Sequenza for Ensemble of 16 elements
composed by Domenico Sciajno in 1999

1. Sequens Part I 9:52
2. Sequens Part II 16:04
3. Sequens Part III 24:57
4. Sequens Part IV 22:24
Total 73:24

Instrumentation: flute, harp, voice, piano, trombone, viola, Oboe, violin, clarinet, trumpet, guitar, basson, accordion, alto and soprano sax, contrabbasso

Release Notes
Conceived several years ago, this previously unreleased piece was finally composed and recorded in 1999.
This long composition, divided into four parts, is based on the idea of using Berio's sequenza's for single instruments combining them in a single piece for an ensemble of 16 instruments.
More info about the composition techniques adopted can be found in the score.
Besides being an homage to Luciano Berio, 'Sequens' demonstrates the importance of collaboration between composer and musicians, and shows that the idiomatic developement of contemporary music language and that of the non academic improvised music scene could overcome their borders with fruitful cross-pollination.
During the past decade there have been examples of this type of cross-pollination but unfortunately most of the "mainstream" contemporary experimental music has merged in a manneristic mutual imitation diluting the strong innovative forces and peculiarities of such experiences. The result is often times a standardized language where clichés replace innovation.
I'm still surprised when I listen to 'Sequens' today as it sounds very much like a contemporary work and I still like it! 
The decision to publish the piece now not only comes from my personal pleasure for releasing an old work that I still like, but comes also to serve as a reminder to myself and others to stay 'commited' to advancing contemporary music. Domenico Sciajno February 2009

Mixed by Sciajno in Palermo March 1999
Mastered by Sciajno at AntiTesi Studio in March 2009

Reviews

Last week 4 disks arrived from Bowindo and this one blew me away - a concept plunderphonics album taht works brilliantly. I looked up the score so can explain the basics. What surprises me is that it was constructed/recorded in 1999 and has only now been released.
Here goes: Luciano Berio wrote 15 Sequenzas - solos for a variety of instruments and one vocal. Sciajno got recordings of them (14 from DG and one from BIS) and a recording of a sequenza he wrote. After digitising them he divided them into four groups - a trio, two quartets and a quintet. He then cut the pieces up and interwove them to form group works: for example Parte 1 is a trio of flute, trombone and accordion. Here Sciajno shows his mastery of how to overlap, superimpose and separate the tracks in a counterpoint. The cuts from the tracks have to be played in sequence and all have to be used. What could have been a mishmash of sound becomes a strong modern chamber work through the combination of Berio's original composition and the skill of Sciajno.
However, there is more: he then combines similar instruments (strings, brass, wind) and creates sections which are placed under the groups to create additional depth and atmosphere - 'fragments with similar characteristics have been grouped and superimposed to generate strong sections recognisable from their rhythm and harmony'. Less obvious - once you listen closely you hear them down there.
The work also develops structurally - in each part the number of tracks on the mixer increases as the groups expand and the number of sections grows (2 in Parte 1, 10 in parte 4) [the score includes window-dumps of the structures of each Parte].
To describe the music would be hard - think of modernist solo pieces exploring the dynamics of the instrument in a classical format, rather than say the outerlimits of improv, with the lines coming in and out, forming solos, duets, trios, quartets, in a complex intense but not atonal or extreme, insightful way.
I don't know if anyone else has done similar work, but this collaboration between two composers is astounding - Sciajno has remained completely faithful to Berio's compositions by 'merely' cutting/pasting them (and his own sequence fits) and created a new Berio work which was always there but never drawn out. Perhaps it is the copyright issues that have kept this hidden, but it is a masterwork worth bringing to light.
Jeremy Kerns, Ampersand, march 2009