Carmel Kaine & John Willison

John and Carmel’s last performance in Tyalgum Hall, the Schubert “Octet”, 2008

CLASSICAL PAIRING: Violinist John Willison in the acoustically perfect Tyalgum Hall

Carmel Kaine & John Willison ~ Recollections

Co-founders of the Tyalgum Festival of Classical Music


Interview with Tyalgum Festival Co-ordinator, Alexsandra Wilkinson

Bald Mountain, 21 July 2011


When did you arrive in Australia?


John: July 1990. It was raining!


How did you find Tyalgum?


John: We found the property in 1988 driving from Brisbane down to Sydney. We stopped at the Poinciana Motel. We had a look at the Realtor and saw a picture of the house at Bald Mountain.  We couldn’t get into the house that day so we stayed at Tyalgum Hotel overnight and had a look at the house next morning.


How did you come up with the idea of a festival?


John: When you drive out from Murwillumbah you pass lots of little country halls (Crystal Creek hall, Chillingham hall) and the thought crossed my mind to have concerts in different venues.


What made you want create the festival?


John: Inspiration. I love music and it was the opportunity to create something in a small country village where there wasn’t really anything.  Concerts that were held in the old Art Gallery attracted around 100 people, so there was obviously an audience. 

The Tyalgum Festival was established before the Australian Festival of Chamber Music (Townsville) and Richard Tognetti’s (event) in the Hunter Valley.


Carmel: The festivals we did in England.


How did it end up in Tyalgum?


Carmel: We bought the Bald Mountain house in 1988 and in July 1990 we put a concert on there. We phoned a few people, 50 came along and joined us for a party afterwards.

We performed the Schubert Octet. (It was performed during the “farewell” concert at Tyalgum Festival 2008.  Seven of the eight original players were present, the only one missing was David Laile, cellist).

After the first concert a meeting was held on a steamy hot afternoon in January.  In attendance were Greg Rooney, Viv & Nev Hibbard, Jenni Hibbard, Jean Brewer, Doug & Margot Anthony and Peter & Judy Budd.

The decision was made to put on two concerts in 1991 and see what the response was.


How did you become aware of the acoustics and of the Hall’s qualities?


Carmel: We had seen Tyalgum Hall during the first overnight stay in 1988 and later met Bill Gill who, with his partner Les Peterkin, owned and operated the Galleria Artisans in Tyalgum. John took his violin to the Tyalgum Hall, along with Greg Rooney and other founding committee members.

John: I discovered that the Hall has a natural, warm, reverberant acoustic. The timber beams work effectively to break up the “tinny” sound created by sound bouncing off the corrugated iron roof.


What is unique about this festival?


Carmel: The fact that we lived just up the road! Most festival artists travel distances to perform at events like the Tyalgum Festival. The atmosphere of the festival grew as people got used to coming to concerts. People liked coming to Tyalgum for musical concerts, they really “listened” to the music and restlessness was not apparent.


The festival concerts were extraordinary in a small village hall, people could have the opportunity to listen to Beethoven quartets, and they listened attentively.  When I first played Vivaldi’s Four Seasons it struck me that I was performing to an attentive, respectful and appreciative audience.

It was also wonderful that the festival gave young musicians a chance to perform to an attentive audience.


Was it difficult to organise the first festival?


John: The early years were financially viable because we invited friends and colleagues to come and play – there were no big overheads.


What was your vision for the festival 20 years into the future (2011)?


Carmel: We held a big party at Bald Mountain and invited people from everywhere to attract audiences from further afield, not just the Tweed. The idea being “It would be fine if the festival went further…”


How did the programs get put together? 


John: The festival became stronger and we always focused on giving people the music they liked, and programming the event with the artists that were available.  We also invited visiting high profile artists like Piers Lane and Anthony Camden.


Where do you see the festival in another 20 years?


John: “Play the music and they will come!”  Some people say classical music is past its prime, orchestras are going through tough times, but people will always want beauty in their lives and the festival has continued and will continue to provide those experiences.


What are your favourite moments? 


Carmel: The first time I played the Four Seasons and the hall was packed.

The concert we performed on a cold winter’s night at Tyalgum Hall with the Queensland Conservatorium Soloists.  The program included the Elgar Serenade and Handel’s Concerto Grosso performed to an appreciative audience of eighty people.  The concert was a “rehearsal” for a program to be played at Government House soon after and 80 people showed up. I had to bully the committee into letting us have the concert! 

Over a period of 10 years the Soloists raised in excess of $20,000 for the Conservatorium String Department.

The discovery of a brilliant young pianist Jayson Gillham whose teacher Leah Horowitz’ studio was next door to mine at the Queensland Conservatorium.  I met Jayson while he was sitting outside waiting for his lesson.  Later that day I heard his playing when walking past the door but didn’t know who it was. I asked Leah about him, and persuaded John to invite him to play at Tyalgum in 2005.


Do you think the audiences have changed? 


Both threw this question back at Festival Co-ordinator, Alexsandra Wilkinson: There is still a very strong “core” of supporters who have been coming to the festival for many, many years (some only having missed 1 or 2 festivals in its 20 year history).  But there are many newcomers who discover the magic of Tyalgum, spread the word among their friends and return year after year.


What are you doing now?


Carmel: I am teaching at the Purcell School, one of three specialist schools in Britain, preparing students for entry to the colleges.  In 2010 all four of my students won scholarships to the London colleges, including one to the Royal Academy, and three to Trinity College.

I also teach at Christchurch University in Canterbury and in the last four years have played at the Canterbury International Festival.


John: It strikes me that as one of the oldest musicians on the books I am still called upon to perform with the Queensland Symphony Orchestra, because younger musicians find they are unable to perform for a variety of reasons. I just get in and do the job.


What is your vision for the future of the Tyalgum Festival?


Carmel: I always felt the festival should embrace other art forms, like poetry, visual and literary arts. 


John: I am more of a traditionalist who simply loves classical music.  Certainly there is room to broaden the programming in the fringe events, but the Hall concerts should stay true to “classical” music. The Festival should always provide a good mix of works, including popular classics by well known composers.  Quite simply, people love beauty and will continue to come if the format remains true.


What are your favourite works or composers?


John: The old “warhorses” from many different composers.  A great performer could almost convince you that anything is superb.  A well known work such as Tchaikovsky’s Piano Concert No 1 can be transformed by an artist such as Shura Cherkassky, one of the world’s most brilliant musicians.

I particularly enjoy playing Bach, Mozart and Elgar. 


Carmel: I love Bach and Bartok.