Plays Reich

Intensity with perfect technique. This CD was a door opener for me to Steve Reich works. In a short few months, I purchased quite a large number of available recordings, and this one remains my favorite.Recording/sound quality is also incredible. Increased/expanded dynamic range is obvious.

This is not for everybody ... only those seeking to expand their musical taste. I'm pleased I bough this and the recording is excellent. I purchased this with another Kuniko CD "CANTUS'.

Multi channel hybrid works very well. She is an exciting performer.

Great!

Kuniko Plays ReichSteve Reich (b. 1936)Electric Counterpoint Version for Percussions (1987 / 2009)Movement I: Fast 06:53Movement II: Slow 03:22Movement III: Fast 04:37Six Marimbas Counterpoint (1986 / 2010) 16:26Vermont Counterpoint Version for Vibraphone (1982 / 2010) 09:48Recorded: 2009/10linnrecords.comAll arrangements by KunikoI found it's important to play Reich in ecstasy.

Recordings of the American high priest of minimalism Steve Reich in Hi-Res audio (and surround sound) are just a precious few (less than 10 at the time of writing), so any addition to that undeservedly small catalogue is a thing to celebrate. It's a rather surprising state of affairs for the composer who developed his unique musical style by utilising to the full all the advantages of multi-channel recording techniques, and it can be argued that his recognisable and ever fascinating sound phasing (or layering) technique wouldn't have existed if it wasn't for the skilful manipulation of tape recorders.In that particular aspect, this solo project by the multi-percussionist Kuniko fits the bill perfectly. Programme opens with 'Electric Counterpoint' originally written in 1987 for Pet Metheny who played an array of electric guitars, pre-recorded and overdubbed 12 times. In the live performance, 13th guitar part would be played 'live' against this pre-recorded tape. Kuniko utilises steel pans, vibraphone and marimba for her arrangement, and true to the form, every single instrument is overdubbed - but in addition to the prescribed linear development, she adds the spatial, surround sound capability of the SACD format in a fully enveloping and immersing 360 degrees recording. The result is rather mesmerising: in addition to the hypnotic trance state that is a pertinent quality of Reich's music, percussive instruments allow for a total precision of execution of Reich's mind bogglingly complex rhythmic patterns, constantly shifting in and out of the focus and changing phases. Kuniko's choice of steel pans in the opening bars closely relates to the original electric guitar metallic sound colour, and as the piece develops and the 13 lines of rhythmic counterpoint start to build up and shift in and out of focus, each one of them is evenly spread all around the listener. Thus allowing not just for a clear musical understanding of each individual line, but all together creating an unique cumulative effect of the piece as a whole.The other two pieces of this short (at just over 40 minutes) SACD are Six Marimbas Counterpoint - another adaptation of an earlier piece (Six Pianos from 1986) and Vermont Counterpoint, similar in form to the Electric Counterpoint, but this time originally written for the flute. Both of those are less formally elaborate than the first piece, but equally complex in terms of precise rhythmic layering. Kuniko follows up fully on the surround sound idea that every single pre-recorded line is given its precise place not just in sound, but in the space around the listener too.Even if not a single piece here is originally written for the marimba or vibraphone, Kuniko's adaptations and interpretations follow closely the composer-introduced (and approved) treatments of his own music, constantly changing colours, sonorities and patterns. But then it adds yet another level of creative treatment for the pre-recorded instrumental layers, placing them all around the listener and creating an unique immersive auditory experience that only SACD can offer. This is a true triumph of utilising the full potential of surround sound capabilities of the SACD, by an artist who didn't just adapt some music to her own needs, but elevated arrangements, interpretations and recording to a truly special sound experience.

fantastic...!!

Kuniko Kato ([...]) è una straordinaria percussionista giapponese, dedita soprattutto alla musica contemporanea, alla sperimentazione ed alla musica tradizionale giapponese. Consiglio a tutti di provare ad avvicinarsi a questa meravigliosa musicista, purtroppo non molto conosciuta.Questo suo disco, uscito nel 2011, è stupendo ed è dedicato a tre composizioni di Steve Reich, magistralmente arrangiate dalla stessa Kato: "Electric counterpoint"; "Six marimbas counterpoint"; "Vermont counterpoint".

Electric Counterpoint Version for Percussions (1987 / 2009)Movement I: Fast 06:53Movement II: Slow 03:22Movement III: Fast 04:37Six Marimbas Counterpoint (1986 / 2010) 16:26Vermont Counterpoint Version for Vibraphone (1982 / 2010) 09:48Recorded: 2009/10linnrecords.com全曲、加藤訓子が編曲している。エクスタシーを感じる。So Percussion の「 Drumming 」を購入したがほとんど聴いてないのに対し、加藤訓子の演奏は聞きやすい。「演奏者が違うと、こうも違うのか」と思った。この SACD を私のスピーカ（TANNOY Stirling HW）で大音量で鳴らすとスピーカの背面のプラグの辺りからノイズが出る（１曲目の低音部）。私のスピーカの脆弱さが露呈してしまった。TANNOY Stirling HW は「みかん箱」と貶される（泣（２０１３−１−1７）チャーリー・パーカーのバップナンバーの強烈なリズム＆シンコペーションと比較してはならないのだろうが、２曲目の「Six Marimbas Counterpoint」は、ジャズに比べればリズムがゆるいような気がする。３曲目も同様。しかし、その「ゆるさ自体」が少しずつ変化することが、リスナーを退屈させない。そのことが、加藤の演奏において、ミニマル・ミュージックというのは、むしろ最も退屈させない高揚感（エクスタシー）の音楽であると感じさせる。この人は、ヴィルトゥオーサだと思う。（２０１３−１−２７） Drumming

I felt the cd a little short or seemed short.Could a been longer.