The new Colours of Futuna concert series got off to a flourishing start with a performance by the Nikau Trio. John Scott’s Chapel of Futuna in Friend Street, Karori is a unique and interesting new venue that has been hitherto generally unknown to Wellington audiences or performers alike. Since its acquisition by the Friends of Futuna Charitable Trust, who have completed the initial preservation and stabilisation of the building it is now ready for a concert series. It is exciting to see this architectural jewel come alive with music, as performers and audience meet in such an acoustically enjoyable space.

The Nikau Trio, comprised of Karen Batten (flute) Madeline Sakofsky (oboe) and Margaret Guldborg (‘cello) are professional freelance musicians, and their level of individual expertise was immediately apparent from the start. Its also clear that they play very well as an ensemble together – supportive, attentive and ‘in tune’ with each other in a very easy, poised manner. They gave concise, informative introductions to the pieces that really added to our enjoyment of the music as we encountered it. For some, these works were old friends, but for others they were each a new experience.

Recognising and utilising the acoustic possibilities of the venue, the Trio swiftly directed the audience’s attention into the sound world of their chosen pieces, so that one almost lost awareness of the individual instruments and players, being instead totally engaged with the music alive happening around us. We were focused on the artwork unfolding rather than the delivery because that delivery was so seamless and polished. This was a great place, great ensemble and great music all come together!

Their carefully chosen programme took us through a balanced set of pieces from the rather small canon for this instrumentation. Haydn’s Trio No. 3 in G major set the scene, and the sunlight through the colourful windows played across the wall, almost dancing, particularly in the Allegro. JS Bach’s Sonata in G major, BWV 1039 was another opportunity for their assured, confident playing, from the elegant, measured Adagio, a floral, busy Allegro ma non presto, the tense, spellbinding Adagio e piano through to the cracking pace of the final Presto. By the end the ensemble had really got a serious groove on – even though they all remained totally cool, particularly in response to the challenging ‘cello part .

Variations on “La ci Darem la Mano” by Beethoven took us through an ever-changing emotional colour-play not unlike the constantly-evolving light show on the wall behind. We were grinning at the charm of the initial theme, then awed by Guldborg’s immediate plunge into the first variation, enjoying the theme in a courtly variation, before hearing by turns dark, poignant, chirpy, even enigmatic takes on it. It was as if the same artwork were being viewed through the different coloured windows of the Chapel.

The concert concluded with Vivaldi’s Chamber Concerto in G minor, RV103 the allegro ma cantabile being suitably punctuated with uninvited (though charming) birdsong from outside – or perhaps up in the eves. The Largo was yearing, and Allegro non molto riveting, driven and filled with energy.

An encore of Australian Graham Powning’s March was the only contemporary offering for the day, and it left a smile on everybody’s face. I would certainly trust this ensemble to introduce more challenging pieces into my listening repertoire.

All in all it was a pretty auspicious start to the series. The organisers (myself amongst them) and the performers were joined by a moderate audience, who can all say that ‘we were there’ on the first day of what I hope will turn out to be a long tradition of successful concerts at this venue. Its clear that the Nikau Trio have set the bar rather high for future performers in the series! Next Sunday (no pressure now…) sees a clutch of young classic voice students presenting solo works by French composers (in line with the Chapel’s Marist precedence) supported by the well-established and accomplished keyboard skills of Jonathan Berkahn, who will play some piano pieces to round out the ‘French Bonbons’ theme. With a concert every week until 23^rd December (Douglas Mews, New Zealand Guitar Quartet, choirs, flutes, ensembles of all shapes and sizes) there will always be something new to experience in the light-filled, hand-crafted venue that is Futuna Chapel.

Nikau Trio

Flute, Oboe and Cello. Karen Batten, Madeline Sakofsky and Margaret Guldborg are professional freelance musicians based in Wellington. Nikau Trio’s repertoire spans the musical eras giving a varied and interesting programme. The combination of wind and string timbres makes them an unusual chamber music group. Reviewers have commented on Nikau Trio’s “considerable charm” and “spot on ensemble”, this is “wholly engaging and enlivening music.”

http://www.nikautrio.com/

The Jesus Figure - Light

The Jesus Figure - Feet Detail

Images from our website taken by photgrapher, the late Gavin Woodward, for the book on Futuna Chapel ‘Voices of Silence’ by Russell Walden

Additional thanks to WCC for supplying plants, Wraight and Associates Ltd for the new landscape design and Nikau Palmatum for the landscape installation.

Planning for the 2013 Futuna lecture series is now well underway.  Professor Mark Burry from RMIT in Melbourne will present three lectures in New Zealand commencing in Auckland on Wednesday March 13th followed by Christchurch on Thursday March 14th and finally at Futuna Chapel on Sunday 17th March.  The Auckland and Christchurch venues are yet to be announced.

Mark will be speaking about his ongoing work with the documentation and construction of Antonio Gaudi’s Catholic Cathedral in Barcelona, Sagrada Familia and his architectural design research.

For more information on Mark and his work on Sagrada Familia see here

Thanks to Dulux New Zealand and Metalcraft Roofing for once again supporting this lecture series.