear Friends

Arturo O'Farrill and friends.....who could ask for more? Finally, a most special evening, a stylistic fusion of the aforementioned genres, will take place on Saturday evening July 16th, as the Iraqi-American artist Amir El Saffar and his Two Rivers Ensemble will perform their CRISIS Suite — a major new work commissioned by the Newport Jazz Festival, which hauntingly conveys the tragedy and turbulence of our times.

Welcome to another amazing summer of the Maverick Concerts. Last year being our one hundredth season, this summer is our true Centennial as we once again make music in the woods, as we and our forebears have been doing in our unique and historic “music chapel” since 1916.

Dion Ogust

Following the commencement of our season via an afternoon with one of our new favorites, the Escher Quartet, as they pay their devotion to three of the great Old Masters -- would we have it any other way? -- our new Centennial summer is a bouquet of the familiar and the unexpected. Typical of this will be the following weekend of the summer: on Saturday July 2nd, the amazing Latin jazz maestro Arturo O'Farrill will be making at long last his debut at the Maverick, in both Young People's and evening concerts, and on Sunday the 3rd, our stalwart friends Ilya Yakushev and the Jupiter Quartet will be gracing our stage with works of Schubert, Beethoven, the modern master Gyorgy Ligeti and the monumental Piano Quintet of Dmitri Shostakovich -- a work whose U.S. Premiere was given by the Stuyvestant Quartet, whose cellist Alan Shulman was a regular star in the Maverick constellation for much of the middle century.

The modern and the traditional, the beloved and the unfamiliar, all together in conversation: that's the Maverick, and always will be.

The celebration continues, I'm glad to say, through deep September, and along the way we'll be offering, as you well can see, the best of jazz, folk, world-music and classical fare in our most comfortable of settings: lovingly restored, our historic concert hall gets better and better in gentle improvements, which never destroy the spirit of its founders.

I think those adventurous men and women would be charmed by an annual event of more recent vintage, one which actually harks back to the very first Maverick Festival of 1915: our August 20 Chamber Orchestra Concert, where with the help of the extraordinary young pianist Adam Tendler — whose program of Henry Cowell and John Cage made such a deep impression on us last year — we shall be exploring the connections between the later, little-known masterpieces of “our own” Aaron Copland (who indeed spent the summer of 1939 in these woods, with Benjamin Britten and Peter Pears) and equal gems of Alberto Ginastera, the Argentine whose work Copland promoted, and Johann Sebastian Bach. The modern and the traditional, the beloved and the unfamiliar, all together in conversation: that's the Maverick, and always will be. Here's hoping you'll join us for it all, in its rustic splendor.

So many of our favorite artists — the Trio Solisti, Latitude 41, the Imani Winds; the Shanghai, Pacifica, Enso and Borromeo Quartets; the pianists Andrew Russo, Pedja Muzijevic, and Frederic Chiu — will be returning, along with special appearances by the legendary St. Lawrence String Quartet, and by pianist Simone Dinnerstein in solo recital. The amazing Danish String Quartet will be back as well for a thought-provoking program that betrays a wisdom beyond their years, and I'm delighted that the Horszowski Trio, the very finest of the young piano trios in America today, will also be visiting our stage in their Maverick debut.

Thank you, as ever, for your wonderful support, and do enjoy the concerts.

Alexander Platt, Music Director 3

Jennifer Girard

Alexander Platt

Elizabeth Mitchell, Steve Gorn, and Happy Traum will be making their annual journeys for us in the folk/world realm, and our jazz lineup: Fred Hersch, Vijay Iyer, Julian Lage,

It was a leap year, 1916 (MCMXVI), and the Maverick Concert Hall opened for its first-ever concert One million soldiers killed or wounded during the Battle of the Somme. Russian forces defeat troops of the Ottoman Empire in Armenia. German saboteurs blow up munitions depot on Black Tom island in New York Harbor. D.W. Griffith releases Intolerance. Margaret Sanger opens the first U.S. birth control clinic. First forty-hour work week officially begins in the Endicott-Johnson factories of New York’s Southern Tier.

The Kingdom of Poland is proclaimed. Jeannette Rankin of Montana becomes the first woman elected to the U.S. House of Representatives.

The Baltimore Symphony Orchestra presents its first concert; Gustav Holst composes The Planets, Opus 32; Carl Nielsen premieres his Symphony No. 4. Other 1916 premieres: Béla Bartók: Suite for Piano; Ernest Bloch: Israel Symphony, String Quartet No. 1; Claude Debussy: Sonata for Flute, Viola, and Harp; Frederick Delius: Cello Sonata; George Enescu: Piano Trio; Alexander Glazunov: Karelian Legend; Paul Hindemith: Cello Concerto in E-flat, Op. 3; Charles Ives: Fourth Symphony; Igor Stravinsky: Burleske for four Pantomimes and Chamber Orchestra; and Heitor Villa-Lobos: Second Cello Sonata.

Pancho Villa attacks New Mexico; President Woodrow Wilson sends 12,000 U.S. troops over the border into Mexico to pursue Pancho Villa.

It’s an election year, and Democratic President Woodrow Wilson defeats Charles E. Hughes. Physicians perform the first successful blood transfusion using stored blood. Court of the United States upholds the national income tax. Paris is bombed by German Zeppelins. Parliament buildings in Ottawa are burned down. Dadaism founded. Emma Goldman is arrested for lecturing on birth control. The Battle of Verdun raged from February to December.

