Duelling Keyboards
Tony Fenelon and John Giacchi
Kelvin Grove State College Auditorium, Brisbane
More Than a Concert
There are occasions when an evening of music transcends the programme itself. Duelling Keyboards, presented by the Theatre Organ Society of Australia (Queensland Division), Saturday 27 June 2026, was one such occasion: a concert that demonstrated not only the remarkable artistry of two of Australia’s most accomplished musicians but also the continuing relevance of the theatre organ in twenty-first century live performance.
For many in the audience, this was a first encounter with the Christie Cinema Pipe Organ, an instrument installed at Kelvin Grove in 1975 and lovingly maintained by TOSAQ’s volunteers. Rather than presenting the organ as a historical curiosity, the evening celebrated it as a living orchestral instrument, partnering a magnificent Kawai GX-6 concert grand in a programme that blurred the boundaries between recital, concert, theatre and entertainment.
The Christie as Orchestra
The concept itself was inspired. Instead of alternating solo performances, Tony Fenelon and John Giacchi shared the stage for much of the evening in a series of ambitious duets that demanded complete musical trust. One moment the Christie became a symphony orchestra, the next it danced with effortless lightness before yielding to the brilliance of Fenelon’s piano.
John Giacchi’s registrations were a masterclass in orchestral colour. The Christie possesses an extraordinary palette, yet it takes an exceptional musician to realise its full potential. Giacchi approached the instrument not as an organist seeking volume, but as an orchestral conductor shaping strings, woodwinds, brass and percussion into an expressive ensemble. His command of dynamics allowed the organ to breathe naturally with the piano rather than overwhelm it.
At the keyboard, Tony Fenelon reminded the audience why he remains one of Australia’s most respected musicians. Now in his eighty-fifth year, his technical assurance remains astonishing, but it was the elegance of his phrasing and the generosity of his musicianship that made the greatest impression. There was no sense of nostalgia or sentimentality; only an artist entirely immersed in the music.
The carefully curated programme reflected decades of musical experience, moving effortlessly between Gershwin, Schumann, de Falla, Waldteufel and Gottschalk before concluding with an exhilarating arrangement of the final movement of Rachmaninoff’s Second Piano Concerto. It was repertoire that challenged both performers and audience while remaining consistently engaging.
Click Here to view the Duelling Keybaords official program.
A New Audience
Perhaps the evening’s greatest achievement, however, lay beyond the music itself.
Under the leadership of President Brett Kavanagh, TOSAQ deliberately challenged the conventions of theatre organ presentation. Rather than the traditional Sunday afternoon format, Duelling Keyboards was presented as a Saturday evening event with cabaret seating, reserved tables, complimentary refreshments, projection screens offering multiple camera angles, and a welcoming social atmosphere. These seemingly modest changes transformed the concert into an experience.
The audience responded enthusiastically. With around 170 people in attendance, including a remarkable number of first-time visitors, the hall possessed an energy rarely associated with specialist music societies. Conversations continued throughout the interval, new friendships were formed, and many visitors stayed long after the final applause to explore the Christie console through guided organ tours.
Kawai Brisbane’s sponsorship of a GX-6 professional grand piano proved equally significant. The partnership allowed the piano to stand confidently alongside the Christie, enabling the two instruments to converse as equals. It was a reminder that great performances are not simply the product of great artists but also of instruments capable of matching their ambitions.
Heritage Through Innovation
Volunteer organisations often speak about preserving musical heritage. Duelling Keyboards suggested something more important. Heritage survives only when it continues to evolve.
“Heritage survives only when it continues to evolve.”
Rather than asking audiences to appreciate the Christie because it is historic, TOSAQ invited them to enjoy it because it remains exciting.
The distinction matters.
By combining exceptional artistry with thoughtful event presentation and an audience-first philosophy, TOSAQ demonstrated that the theatre organ still possesses a unique place within Australia’s live music landscape.
The standing ovation that greeted the final chord felt less like applause for a successful concert than recognition that something genuinely special had occurred: a celebration of craftsmanship, collaboration and musical imagination that left audiences eager to return.
The Future Sounds Bright
If Duelling Keyboards proved anything, it is that audiences are eager for exceptional live music presented in fresh and engaging ways.
For more than sixty years TOSAQ has cared for one of Australia’s finest theatre organs. Last Saturday evening demonstrated that its greatest years may still lie ahead.
