Born in Cleveland (1931) to very supportive parents, Kenny was a child prodigy pianist by the age of 2, with public performances by age 5 and composed a symphony at age 8.  Life Magazine featured him on the cover as the “Yale Prodigy” multi-talented whiz-kid who at the time held the Guinness World Record for being the youngest college graduate ever at age 14.  He chose Yale because he wanted to study composition with Paul Hindemith, but initially had been rejected for admission to Yale based on his young age.  His compositions during his college years were avant-garde, but Kenny’s piano repertoire was centered in the classics.  After graduating, he realized that a career as a concert pianist (as excellent a performer as he was) was not the best strategy because he felt he had small hands that wouldn’t accommodate the wide-reach demands of virtuosic repertoire.  He turned to the study of medicine and blossomed as a neuro-anatomist. He was known internationally for his research on central nervous system myelination and he was a founding professor at the University of Massachusetts Medical School in Worcester, from which he retired in 2008 as a professor emeritus.

Kenny did not abandon music, however—he refined his performance skills in piano, harpsichord, and pipe organ, not to mention a great interest in music history and musicology.  It was while performing a piano concert at Radcliffe College he met his wife Emily of 52 years.

He was fascinated by, and a scholar of, the German organist and composer Josef Rheinberger (1839-1901) because of his musical inventiveness and harmonic richness, and he played all 20 of the existing organ sonatas (Rheinberger died before completing the cycle of 24, one in each major and minor key).

Spending summers in Wentworth, NH, he began an annual concert series in 1973 at the Wentworth Congregational Church (on the common) continuing for about 35 years (he had to repeat some of the Rheinberger sonatas, one each concert!), with a private reception following at his and Emily’s summer home there.  During that period he supported the maintenance of the instrument (Hook II/7, 1878, Op 909, originally in Trinity Church, Bristol RI)  by Bob Newton of Andover which included some minor tonal revisions to make the instrument brighter.   The instrument had been damaged in 1972 by a major leak during roof repairs, and there had been considerable discussion suggesting disposal of the Hook (it was essentially totaled by the water damage). Kenny was a major voice in convincing the church to have it repaired;  otherwise it likely would have been scrapped.  The initial concert of the Wentworth Summer Series was the inaugural concert for the restored instrument and unknown at the time, this was Kenny’s first public organ performance.  Because he had been an accomplished piano keyboard performer, his first performances at the organ console had him concentrating on his feet (he had the music memorized).  He had had only two organ lessons in his lifetime, and those were in Washington DC while he was there working at the NIH.

They sold their house and left behind Wentworth once a neighboring lumber mill came to town that he felt disturbed the peaceful nature of the community.  However, he continued for several years to present annual recitals to an appreciative audience, most always from memory.  Lois Regestein continued the tradition in subsequent concerts there.

In 1989, Kenny presented a series of piano recitals at his Berlin residence’s music room to celebrate the 150^th birth year of Rheinberger.  In addition, he gave an organ recital at the First Congregational Church in Boylston, Mass. (at that period in time, the church was unlocked, so he frequently practiced there). His verbal program notes were detailed and enthusiastic, and his musical performances connected with his audiences.  He was a member of the American Guild of organists for many years and a strong supporter of organ concerts in the Central Mass. region.

One of his organ compositions (written for the 25th anniversary concert in the Wentworth series) was performed at the Worcester 1999 regional convention at All Saints Church by Tom Murray: “Variations on Wentworth” (fondly dedicated to his previous summer home in New Hampshire, with the subtitle “… or some fun with Wentworth”). He wrote two piano sonatas (also playable on harpsichord), one of which was premièred by the late concert pianist Theodore Lettvin on his concert tours.  The second sonata was a birthday present to Emily.

Although Dr. Wolf might have appeared intimidating from afar, he was warm and engaging in conversation, and intensely enthusiastic in conversations regarding his many interests.  He was well read and highly cultured.

We will miss this brilliant man and dear colleague.

A Celebration of Life gathering was held  November 3 at UMass Medical School. Remembrances will be offered by Tom Murray and colleagues at U Mass along with a video of his last house concert from Aug 2010 where he performed the last movement of Mozart’s Sonata in B-flat K.333.