The White Star Liner HMHS Britannic, a floating hospital and sister ship of the RMS Titanic, sinks in the Mediterranean Sea. Grigori Rasputin is assassinated. The British Sopwith Camel aircraft makes its maiden flight. Oxycodone is synthesized in Germany. Summer Olympic Games in Berlin canceled.

It was a year of important births: Composers Henri Dutilleux, Alberto Ginastera, Milton Babbitt, Max Reger; musicians Yehudi Menuhin, Robert Shaw, Emil Gilels; authors Horton Foote, Irving Wallace, Harold Robbins; performers Dinah Shore, Harry James, Gregory Peck, Glenn Ford, Olivia de Havilland, Van Johnson, Martha Raye, Kirk Douglas, Betty Grable. Deaths in 1916: authors Henry James and Jack London, playwright Sholem Aleichem, King Otto of Bavaria, and painters Thomas Eakins, Georges Lacombe, and Odilon Redon.

Chicago Cubs play their first game at Wrigley Field. Woodrow Wilson signs a bill incorporating the Boy Scouts of America and signs legislation creating the National Park Service. Cub Scouts founded.

Yuan Shikai, the last emperor of China, abdicates the throne.

The Irish Republic is proclaimed. United States Marines invade the Dominican Republic. Saturday Evening Post publishes its first Norman Rockwell cover. Louis Brandeis is sworn in as a Justice of the United States Supreme Court.

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Chamber Music 101: Structure

Allegro, Andante, Menuetto, Finale—We read these titles in the program every Sunday here at the Maverick. What do these words tell us about the music we are listening to? In honor of Maverick’s hundred-and-first season, here is a sort of Chamber Music 101, a discussion of the basic structures of classical chamber music.

By Miriam Villchur Berg Program Annotator

ROOTS: THE DANCES OF THE RENAISSANCE In the Renaissance, art music was either sacred, for church services, or secular, commissioned by a city for public ceremonies or by a noble court for private occasions. Noble families took pride in their fine court orchestras, and the sumptuous banquets and dances held in their grand ballrooms required music.

Angela P. Schapiro

One of the most important courtly instrumental forms of the Renaissance was the dance suite. Court orchestras would accompany noble ladies and gentlemen while they performed French gavottes, Polish polonaises, and other national dances from around Europe. As the Renaissance (approximately 1300 to 1600) evolved into what we now call the Baroque era (around 1600 to 1750), the dance suite became quite standardized.

The movements generally included the German allemande, the French courante or Italian corrente, the Spanish sarabande, and the English gigue. Other dances, including the minuet, were sometimes added to this customary lineup.

Composers of the Baroque and Classical eras made use of the different Renaissance dances to give organization to sets of pieces.

Although dance suites were sometimes still composed to provide the music for actual courtly dancers, they gradually became a purely stylistic convention. Through the Baroque era, many of the movements still bore the names of the various dances, even without the dancers. These movements were still characterized by those familiar meters, tempos, and forms: the sarabande (a slow 4/4), the gigue (a fast 6/8), the minuet (a moderate 3/4), and many others.

Court orchestras would accompany noble ladies and gentlemen while they performed French gavottes, Polish polonaises, and other national dances from around Europe.

CLASSICAL STYLE The Classical era (which is considered to have started in 1750, with the death of J. S. Bach) saw the introduction of new musical concepts. The period is named Classical because composers of the 6

Renee Samuels

time (along with architects, painters, and sculptors) sought to emulate the simple, clean lines of classical Greek and Roman art. Many-layered Baroque counterpoint was replaced by compositions in which one melody was predominant and accompanied by chordal harmonies. (It should be noted, of course, that polyphony was not completely abandoned; many composers of the time, including Haydn and Beethoven, added complex fugues and fugue-like passages to their works, especially in their later years.)

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“Classical” also implies adherence to standard forms, and composers of the Classical era developed new genres, including the sonata, the piano quartet, the string quartet, and the symphony. The components of the Baroque dance suite evolved into the standard movements of these new genres; one—the minuet—even kept the name, at least for a while. One major difference between the old and new forms is that in the old dance suite, all the movements were most often in the same key, whereas in the classical era, the inner movements could be in different keys—usually related keys, such as the relative minor or the dominant of the home key.

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SONATA-ALLEGRO FORM Smaller chamber works— those that typically have three movements—include sonatas for solo instruments such as the violin or piano; sonatas for one instrument plus piano; and piano trios.

(Concertos, for soloist and larger ensemble, also usually have three movements.) The tempos of the three movements are usually in the order fast, slow, and fast. There may be a slow introduction to the opening, but the first movement is almost always labeled Allegro, sometimes with a qualifying adjective (moderato, vivace, etc.). The middle movement is typically Andante, Largo, Adagio, or another term that signifies a slow tempo. In the finale, the tempo is again fast, and the form is often a rondo (see below).

In the development section, one or both of the themes is taken apart, embellished, put into different keys, or developed in other ways. The main theme may start out in the tonic and be gradually transposed into the dominant key: thus a main theme in C major might end up in G major. At the end of the development section, the theme returns, once again in the tonic key, for the recapitulation.

THE SLOW MOVEMENT The second movement, which is often at a slower tempo, may have evolved from the middle movement of early concerti as written by Italian Baroque composers such as Vivaldi. When Bach wrote his Italian Concerto for harpsichord, he used the term “Italian” to signify the order of the movements: fast, slow, fast.

In addition to being slower, the middle movement is often simpler, more melodious, and not as complicated tonally. In the classical string quartet, the slow movement usually takes the form of a song-like melody, sometimes notated as arioso (airy) or cantabile (singable). The form varies, but is often something like ABA, or ABAB, or AABA, all typical of songs found in art, popular, and folk music, both then and now.

