A proper composition (composed in 1999 as an homage to Luciano Berio’s, 'Sequens') by co-operator of Bowindo Recordings, Domenico Sciajno, in four parts, combining composed parts with improvision (in this case the composer’s editing of original material). The description for the composition of the piece is as follows: recordings of the Berio piece were digitized and reedited by Sciajno (some places quite obviously, adding to the textural vocabulary of the pieces) along with the addition of a sequens of his own. The resulting composition presents us with remix essentially. I’m not sure if this is 12-tone or not, but it definitely sounds modern. Short fragments of notes in combination with long statements by various instruments (flute, harp, voice, piano, trombone, viola, oboe, violin, clarinet, trumpet, guitar bassoon, accordion, alto sax, soprano sax, contrabassoon). No melody to speak of. With this kind of musical expression you can approach it in two ways, through the written score in front of you (available on the artist's web site), or the overall impression created by the performance. Does it engage the attention? Does it give some kind of pleasurable stimulus (that’s the point of music isn’t it)? I’d say yes to that. The element of surprise is usually the way I deal with this style of avant-gardism. It surprises and definitely engages the attention. It’s music appreciation here folks and I appreciate it.