Lois Toeppner, Tom Murray, John Skelton, and Emily Wolf at the U Mass tribute.

Beatrice Clark Daby was born and raised in Worcester, MA. She was adopted by the Clark family, relatives to her biological mother. The Clarks saw to her musical education and she was eternally grateful to them for that. She was an accomplished pianist who later took up the organ. She married Walter Daby, an artist from Worcester, and together they shared artistic experiences through painting and music. She had two children, one of whom lived to adulthood: Norma Daby of New Orleans.
Beatrice studied the organ with Stephen Long, Leroy Hanson, Marjorie Ness and Scott Lamlein. If she had other teachers I did not know of them. Her scores were full of marks from the “wonderful lessons with Stephen and Leroy”. For several years she served the congregation of Grace Baptist Church, Haarlem Street, Worcester, as organist choir director. That congregation has since disbanded and sold their building.
She was a member of Wesley United Methodist Church, Worcester, and played in the bell choir as well as sang in the Wesley Choir during different periods in her life after her work at Grace Baptist Church. She was active in the United Methodist Women and held office for them at times.
Beatrice and Walter loved Worcester. They often took long walks in the parks and outlying towns which subsequently became subject matter for Walter’s paintings. Annually they took trips to the Cape Cod Seashore to walk the trails and soak in nature. When I first knew her (post 1995) they would be excited about traveling to see Norma in New Orleans, but soon the trips became difficult to make.
After Walter’s death in 2003, Beatrice sold her home and moved to Highland House, Worcester to a smaller apartment. She kept her piano and I would occasionally respond to her request to come and play duets. Beatrice had many friends and Lois Hagberg is certainly among her closest organist friends.
For the last 3 years she played in Salisbury Belles at First Baptist Church, Worcester. After her diagnosis of Cancer she spent time at Oakdale Rehabilitation center and when she was strong enough she moved, as formerly planned, to New Orleans to be near her daughter. She was doing well until she fell and fractured her pelvis. Then after she recovered from that she was again doing well until jaundice set in and it was determined that the cancer had spread throughout her body. Hospice made her as comfortable as possible until she succumbed to her illness.
Beatrice was a gentle soul and a true lover of great music. She attended concerts frequently and took part in AGO events as possible. She never thought she was too old to learn something, and certainly supported musicians in town with her attendance. Walter and Bea were often among those in attendance at Holy Cross recitals, All Saints, Trinity Lutheran…you get the idea.

Beatrice: May you rest in peace in the arms of God.

BEATRICE CLARK DABY
Memorial Service at Wesley UMC, 114 Main Street, Worcester, 10 AM Thursday, August 4, 2011.

Marjorie Ness played the service that included the following repertoire:

• Edmundson: Fairest Lord Jesus
• Rowley: Three Chorale Preludes: St. Columba, Eventide, Hanover
• Held: Tow Chorale Preludes: Ad hyd y nos, Hyfrydol
• Bach: Blessed Jesus, We Are Here
• Willan: O God, Our Help

T&G obituary: http://www.legacy.com/obituaries/telegram/obituary.aspx?n=beatrice-c-daby-clark&pid=152689956

With several run-throughs for practicing to take the Service Playing Certificate exam, Deb O’Driscoll successfully accomplished this milestone in her music career.  With tests that paralleled the parts of a typical religious service, she performed the assigned repertoire (applicable for a prelude or postlude), hymn playing as if she was accompanying a congregation, and accompanying two anthems that she had chosen from a given list. She had selected Bach, Buxtehude, and Schroeder selections from the exam rules list, and she was grateful for the opportunity to focus on these to refine her interpretation and performance.

The hardest part, she says, was not the transposition (up or down a half step), but rather the sight reading of eight bars (two staves for manuals alone, that included some rests and a few accidentals).  She had practiced sight reading various sources of materials, and even with a slow, steady tempo, it’s a lot of pressure to look-ahead while keeping the beat going. But she did it!