The four-movement works include string quartets, piano quartets, and symphonies. The additional movement is the minuet, which is placed either second or third in the order of movements.

Beethoven shook everything up by starting piano sonatas with slow movements (think of the “Moonlight Sonata”) and composing string quartets with nine movements. But even after his innovative musical career, composers continued to adhere, for the most part, to classical form in the arrangement of movements within their chamber works.

MINUET, TRIO, AND SCHERZO The minuet continued to be popular for more than a century (in the middle of the eighteenth century it was George Washington’s favorite dance). As a movement in classical musical pieces, it retains its dance-like character. Always in a triple meter (such as 3/4 or 6/8), it is divided into short sections that are generally repeated, originally to suit the different steps of the dance. After two or more repeated short sections, a central passage known as the Trio comes in. The Trio can be lighter in tone and character than the opening of the minuet, and sometimes has a rustic quality. Maverick audience members have asked me about the term Trio, since they notice Angela P. Schapiro

Each movement has a particular form as well. What is often called “sonata form” is properly called “sonata-allegro form,” because it is the typical form of a work’s first—or Score Sheet Of Moonlight Sonata by Ludwig van Beethoven Allegro—movement.

Although it varies from composer to composer and work to work, the sonata-allegro usually involves the statement (or exposition), development, and recapitulation of one or two musical themes.

The theme(s) are stated in the exposition section; if there are two, they are usually of contrasting character and in different keys.

Often the first is lively, the second more lyrical.

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that all four members of a string quartet continue to play. The term is an anachronism with roots in those noble court orchestras of the Renaissance and Baroque eras. Back then, in the middle of the minuet, the orchestra would stop playing, and three soloists would perform their individual parts together as a trio, after which the full ensemble would return to the minuet, with one difference: in this closing section, the repeats were not played (or danced). This pattern and this terminology continued through the Classical era, no matter how many instruments actually played the trio section.

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Joseph Haydn, the father of the string quartet (he composed sixty-eight over the course of his long life), used the French Menuet or the Italian Menuetto in all of his quartets with the exception of the six of Op. 33 (1791), which use the term Scherzo.

This group includes one nicknamed “The Joke,” in which the composer plays with the audience’s expectations by inserting long rests and making the piece appear to end several times before the actual final cadence. Since scherzo is the Italian word for joke, Haydn may have used the term for a group of pieces he felt were especially playful.

Over the course of the Classical era, the Scherzo gradually replaced the Minuet as the standard third movement of a fourmovement work. After the complex sonata-allegro opening, and in contrast to the slow movement, which could be either lyrical or intense, the scherzo provides a respite—something a little simpler and more fun, with a dancing feeling. Beethoven had no use for the dainty steps of the old minuet, and his scherzos are boisterous and forceful. Dmitri Shostakovich said that his mentor, Alexander Glazunov, taught him that the scherzo must be, above all, unexpected and surprising.

FINALE: RONDO The last movement of a four-movement work is often given the title Finale, and sometimes Finale: Rondo. In sonatas, the form is almost always a rondo, in which a theme is followed by musical interludes or episodes. After each episode, the rondo returns largely unchanged, giving the movement the form ABACADA and so forth. In string quartets, the last movement can be a rondo, a sonata-allegro, or another form.

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THEME AND VARIATIONS The theme and variations is another form commonly found in classical chamber music.

As the name implies, it consists of a simply stated melody followed by altered versions of that theme. The composer may change the character of the theme, making it strong or gentle, staccato or legato, for instance. Or he may change the meter, perhaps putting the melody in triplets, with three notes to each beat, or in fast runs. There are many forms of embellishment; what remains constant is the harmonic structure—the chords that accompany the melody. The only exception to the rule of harmonic consistency is that it is common for one of the variations to transpose the melody from major to minor (or vice versa, if the original theme is in the minor mode).

Simon Russell

musical contrasts of loud and soft, fast and slow, major and minor, high and low, dissonant and consonant, and the various textures and feelings portrayed. On the smallest level, a dissonant clash of notes is resolved by a pleasant, conventional harmonic chord. A rising line creates tension, and a complementary falling line provides the release of that tension. Within the sonataallegro form, the wide-ranging excursions of the development section are settled by the return and recapitulation of the original theme. The known—the repeated sections of the minuet or the rondo, for example—is contrasted with the unexpected—the rustic or light-hearted feeling of the trio, the key change of a rondo’s episode—after which the repeat of the minuet or the rondo restores balance and provides resolution.

Themes with variations are commonly found in second, third, or fourth place in the order of movements; sometimes a composer will add a theme and variations as an fifth movement in the middle of the work. The opening Allegro and the Minuet/Scherzo, with their predetermined tonal and harmonic strictures, are unlikely candidates for the theme-and-variations treatment.

Understanding the various structures of chamber music genres and movements is not necessary for enjoying the music. But it can be very satisfying to hear a musical passage and to know, because one knows the form, how that passage fits, and what will come next—whether it is the trio section in the middle of a scherzo, or the pleasant familiarity of a recurring rondo theme, or the quickening tempo that signals the approaching cadence of a finale.

CONTRASTS Classical music is made of contrasts. The familiar and the unfamiliar, the sophisticated and the simple, and of course the

As you listen to classical compositions this summer, I invite you to think about their structure. Or, if you prefer, please feel free to ignore the structure and just let the glorious sounds wash over you.

