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3. Abu Dhabi Festival: Kuniko Kato Plays Bach and Miyoshi

At the Blue Hall in Abu Dhabi, percussionist Kuniko Kato delivered a masterful marimba recital, embodying the East-West dialogue cherished by the Abu Dhabi Festival, whose 2025 edition celebrates cultural harmony under the patronage of Japan.

Abu Dhabi, Blue Hall, The Arts Center, April 14, 2025

Beneath the sleek arches of this hall nestled in the heart of the NYU Abu Dhabi campus, the 22^nd edition of the Abu Dhabi Festival offered more than just a concert that evening. The event opened on a deeply cultural and symbolic note, where music became a bridge between civilizations—echoing the unifying theme, “Abu Dhabi – A World of Harmony.” In a hushed reverence, a quiet bond formed between the cosmopolitan audience and the artist on stage, immediately illustrating the festival’s mission to celebrate the universality of art and promote dialogue among cultures.

Founded in 2004 by Huda Ibrahim al-Khamis-Kanoo, the Abu Dhabi Festival has become one of the Middle East’s leading cultural events, with influence reaching far beyond the Emirates. Its founder, a visionary, has always worked to bring people together through music and the arts, convinced that they form a universal language of peace. “The 22nd edition of the Abu Dhabi Festival returns under the inspiring theme ‘Abu Dhabi – A World of Harmony,’ uniting people and cultures through music and the arts,” emphasizes Huda Al Khamis-Kanoo, encapsulating the spirit of a festival marked by community and openness.

This vision is reflected in a diverse and high-level program celebrating both local heritage and international exchange. In 2025, Japan is in the spotlight, commemorating over half a century of friendship between the UAE and the island nation. The festival kicked off in February with a remarkable opening concert: for the first time in the Arab world, the New Japan Philharmonic Orchestra graced the Emirati stage under the baton of maestro Yutaka Sado.

The festival also stands out for its groundbreaking collaborations with major global institutions. Among them is the Paris Opera, with which the festival co-produced a new staging of Pelléas et Mélisande by Claude Debussy, directed by Wajdi Mouawad and conducted by Antonello Manacorda—marking a historic cooperation between the Arab world and France. The festival also welcomed the Japanese percussion ensemble Kodo, who wowed the audience on April 8 with their giant drums, while French pianists Katia and Marielle Labèque are set to perform on April 16.

Kuniko Kato, an Artist Between Two Worlds

In this rich and dynamic context, Japanese percussionist Kuniko Kato took the stage on April 14 at the Blue Hall for a solo marimba recital. Alone with her instrument, she guided the audience on a musical journey that transcended time and borders. Her presence—both understated and intense—reflected the meeting of two worlds: that of Johann Sebastian Bach, a towering figure in Western Baroque music, and Akira Miyoshi, a 20^th-century Japanese composer steeped in both traditions. The program, titled Bach to Contemporary, offered a dialogue between two cultures and two centuries.

A renowned marimba virtuoso, Kuniko Kato trained in Tokyo under the legendary Keiko Abe, a pioneer on the classical scene. She then continued her studies in Europe with Robert Van Sice at the Rotterdam Conservatory, where she became the first percussionist in the school’s history to graduate with honors. Winner of the prestigious Kranichsteiner Prize at Darmstadt in 1996, she quickly gained recognition in the contemporary music world. In 1997, she recorded James Wood’s Marimba Concerto, and in 1999, she released her first solo album, To the Earth.

Over the years, Kato has stood out for her original projects and artistic curiosity. She has appeared in musical theater (The Pure Land, 2005), orchestral works (Cassiopeia by Toru Takemitsu, 2006) and innovative multimedia performances such as Sound Space Experiment in Tokyo (2009), combining percussion and electronics around Steve Reich’s Electric Counterpoint. Her affinity with Reich culminated in the critically acclaimed album Kuniko Plays Reich (2011).

The Marimba Revealed, Bach Reinvented

Still relatively rare in classical music, the marimba is central to Kuniko Kato’s musical language. With its long Honduran rosewood bars and resonating metal tubes, it produces warm, deep vibrations. In her hands, using four mallets, the instrument transforms—at times evoking a harpsichord, a bell or a small orchestra. Kato began her recital with Bach’s Fifth Suite for Solo Cello, which she adapted herself for marimba. From the very first notes of the Prelude, with its sweeping and majestic structure, each arpeggio bounced clearly off the wood. The low notes resonated warmly, almost like an organ, as Kato shaped the melody with both precision and sensitivity.

In the Allemande, her mallets traced melodic lines with finesse, making the marimba sing despite the absence of a bow. Through the Courante and Sarabande, she explored a wide emotional range—from lightness to depth. The attentive audience followed every gesture, attuned to the subtleties and variations. The Gavottes and final Gigue burst with joyful energy, as Kato’s hands danced in a true sound ballet.

Akira Miyoshi, a Contemporary Voice from Japan

The second half of the concert explored the modern sound world of Akira Miyoshi (1933–2013), who trained in Paris and was influenced by both French and Japanese culture. His Conversation – Suite for Marimba consists of five highly expressive musical moments, interpreted by Kato with great sensitivity—even the silences were rich in meaning. In Torse III, she explored a more abstract and structured style. This four-movement work (Thesis, Song, Commentary, Synthesis) unfolds a complex musical idea that Kato clarified with mastery, alternating sharp strikes, lingering tones and well-placed silences. Ripple closed the program on a peaceful note, with isolated sounds falling like water droplets and gradually radiating outward. Kato accompanied this piece with her entire body, moving fluidly like a dancer.

A Moment Beyond Virtuosity

Kuniko Kato’s recital was not just a display of technical brilliance, though her playing was indeed impressive. It was a deeply artistic and human experience. Throughout the program, a wordless narrative emerged, transcending language and cultural barriers. Her virtuosity served emotion above all. When the final note faded, a deep silence hung in the air for a moment before the audience erupted into long, heartfelt applause.

Kuniko Kato’s concert at the Abu Dhabi Festival fully embodied the event’s artistic and human values. By bringing together Bach and Miyoshi, East and West, tradition and innovation, the artist demonstrated that harmony is born of diversity and attentive listening. This belief has guided the Abu Dhabi Festival since its inception—making intercultural dialogue a path toward peace and shared beauty. Kato’s performance was part of this vision. She offered Abu Dhabi a unique moment of music and grace as, for one evening, the world felt united: a world of harmony.

Coming up in our special coverage of the Abu Dhabi Festival: An exclusive interview with H.E. Huda Ibrahim al-Khamis-Kanoo, and a preview of the eagerly awaited concert by world-renowned piano duo Katia and Marielle Labèque, set to enchant audiences on April 16.