She began studying organ as an adult some 14 years ago, and  credits her success in part to lessons with Marjorie Ness, and previous guild workshops in service playing with Cheryl Duerr and Ken Grinnell.

  ]]> http://worcesterago.org/2011/08/deb-odriscoll-attains-spc-level-certificate-congratulations/feed/ 0 http://worcesterago.org/2011/08/young-artist-showcase-standing-o-at-mech-hall/ http://worcesterago.org/2011/08/young-artist-showcase-standing-o-at-mech-hall/#comments Wed, 03 Aug 2011 16:55:44 +0000 admin http://worcesterago.org/?p=1030 Mechanics Hall is to be commended for supporting and promoting the talents of young musicians – their Young Artists’ Showcase series has consistently featured top talent in the New England area.

This summer’s concert, co-sponsored by Worcester AGO, was extraordinary in many ways: the two organists were top-rank, world-class performers, and the 1864 Hook never sounded better (thanks to Stefan Maier’s caring and thorough maintenance).   In these times of economic downturns, the Hall has persevered to keep the wind system, trackers, and voicing/regulation in enviable condition. A Wedge of Delightful Musicianship

In the August 3 concert, we first heard Jonathan Bezdegian beginning the concert demonstrating the gentler sounds of the organ -  Dupré (from Vesper Psalms Op 18) and then Bach (“Wedge” Prelude & Fugue 548).  The Hook had never experienced Bach so well performed:  Jonathan’s registrations were clear and appropriate, and his execution of the Wedge (a relentlessly demanding opus) was technically perfect and musically delightful.  His crisp rendering of the fantasia-like flourishes and intricate Baroque ornamentation would put an Olympian to shame—the amount of strength required to depress even one key, much less thousands of notes on fully coupled keyboards on a historic instrument at prestissimo speeds, was breathtaking yet artful.  The final famous pedal statement of the theme towered effortlessly through the stretto texture of accumulated themes to bring to a satisfying close this musical masterpiece. . Sumptuous Elegance

Katelyn Emerson presented works by Duruflé (Prelude from Op 5 Suite), Langlais (Trio from Triptyque), and Widor (Allegro from Symphony 6).  The Hook was put to its test in the Widor, and demonstrated its continued reign as King of Instruments.  In her energetic and demanding performance, Katelyn proved mastery in utilizing all the resources of the Hook’s 65 ranks and four keyboards, not to mention her own agile footwork.  The Allegro is a test of technical strength  and stamina on any mechanical action instrument, and Katelyn rose to and surpassed the occasion of this superlative performance with musical precision and sumptuous towering chords.  She seamlessly executed intricate manual changes with the magnificence of a world-class full orchestra.   A standing ovation underscored the audience’s appreciation and admiration.  

Will Sherwood, Artistic Director with 2011 Young Artists Katelyn Emerson and Jonathan Bezdegian ]]> http://worcesterago.org/2011/08/young-artist-showcase-standing-o-at-mech-hall/feed/ 0 http://worcesterago.org/2011/04/jennifer-mcpherson-first-place-winner-2011-bos-spr-quimby/ http://worcesterago.org/2011/04/jennifer-mcpherson-first-place-winner-2011-bos-spr-quimby/#comments Tue, 19 Apr 2011 21:59:55 +0000 admin http://worcesterago.org/?p=699 Congratulations to First Place Winner Jennifer McPherson

Jen won First Place at the local Boston-Springfield (Worcester had no entrants) RCYO “Quimby” competition held 4/2 at All Saints/Ashmont (1995 Fisk: III/52). She played: Bach Prelude and Fugue in G Major, BWV 550 Allegro Vivace (scherzo movement) from Symphony in D Minor, Vierne (Symphony 1) “Octaves” from David Briggs’ Concert Etudes We wish her the best in Morristown at the Regional competition this summer, and then on to the nationals in Nashville in 2012.

Jen at Mechanics Hall in August 2010.