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Maverick News and Notables

WOODSTOCK IVITATIONAL MONOPRINT EXHIBITION

A survey of Monoprints by contemporary artists created in the newly renovated graphics workshop at The Woodstock School of Art October 15-December 17 Reception, Saturday, October 15, 3-5 PM

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Revered graphic designer Milton Glaser has created a poster for its centennial 2015 season. Mr. Glaser's new poster celebrates the historic concert hall, built by hand in 1916.

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The poster is already in the collection of the Museum of Modern Art and the Woodstock Artists Association and Museum.

This collectible poster is an exquisitely stylized rendering of the Hall's iconic diamond-shaped windows, overlaying a vista of the Catskill Mountains and created in a pointillism of beautiful sunset colors.

We received a congratulatory message from the White House and President Barack Obama congratulating us on the beginning our second century of music in our woods.

Here is a presidential snippet: “I send my warmest congratulations on this achievement. As you reflect with pride on the resolve it took to reach this moment, I hope you will look forward to taking on new changes with the same sense of passion and dedication.�

Congratulations, Sincerely,

BARACK OBAMA 11

In 2015 Maverick Concerts celebrated the Centennial season in the most fitting and glorious manner. We commissioned three important American Composers to create new works celebrating this musical milestone. Peter Schickele wrote Percussion Sonata 3, Maverick, for NEXUS to perform, Frederick Hand created and performed with Paula Robison his work: Four Pieces for Flute and Guitar and George Tsontakis wrote String Quartet 7.5 (Maverick) that was performed by the American String Quartet.

Our audiences were honored to be present and hear new, creative compositions and we are grateful to Garry and Diane Kvistad, Willetta Warberg Bar-Ilan, and the Ulster County Cultural Services & Promotion Fund, administrated by Arts MidHudson that supported these premieres.

The Future Gallops On

To welcome the second century, Maverick, with the generous support of Alan and Sondra Siegel and Steve McGrath and Janine Shefflo, has commissioned a string quartet by composer Russell Platt for the Borromeo String Quartet. Mountain Interval receives its world premiere at the historic Maverick Concert Hall on August 21.

The Sound of Anticipation is Exquisite!

We are proud of these composers and ensembles for adding their artistic contributions to the musical legacy of Maverick.

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Maverick Preservation Honored On May 11, 2016, the Preservation League of New York State presented Maverick Concerts with their prestigious award for Excellence in Historic Preservation. The award was accepted by Sondra Siegel, Chair of the Building Committee, on behalf of the Board and the many generous donors who financed Maverick's preservation efforts. We are honored to share this award with Stephen Tilly Architect for their meticulous work on our behalf.

Maverick Concerts is now thrilled to begin the second century of beautiful music in the woods with the confidence that future generations will be able to experience the uniqueness of the historic Hall that is Hervey White’s dream.

Major support was provided by a Save America’s Treasures grant secured by Maurice Hinchey, the New York State Council on the Arts, Thompson Family Foundation of New York, Villchur Foundation, and hundreds of individual donors. Thank you!

Photos of construction courtesy Stephen Tilly from 2013 renovation

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The Maverick Legacy

Dion Ogust

St. Maverick, Florence Cramer

The Maverick is thriving today, thanks to the love of its friends.

Many of these have honored Maverick’s long history with gifts from their own estates. A gift from you to the future of Maverick comes with a promise from us, that we will continue to honor your love for the best music in the world. Your appreciation will live on, into our second century and beyond. You can contribute to that heritage with a gift to the Maverick in the form of a legacy bequest, which will both honor the past and ensure the future. A gift to the Maverick as part of your estate planning serves a twofold purpose: It endows an ongoing legacy of music that will move and inspire audiences in the generations that follow. And it will help preserve our unique and historic building and surrounding forest for the future. Senior board Member David Gubits can answer any questions you may have, and assist in all matters of gifting.

David can be reached at dbg@jacobowitz.com or 845-764-4285.

“For I realize that what has been, will ever be, that a gift given cannot be taken away.”

—Hervey White

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The Gift

Through ambition, through wearied waiting, through passion, A subtlety as of fragrance comes to me, And in this I live, in this I aspire, in this I am wholly content. For there is a gift of youth to age that passes all gifts.

In unconscious selfishness the great gift is proffered. It warms the heart, it soothes the soul, it obliterates all regrets for life’s failures. It is none the less fragrant and significant; it is none the less satisfying. It is more.

Florence Balin Cramer

Sitting in my wooded valley of the years I see the procession of all youth in a vision; I see it dappled with shifting sunlight and cloud shadows; the gloom of winter-rains shrouds it some-times, the moonlight lends her bloom, the darkness, mystery—But ever I feel the throb of its intensity.

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—Hervey White

Dion Ogust

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Evan Watson Schutze

Alf Evers Recalls Maverick

“When Hervey first arrived in Woodstock, it was as a quite conventional sort of Socialist with a red tie. After a while the red tie was discarded and so too were many of Hervey's earlier convictions.

He had substituted for them a Whitman-like faith in the value of warm personal relationships and of freedom from social restraints grown obsolete with time. He found that a man who expected no reward in money for himself might accomplish wonders without having a penny of his own if only he had plenty of friends and was willing to borrow from the capitalist world parts of its notions about credit. A sawmill owner who was a friend of Hervey's agreed to furnish lumber for what was first called a “music chapel” and to wait for payment from the proceeds of future concerts and rent from the musicians' cabins. Farmer neighbors who could afford to wait for their wages agreed to do so. Hervey designed his chapel himself, using as a model the community houses of villages on the Fiji Islands. Drawing upon recollections of a rather dubious theory of acoustics picked up in a college physics class, he planned his chapel in multiples of two numbers only. The frame of unpeeled logs was assembled on the ground and was raised in the old-fashioned way, bent by bent.

