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VNM Festival 2022
METAXENAKIS: Day 3
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For Vancouver New Music’s 2022 festival we celebrate Iannis Xenakis (1922-2001), a visionary artist, architect and philosopher who made an indelible imprint on the arts in the twenty-first century. As part of a transcontinental centenary celebration of Xenakis’ life and work, this three-day festival will offer six performances by local and international artists inspired by Xenakis’ artistic and philosophical legacy.
To celebrate the centennial anniversary of the life and the works of Iannis Xenakis world renowned percussion virtuoso Kuniko from Japan programs his signature solo pieces in percussion (Psappha & Rebonds a. b. ).
“Kuniko passes this rite triumphantly. Her effortless, glitch-free technique and ability to manipulate mallets and sticks to seemingly coax melodies from non-melodic instruments are bound to humble aspiring and established percussionists alike.”
– Gramophone
Kuniko Kato’s performance is supported in part by the Japan Foundation
Giorgio Magnanensi will diffuse Xenakis’ Hibiki-Hana-Ma for 8-channel tape.
Hibiki-Hana-Ma was composed for the 1970 Osaka World’s Fair, and was created with the UPIC system, a graphical input device that Xenakis invented, using recordings of an orchestra, a biwa, and a snare drum.
“Hibiki-Hana-Ma” (“reverberation-flower-interval”) is just under eighteen minutes in length and was originally composed for twelve tracks, later mixed down to eight for concert diffusion. The music was recorded and assembled at the electronic music studio of Japan Broadcasting Corporation (NHK) in Tokyo. Xenakis had access to an orchestra there, and much of the material comes from orchestral sonorities (typical textures from existing scores with emphasis on strings, particularly glissandi and natural harmonics). To this he added the Japanese plucked biwa and some percussion sounds. As in the tape part of Kraanerg, there are varying degrees of studio manipulation of the instrumental sounds, from virtually none to so much that the original sources are unrecognizable. There is a much wider range of sounds presented in “Hibiki-Hana-Ma” than in the earlier ballet, which is understandable considering that the tape is the only sound source. The possibility of deploying up to twelve channels enabled Xenakis to build up layers and complex superpositions of sonorities.
The music is put together from blocks of material spliced into the different channels, in a similar process to “Kraanerg”, extended from three or four layers to twelve. There are many sudden shifts of sonority, density, and intensity, and various layers are brusquely cut in or out. Major articulation points serve to loosely divide the piece into four sections.
– James Harley, “Xenakis, his life in music”
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KUNIKO KATO, Percussionist
Kuniko Kato is internationally acclaimed as one of the world’s leading percussion virtuosos, celebrated for her visionary artistry, technical precision, and deeply expressive interpretations. Her performances and recordings of composers such as Steve Reich, Arvo Pärt, and Iannis Xenakis have been widely praised for their clarity, intensity, and architectural insight, while her interpretations of J.S. Bach on marimba have redefined the instrument’s expressive possibilities.
Her recordings have received outstanding international critical acclaim, with leading publications such as BBC Music Magazine, The Sunday Times, and Gramophone Magazine highlighting her “mesmerizing virtuosity” and “extraordinary musical intelligence.” She is also notably the only Japanese artist represented by the UK label Linn Records, further underscoring her unique international standing.
Kato’s artistic practice is characterized by a commitment to expanding the boundaries of percussion performance through interdisciplinary collaboration, commissioning new works, and reimagining canonical repertoire. Her projects often bridge tradition and innovation, engaging audiences through immersive and concept-driven performances presented at major international venues and festivals.
Since 2016, Kato has also demonstrated a strong social commitment through her artist incubation initiative, fostering and mentoring the next generation of percussionists. This project emphasizes not only artistic excellence but also cultural responsibility, diversity, and sustainability in the performing arts. By nurturing emerging talent and creating platforms for young musicians, she actively contributes to the evolution of the global music community, ensuring that contemporary percussion continues to thrive as a dynamic and socially engaged art form.
Born and raised in Italy, Giorgio Magnanensi currently lives in Roberts Creek on the Sunshine Coast of British Columbia, Canada. His diverse artistic practice includes composition, conducting, improvisation, circuit bending, video art and sonic and spatial explorations. He is artistic director of Vancouver New Music and Laboratorio, and lecturer at the School of Music of the Vancouver Community College.
Videography by Mingtao Kong
Audio recording by Dan Kibke
Video and audio editing Heather McDermid
