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Subject: Fw: Ellsworth Snyder, esteemed leader in the arts, dies at 74 - msg#00019

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Ellsworth Snyder, esteemed leader in the arts, dies at 74

By Jacob Stockinger
August 12, 2005

Ellsworth Snyder, a longtime dean of classical music and the visual arts in Madison, has died.

The urbane and modest Snyder, who always used lowercase letters to spell his name, was 74 when he died late Thursday morning at University Hospital. According to his caregivers, he had been admitted Wednesday after suffering an apparent heart attack at his apartment in the Meriter Retirement Home near the Square.

Snyder had been in failing health for several years due to cancer and then a deteriorating lung condition. Doctors said the condition was worsened by the thick smoke of the recent fire at St. Raphael Cathedral.

A memorial service is tentatively set for Sunday, Aug. 28, at 4 p.m. at the First Unitarian Society, 900 University Bay Drive. Snyder's remains will be cremated and his ashes will be interred at Grace Episcopal Church beside those of Nathan Samuel Blount, his longtime partner who preceded him in death more than decade ago.

Snyder was known to friends as a sociable man of grace and good humor who lent charm and a smiling face to the sometimes stridently serious avant-garde that he championed.

"He was one of a kind," said the Rev. Michael Schuler, director of the First Unitarian Society, who worked with Snyder as the society's music director for 12 years. "He was not really a true church musician, but instead someone who created a unique musical program for a faith community that raised the profile of both the institution and its congregation.

"I found him to be incredibly intelligent and knowledgeable," Schuler said. "But he also worked extraordinarily well with people at all different levels of talent. He created a sense of community."

"Ellsworth was a man of very generous spirit," said Stephen Fleischman, director of the Madison Museum of Contemporary Art, formerly the Madison Art Center. Snyder left much of his extensive art collection to the center.

"Not only was he a talented musician, but he had an excellent eye as a painter and a collector," Fleischman, said. "He has been exceedingly generous to us. And he was very important on a number of levels - as an enthusiast and a collector who gave encouragement to artists around him and as an artist who pursued his own work.

"This was a man who made the most of every day. There was a strong will there. The man was blessed with amazing amounts of energy and enthusiasm and talent."

There was a less well known traditional side to Snyder, who performed mainstream classics by Mozart and Schubert in concerts and who collected African, Asian, Chinese, American Indian and Eskimo art as well as works by contemporary artists.

But he was best known for his taste for the cutting edge. He was a member of the national avant-garde group Fluxus and personally knew titans of modern American art like composer John Cage, choreographer Merce Cunningham and painter Robert Rauschenberg.

"He was an artist of unusual intelligence," said Grace Chosy, a retired art dealer and gallery owner who first started showing and selling Snyder's minimalist paintings and drawings in the early 1980s.

"He had looked at lots and lots of work and knew so much about making and appreciating art. As a person, he was a wonderful, wonderful human being. I'll miss him, and so will a large number of people in Madison. He had a huge circle of very loyal friends."

Snyder embodied the tolerant and cultured humanist. Born in Ohio and educated first at the Cincinnati Conservatory of Music and then at the UW-Madison, where he received his doctorate, he influenced the entire music scene in Madison.

"I was aware of Ellsworth as soon as I got to Madison," said pianist Howard Karp, a retired artist-in-residence at the UW who spoke from a vacation spot in Colorado. "He was always doing avant-garde things that were very stimulating. But he also knew the classical literature inside and out.

"He was a devoted teacher who was inspiring to his students. He had an encyclopedic knowledge of the great singers and great pianists of the past, yet he also knew everything about contemporary music. He had a unique way of playing and was an all-round musician I admired greatly."

Others agreed.

"Ellsworth was a remarkable person and a close personal friend, said Max Gaebler, retired pastor of First Unitarian Society, where Snyder served as music director from 1971 until he retired in 2000. "He took over our music program when it had been weak, and then it was off and flying. He was a tremendously innovative person. He had ideas about music and the arts in general that appeared novel to some of us at the time, but he made them happen."

Snyder started the society's special All-Music Sundays, Friday Noon Musicales and the annual summer music series, which ended just this year after 31 seasons.

"He was always fun," added Carolyn Gaebler, Max's wife, who sang in the choir under Snyder's direction for many years. "He kept us in the choir laughing and together. Aside from his many talents, we all had a good time with him."