When the unseasoned roofing boards were nailed on they proved too heavy for the frame, which threatened to buckle. Hervey put to practical use the lectures on Gothic architecture he had heard from Charles Herbert Moore at Harvard and improvised flying buttresses to distribute the weight. The building is still standing after more than half a century.

Woodstock’s Premiere historian describes the first years of the Maverick.

Thanks to the excellence of the musicians whom Hervey had assembled on the Maverick and thanks to the remarkably good acoustics of his hall, the Maverick Sunday Concerts drew satisfactory audiences from the beginning. A tithe of Hervey's indebtedness could be paid off and more would be paid from future festivals and concerts.

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But what pleased Hervey as much as anything else was the presence at his first concert of an unexpected music lover: Ralph Radcliffe Whitehead, who now descended from Byrdcliffe and took his seat in the hall with a group of friends. After ten years of refusing to recognize Hervey, he spoke to him once more, but this time with what White described as “formal courtesy.” After that he and Hervey resumed their friendship, though in a far less intimate way. Hervey liked to say afterward that his Maverick concerts had their roots in Byrdcliffe, that it was from Whitehead he learned to love chamber music.

Evan Watson Schutze

. . . Ralph Radcliffe Whitehead, who now descended from Byrdcliffe and took his seat in the hall with a group of friends.

The appearance of Whitehead at the Maverick concerts might serve as a symbol of what was happening among the painters, writers, musicians, craftsmen, and unorthodox thinkers who were gathering in growing numbers in the valley beneath Overlook Mountain.

Byrdcliffe, the Maverick, and the painters centered around the Summer School of the Art Students League were moving closer together and joining forces to produce a new Woodstock to which all three groups contributed— but which would be different from all three.”

Excerpted from The Catskills: From Wilderness to Woodstock, Overlook Press; First Edition edition, 1972

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Hervey White and the Founding of Maverick

Hervey White, who lived from 1866 to 1944 was an American novelist, creative poet, and community-builder. He was one of the three original founders of Woodstock’s Byrdcliffe Colony, but left immediately to create a more radical and liberal artists’ colony, the Maverick. Both Byrdcliffe and the Maverick were an important part of what is now the world-famous Colony of the Arts.

Hervey was a Midwestern lad, born in Iowa and raised on a Kansas farm. He left the cultivation of the fields for the cultivation of the mind when he received a scholarship to Harvard, where he was graduated with the class of 1884. At Harvard, he became immersed in the works of the socially conscious art critic (and older contemporary) John Ruskin, which helped Hervey to solidify his burgeoning libertarian ideals. Pinpointing Hervey’s anti-patrician identity, artist and Byrdcliffe co-founder Bolton Brown described his great friend as “far prouder of hailing from a ranch in Kansas than he was of his Harvard diploma.” After graduation and a period of travel through Italy, Hervey settled in Chicago, where he worked for Hull House, a settlement that provided a creative and educational environment for poor residents of the surrounding neighborhoods. In its spirit of democratic cultural outreach, Hull House acted as a model for the Maverick Colony.

While at Hull House, White wrote his first novel, Differences.

He left the cultivation of the fields for the cultivation of the mind when he received a scholarship to Harvard

In 1902, Hervey joined forces with his friend Bolton Brown and the aristocratic Ralph Radcliffe Whitehead to found the Byrdcliffe Arts and Crafts Colony in Woodstock. Byrdcliffe was conceived as a utopian community of studios, workshops, and artistic gatherings that would nurture creative freedom in the idyllic setting of the Catskill Mountains.

Hervey White, lithograph by Bolton Brown

Bolton Brown Courtesy Eric Angeloch

Brown described his great friend as “far prouder of hailing from a ranch in Kansas than he was of his Harvard diploma.”

Shortly after the founding of Byrdcliffe, Brown and White both parted ways with Whitehead. Each found the reform-minded, but imperious Whitehead’s vision of artistic democracy too rigorously 18

Woodstock Music Festival of 1969. Revelers were encouraged to come in costume: period photographs show men and women in flowing, cobbledtogether clothing and with flowers in their hair, remarkably like the popular cliché of the Woodstock hippie. Intended to offset the tremendous debt White incurred building his colony and to provide a well to those who lived there, the first Maverick Festival represented a great spirit of unity among previously feuding community activists and artists, who in 1919 went on to form the Woodstock Artists Association.

structured. Hervey’s departure was a philosophic choice, but Brown’s tenure was terminated quite forcibly.

Carl Lindin

In 1905, Hervey, along with his friends Fritz van der Loo (a cavalry officer who served in the Boer War) and Carl Eric Lindin (a painter and Swedish expatriate) purchased a farm just outside Woodstock. The property was originally intended as a rustic haven for the three friends and their families, but it quickly mutated into an intellectual meeting place. The three young idealists named the new undertaking for an epic poem Hervey had written idealizing a maverick stallion that roamed free.

Hervey White was referred to as the “Pan of the Catskills” and the creator of the exotic Maverick Festivals, which were by the 1920s an annual occurrence, held every August on the night of the full moon. They lasted until 1931, when their reputation for wildness (the number of attendees, reached as many as 6,000) prompted the local constabulary to put an end to the tradition.

Artists, writers, and musicians took up residence on the land, living in rudimentary houses, usually little more than shacks with no heat, no electricity, and no plumbing. The haven attracted artists, writers, and musicians: the poet Edna Vincent Millay; writers Henry Morton Robinson, economist and sociologist Thorstein Veblen; lawyer and orator Clarence Darrow, Russel Wright, famed designer of the most widely sold dinnerware in history; conductor and impresario Leon Barzin, founder of the National Orchestral Association and musical director of the New York City Ballet; Painters Konrad Cramer, Bolton Brown, Carl Eric Lindin, Harry Gottlieb, and sculptor John Flannagan, who carved the Maverick’s iconic equine statue from a living tree with a simple ax.