Jennifer McPherson, from Eliot, Maine, is currently studying the organ with Prof.  James David Christie.  Previously she studied with Dr. Abbey Hallberg Siegfried in Portsmouth, NH, and was a founding participant of The Young Organist Collaborative of New Hampshire. Jennifer attends College of the Holy Cross in Worcester, MA, where she is the Organ Scholar of the class of 2013 and recipient of a full tuition scholarship.  In high school she was employed at St. John’s Episcopal Church in Portsmouth, NH as Organ Scholar.  As a recitalist, she has performed as a soloist throughout New England, including at Mechanics Hall and Wesley United Methodist Church, both in Worcester.  In 2009, Jennifer attended the McGill Summer Organ Academy at McGill University in Montreal, and studied continuo and improvisation with Hank Knox and Jan Overduin.  She has also performed in masterclasses for Gerre Hancock, Paul Jacobs, and Douglas Major.  As a vocalist, Jennifer has sung in the ACDA All- Eastern and All- National Honors Choirs, the MMEA Southern Maine Honors Music Festival and the Maine All State Honors Choir.

First Mondays- Open Loft: Mechanics Hall

A curious and enthusiastic group of 10 WorcAGO members and 5 friends explored the history and magnificent sounds of the 1864 Hook (rededicated in 1982 after restoration), as presented by Richard Jones (former Curator at the Hall), Stefan Maier (current maintainer), and Lucia Clemente Falco (organist in the 1989 125th anniversary “dedication re-creation” concert).

One guest commented gratefully: “The tour of the city behind the facade —once in  a lifetime!” … “An eye opener and an education about the technical demands of organbuilding and maintenance — what’s behind the scenes to create the energy surrounding organ music making”

4/3/11 Balint Karosi at Holy Cross

Sunday, April 3, 2011 10:00 AM
Featuring the Music of Duke Ellington
The Cathedral Church of Saint Paul,Boston
http://www.stpaulboston.org/home.asp

Saturday, April 9, 2001,7:00 PM
THE GENERAL starring Buster Keaton
United Congregational Church of Holyoke
http://www.uccholyoke.org/concertSeries.html

Saturday, April 30, 2011 8:00 PM
THE KING OF KINGS (1927) Cecil B. DeMille’s Master Piece.
Methuen Memorial Music Hall

]]> http://worcesterago.org/2011/03/peter-krasinski-is-not-so-silent-at-the-consoles/feed/ 0 http://worcesterago.org/2011/03/robin-dinda-selected-to-premiere-organ-concerto-in-region-iv-convention/ http://worcesterago.org/2011/03/robin-dinda-selected-to-premiere-organ-concerto-in-region-iv-convention/#comments Thu, 24 Mar 2011 22:01:54 +0000 admin http://worcesterago.org/?p=704

(Our own) Robin Dinda was selected along with three other composers, Robin Dinda will particpate in the extraordinary opportunity to premiere his new organ concerto at the 2011 Region IV convention in Greensboro, NC this summer. His Concerto No. 1 is for organ and string orchestra (complemented with a string quartet of soloists). The work, which includes a flashy, nearly constantly active pedal part, unlike most organ concertos, stronly recalls the pacing and inspiration of the great Romantic piano concertos, particularly those of Tschaikovsky and Rachmaninoff, and is in a harmonic language that most closely resembles the earlier part of the 20th century. John Alexander will be the organ soloist. The work was commissioned by Wayne Leupold Editions and The Leupold Foundation. The premiere instrument is a 1982 C. B. Fisk III/61 Robin speaks of his new work: I wrote it out of a sense of frustration that whenever I played with an orchestra I did not have a concerto of my own.  It’s designed to be flashy and virtuosic but also audience-pleasing; it resembles the organ concerto that Rachmaninoff should have written. Each of the three movements has a (written-out) cadenza.

]]> http://worcesterago.org/2011/03/robin-dinda-selected-to-premiere-organ-concerto-in-region-iv-convention/feed/ 0 http://worcesterago.org/2011/03/graeme-mccullough-pulls-up-the-bench/ http://worcesterago.org/2011/03/graeme-mccullough-pulls-up-the-bench/#comments Wed, 23 Mar 2011 22:03:08 +0000 admin http://worcesterago.org/?p=707 Informal Welcome Lunch for Graeme McCullough