Snyder is survived by three nephews and several grandnieces and grandnephews. He was preceded in death by his parents and a sister.

E-mail: jstockinger@xxxxxxxxxxx
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Re: 33 1/3

Hi Jeff, Andre's information seems to give all the information you'd need to do a performance. (It's not clear, though, where he got that information, but I bet he'll tell you if you write him.) I don't have Revill's biography near me, or John Cage: Writer, but I imagine both books have some reference to the piece. I also think that Cage recalls it in one of his diaries: something to the effect that one person went around trying to take off recordings so it would be possible just to hear one thing, and as soon as he left one record player, another person put the record back on. If you had additional questions--for instance, duration of performance, how many phonographs, how many different recordings, how many different musical styles, etc.--I would use chance operations to make those determinations. But as a working principle I would probably go for a multiplicity of sound sources and playback devices, and a fairly long total performance time (no shorter than an hour). Good luck! I'd love you to report back and let the list know how you finally realized it. Best, Rob Rob Haskins Assistant Professor of Music University of New Hampshire rob_haskins@xxxxxxxxx http://robhaskins.net "Heroism doesn't consist in brilliantly combatting someone else. . . . What is heroic is to accept the situation in which you find yourself." -- John Cage -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/

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Re: Re: 33 1/3

Hi Rob, Jeff, Silence, Being in Yerevan, Armenia at the moment, I can't check what my sources are,concerning 33 1/3. But my literature index listsseveral sources and the information listed in the worklist must be from one or more of those. I'll be back home in a few days and will try to find  some more info on the subject. Best, Andre Chaudron ========================================Message date : 14-08-2005 23:02From : "Rob Haskins" To : "jeff mitchell" , silence@xxxxxxxxxxxxxxxxxxxxxxCopy to : Subject : Re: [silence] 33 1/3Hi Jeff,Andre's information seems to give all theinformation you'd need to do a performance. (It's not clear, though, where he got thatinformation, but I bet he'll tell you if youwrite him.)  I don't have Revill's biography near me, or JohnCage: Writer, but I imagine both books have somereference to the piece.  I also think that Cagerecalls it in one of his diaries: something tothe effect that one person went around trying totake off recordings so it would be possible justto hear one thing, and as soon as he left onerecord player, another person put the record backon.  If you had additional questions--for instance,duration of performance, how many phonographs,how many different recordings, how many differentmusical styles, etc.--I would use chanceoperations to make those determinations.  But asa working principle I would probably go for amultiplicity of sound sources and playbackdevices, and a fairly long total performance time(no shorter than an hour).  Good luck!  I'd love you to report back and letthe list know how you finally realized it.Best,RobRob HaskinsAssistant Professor of MusicUniversity of New Hampshirerob_haskins@xxxxxxxxxhttp://robhaskins.net"Heroism doesn't consist in brilliantly combatting someone else. . . .  What is heroic is to accept the situation in which you find yourself."  -- John Cage--To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence.You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/

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33 1/3

Fellow Silencers, Our chance operations collective, here in Kalamazoo, MI, is planning on "performing" Cage's 33 1/3 in October. The only reference to it that I can find is on the John Cage Database site http://www.johncage.info/index2.html. It was apparently performed at U of CA, Davis in 1969. The guy I talked to at C.F. Peters said there was no reference to it at Peters, either in salable or rental form. Does any one out there know of this piece, has performed it, or has suggestions as to how we can get some kind of score/directions? Thanks, Jeff M. -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/

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maps, mapping, and music

O Silence, I'd be interested in your thoughts about maps, mapping, and music. I post this knowing about Cage's use of star charts in Atlas Eclipticalis and Music for Carillon 4--can there really be a Cage composition with no known recordings?--and am looking for other examples of compositions or performances that have some relationship with maps. I'd be interested in your thoughts about scores as maps of/to sonic events. I'd be interested in your thoughts about mapping as an abstract process, which identifies a domain of interest, collects and manipulates certain data from that domain, then displays some new representation of the domain. For me, this is a brainstorming exercise, so I accept all folly and hope that you will post anything you think of in response to this query. I'll try to formulate and post a summary, and many, many thanks in advance. --Eric -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/
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