In 1916, Hervey and the resident artists wanted to present classical music. They selected a flat area of the farm, cut down the trees, and built the concert hall by hand, local volunteers pitching in to help and teams of horses doing the heavy lifting.

It was constructed without the guidance of an architect and Hervey based his deigned it based on the community houses of the Fiji Islanders. The Maverick concert hall has been home to performances by world-class musicians ever since. In 1979 The unique Hall became a protected site and a multi-starred attraction on the National Register of Historic Places and home to the oldest continuous summer Chamber Music Festival in America.

White and his friends and cohorts built the Maverick into a thriving community, with makeshift studios and a printing press, which saw a steady output of publications devoted to literature and the visual arts, most notably The Wild Hawk and The Plowshare. In 1915, Hervey planned the first of the Maverick Festivals, which included music and theatrical performances.

Bacchanalian and raucous but with a firmly creative underpinning, the Maverick Festivals were the precursors to the famous

In popular press and local culture, his long hair, beard, baggy white linens, and purple silks are celebrated as the hallmarks of Woodstock’s cultural identity. Hervey White’s historical legacy is as an artistic innovator, impresario, creative mentor, author, and utopian philosopher. With the continuing flourishing of Maverick Concerts, Hervey will always be remembered for this gift to the community and to the arts in America.

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It is not hard to compose, but what is fabulously hard is to leave the superfluous notes under the table.

Johann Sebastian Bach

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Woodstock’s First Hippie by Weston Blelock source of funds for Hervey and his Maverick colony came to an end. White remained true to his untamed spirit, spending his last day in a hedge grove. It was there, one day in 1944, that a friend chanced to find Hervey in his final resting place.

Hervey White was a storied hippie in the early 1900s. His novels were praised by Theodore Dreiser and he hobnobbed at Jane Addams’s Hull House with such other progressive intellectuals as Clarence Darrow, Sidney Webb and Ramsay MacDonald. It was there that he met Ralph Radcliffe Whitehead. The latter was a wealthy English commoner in search of his own personal utopia. With White and Bolton Brown, Whitehead set out for the East Coast to find his Shangrila. They soon fetched up in Woodstock, NY. Together the trio co-founded the Byrdcliffe Arts and Crafts Colony, which still thrives under the stewardship of the Woodstock Byrcliffe Guild.

According to Roots of the 1969 Woodstock Festival: The Backstory to “Woodstock,” a Hopi legend foretold a time when Native Americans would return to the world wearing long hair and adorned with flowers and beads. They would be known as hopis or hippies. Barry Miles in his book titled Hippie suggests that the beat generation incubated the hippy movement.

He says that the movement grew up in reaction to the mind-numbing conformity unleashed by the World War II generation’s mirror-copy housing tracts, etc. The Beats may get the nod for popularizing the counterculture, but it was art colonies like Woodstock, NY that gave birth to it. Later on this connection was formalized when the worldwide phenomenon culminated in the Woodstock Festival of 1969.

Courtesy Smithonian Institution

White grew tired of Whitehead’s ways and purchased a 100-acre farm just over the Woodstock town line. He called his patch the Maverick, after an untamed horse.

Soon several primitive cabins were built and artists began moving in. White was used to roughing it. He had been born in a sod hut and accumulated savings for his Kansas State University education by working as a cook for his father’s farm workers and doing odd jobs. In 1894, he graduated from Harvard and booked passage in steerage, crossing the Atlantic to Italy. There he traveled on foot and stayed in hostels and workers’ homes.

On the Maverick, Hervey set up a printing press in his home and cranked out a succession of publications like The Wild Hawk and The Plowshare. They were filled with his poems, plays and essays, along with contributions from local wits and writers. By 1915 White’s colony faced a water crisis. Several of the artists suggested that Hervey stage a music festival to raise funds for an artesian well. This proved to be so successful that White promoted similar events through 1931. Upwards of 8,000 persons attended from one year to the next. These gatherings became so wild that they had to be closed down. Sadly, with their demise a profitable

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Maverick Memories If my memory is correct–always a question at this age–I attended my first Maverick Concert in 1972. I had moved to Ulster County only two years before and was gradually getting to know its resources. When I finally got to Maverick, I was amazed. It offered concerts as good as what I was used to hearing in New York, in a smaller hall, at a fraction of the price. I’ve been a regular ever since and a reviewer most of those four decades.

So thinking back over all those years and literally hundreds of concerts, I think more of the outstanding personalities and ensembles I’ve heard.

Courtesy Gail Godwin

by Lesley Gerber

Maverick had a long tradition of presenting new music, although the gray heads which prevailed in the 1980s made the management a bit afraid of anything too “modern.” That ended when the Tokyo Quartet insisted on an all-Bartok program and filled the house anyway. One outstanding event I do remember was the premiere of Robert Starer’s Trio by the Mannes Trio, a masterpiece at its creation. Music by Robert, introduced often in his basso profundo, was always a highlight of the Maverick season.

So are works by Peter Schickele (I remember especially his String Quartet No. 1 and that wonderful Percussion Sonata from last summer). Peter’s introductions are always livened with a touch of his P.D.Q. Bach humorous sensibility.

Through Maverick I’ve gotten to know the excellent music of Russell Platt and I hope to hear more of it.

Among them are numerous groups that are now long gone, like the superb Rogeri Trio, whose cellist went on to become principal cello of the New York Philharmonic. I also love the KalichsteinLaredo-Robinson Trio but I have to go to Bard in June to hear them now. I don’t know where the dispersed members of the Aulos Wind Quintet went, but they comprised the finest wind quintet I’ve ever heard live or on recordings. Alas, both ensembles left behind only single recordings of contemporary works, making it hard for later listeners to judge their qualities. They live vividly in my memory.

Peter Schaaf

Naomi Robison at a stormy Robert Starer Maverick concert: “Play on Paula!”

Angela P. Schapiro

Renee Samueals

Nobody who attended Maverick Concerts in the seventies, eighties, and nineties can ever forget the superb duo of violinist Charles Libove and pianist Nina Lugovoy. They performed at Maverick every year for decades, sometimes with cellist Alan Schulman as the Philharmonia Trio. Charles and Nina were world class players, as they showed every time they played standard repertoire works.

They also kept things lively for themselves and their fans by learning and playing new and obscure works. I remember a set of pieces by Silvestre Revueltas at a time when that Mexican genius was hardly known.

We followed the long careers of three string quartets which among them helped set new standards for technical and musical achievement: Tokyo, Emerson, and Colorado. From the start I recognized the superb qualities of the Emerson and Colorado Quartets, which played with a level of precision almost unheard before them and with powerful musicianship.

When Peter Oundjian joined the Tokyo Quartet as first violinist, he brought heart and soul to the ensemble. Of these groups, only the Emerson Quartet survives and it has become too “big”

to play at Maverick. Of the others we have only memories and recordings.

I’m deeply gratified to add that the Colorado Quartet’s performances of the complete Beethoven String Quartets are preserved on my own Parnassus label.

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Flutist Paula Robison made a return to Maverick in the nick of time last summer.

She is now retiring from performance. The last time she played in the presence of her dying mother, her performance was interrupted by a thunderstorm.

Naomi, a long-time Maverick supporter, told her from the audience to go on playing. Robert Starer wrote this incident into a work for flute and harpsichord, “Yizkor,” which Paula premiered the following season.

Homespun Salutes Maverick Concerts!

We are in our 49 46th year of producing music instruction on DVDs, CDs, Books and Digital Downloads featuring more than 200 world-class performer/instructors.

—Happy and Jane Traum

Angela P. Schapiro

®

woodstock, ny • www.homespun.com

Angela P. Schapiro

The music director of Maverick when I arrived, Leo Bernache, was a Broadway singer. His successor, Vincent Wagner, was an organist.

Neither of those talents were useful at Maverick. But the present music director, Alexander Platt, is a gifted conductor, and his chamber orchestra concerts have been highlights of every summer since they began–especially when they have included the splendid mezzo-soprano Maria Todaro.

One special performance last summer burned its way into my memory: Frederick Chiu and Andrew Russo playing Stravinsky’s “Le Sacre du Printemps.” Every moment of that half hour was filled with intensity and musical comprehension.

People were talking about it for weeks.

Every moment of that half hour was filled with intensity and musical comprehension

Angela P. Schapiro

That duo is performing again this summer, along with other performers who will be creating more vivid memories for us.

Open to the Public!!!

Lunch Service Tues-Sun Dinner Service Wed-Sat See our menus at woodstockgolf.com Call for reservations 679-2620

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A Child of the Maverick

“I remember, I remember, the house where I was born, the little window where the sun, came peeping in at morn.”

As I think about these words written by Thomas Hood I am bombarded with images of growing up on the Maverick, and I feel like Alice In Wonderland falling down the rabbit hole shrinking to my eight-year-old size. It is a place where time collapses, and yet I have the sensation of expanding, as if seeing things again that have been long hidden.

By Robin Raymond

Hervey White rented a small house in the woods above the concert hall (for $50 a year) to my father, Henry Morton Robinson, a young writer, and his 20-year-old wife, Gertrude. I was brought there as a new-born baby. My earliest memory is that I was always barefoot and always outside. The Maverick Colony was my playground.

The Maverick Horse carved by John Flanagan stood sentinel over me, rising as it did at the entrance to the Concert Hall road. It was my compass from which I could explore in any direction. I ran the forest floor with the certainty of a deer. I always thought (or did I pretend?) I was an Indian girl with long black braids. Somehow my mother always knew I was safe when I went out to play. Emmy Edwards, son of Eleanor and Emmett Edwards (a working artist in the Maverick Colony) was my exploring friend. Behind the Intellegencia restaurant was a big quarry where we would catch tadpoles with our bare hands, put them in a mason jar and watch them become frogs. From there I would find the path to Wendell and Janey Jones’ house where they would give me a cookie or a slice of apple as I watched them paint. One morning Janey asked me if she could paint my portrait. It was not easy for me to sit still and pose for her.

During this time our family moved into what is now the white house across from the Concert Hall entrance. The family now included my younger sister, Hannele, and my little brother, Anthony Robinson. My mother would send me with a roast beef sandwich to give to Hervey White where he lived in his tiny house in a glade of myrtle. He and I never talked very much, but he loved to lie on his bed and listen to the musicians practicing behind his house. The concert hall was my North Star as I would follow the music through the trees and sit on a mossy knoll and listen. It was as natural as listening to the wind.

“My earliest memory is that I was always barefoot and always outside. The Maverick Colony was my playground.”

There were quite a few children my age on the Maverick during the late ‘30s: Georgie and Nadia Koutzen, Dickie Barzin, Johnny Nichols, Steven Finckel. I always loved walking barefoot up the

Photos on this page: Top left- Painting by Jane Jones of Robin Raymond at 9 years old.

Left- Unknown, Florence Cramer, Margot Cramer Taylor, Konrad Cramer & Aileen Cramer

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Woodstock after all these decades my memory feels the shock of recognition, and through this filter I am feeling home again. It is a return to the geography of my childhood where I felt great comfort and safety. Not too much has really changed. The dirt road to the Concert Hall is the same, although Hervey White’s house has dissolved into the luscious myrtle. The music still wafts through the trees, and my love of space and silence that surrounded me as a child of the woods is as strong as it ever was. The special sunlight that filters through the branches always bewitched me. Poetry, painting and music all seem blended together to become the DNA of my soul. And yes, I feel a quickening as I recall the first lines of Thomas Hood’s poem, “I remember, I remember, the house where I was born.”

dirt road to Steven’s house to listen to his father, George Finckel, playing the cello. The sounds coming from that instrument have thrilled me ever since. The concert pianist, Vladamir Padwa, gave me piano lessons and tried to navigate me through the world of chords, notes, arpeggios. I think because my father was a writer it was words, not musical notes, that came more easily to me as a child. My father taught me to read before I entered first grade, and for special occasions I had to write a poem or memorize one or write a story. But I feel it was the music from the concert hall floating through the trees that has sustained me all my life.

My father and mother established a tradition of inviting their artist friends for Sunday dinner at 2 o’clock. Wendy and Janey Jones, Hannah and Gene Ludins, Frank Mele, Doris Lee, Arnold Blanch, Joe Pollet, Raoul Hague, Amy and John Small all were family to me. My mother must have had a special connection with the butcher at Happy’s grocery store: “Give me a really good roast beef this week, and oh, please throw in some suet for the birds.”

Roast beef never tasted as sweet as it did on those Sunday dinners. We could hear the musicians tuning up at the Concert Hall, so after dinner we would grab a blanket and some pillows and everyone would walk up the dirt road to the Concert Hall and listen under the trees. I grew up with music in my soul. It seemed to be sifting through the leaves, echoing off the bluestone ledges. It was as natural as the air I breathed. I was never aware of this unique environment because, in truth, I was living it.

Photos on this page: Top; Addie Risse, Gioja Stalforth Webster, Anita Stalforth, unknown.

Right; Dr. & Mrs. Downer with Grandchildren (Joan Goetz, Faith Goetz, and Lee Downer)

One Sunday that I remember so well I saw my father leaning against a tree with his head on his arms and his shoulders heaving.

Alarmed, I asked my mother, “Why is Daddy crying?” She put her hand on my arm and gently said to me, “Because the music is so beautiful.”

Those were the early years when the woods, the stones, the music seeped into my bloodstream. Now that I have returned to 25

Russel Wright sculpture. for the production, “Cubist Circus” for the 1923 festival.

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Historical photos from the Maverick festivals.

Courtesy Woodstock Public Library and the Dorsky Museum

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The Maverick Horse

By Cornelia Rosenblum

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; John Flannagan and young Linda Sweeney 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 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, Hervey 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,

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.

Simon Russell

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.

he paid the prevailing wage of fifty cents an hour. Using an ax as the major tool, Flannagan carved the entire monumental piece 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.

DION OGUST photography

845-679-4135

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Angela P. Schapiro

Free Young People’s Concerts

Saturdays 11AM. Admission is free for all young people under 16. These wonderful concerts, long a Maverick tradition, are designed for enjoyment by school-age children. Accompanying adults pay only $5 SATURDAY, JUNE 25 ELIZABETH MITCHELL & FAMILY Grammy-nominated Smithsonian Folkways artist, with folk music for all ages.

A little child looked wonderingly Within the magic of the sea.

The sea looked back, and softly smiled.

SATURDAY, JULY 2 ARTURO O'FARRILL QUARTET Jazz for young people!

This performance is made possible with support from Sally Grossman and the New York State Presenters Network.

Watching the wonder of the child.

And what the child saw, deep and far, Was all the mysteries that are: All things that have been, and v/ill be.

He saw there hovering in the sea.

And what the ocean saw as well.

Was all the secrets he could tell:

SATURDAY, JULY 16 HORSZOWSKI TRIO Members of this trio teach at Columbia University and the Longy School of Music of Bard College.

What had been, and what will be, smiled Within that little wondering child.

—Hervey White

SATURDAY, JULY 23 KIM AND REGGIE HARRIS We invited them back because of their creatively infectious ability to encourage participation and laughter with songs from original and borrowed sources.

SATURDAY, AUGUST 6 IMANI WINDS Wonderful wind quintet known for concerts for children.

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Hervey White by Robert Chanler

MARI LYONS

Mari Lyons. www.marilyonsstudio.com

Maverick Concerts is made possible in part with funds from the New York State Council on the Arts, a state agency, with the support of Gov. Andrew Cuomo and the New York State Legislature.

Maverick Concerts is supported in part by an award from the National Endowment for the Arts.

FLOATING PALETTES

First Street Gallery • October 6 - October 31, 2015

He plays difficult music, but it does not appear to be so; indeed, it seems as if one could easily do the same, and this is real talent.

Wolfgang Amadeus Mozart

Yamaha is the official piano of Maverick Concerts. The Yamaha Disklavier C7X grand piano appears through the generosity of Yamaha Artist Services.

Call 845-679-8217 for concert information or visit Maverick Concerts online at maverickconcerts.org.

Email: info@maverickconcerts.org Mailing Address: P.O. Box 9 Street Address: 120 Maverick Road Woodstock, N.Y. 12498