The influential Italian avant-garde composer, Luciano Berio (1925–2003), wrote 14 Sequenzas. Each Sequenza is a monument, written specifically for a solo instrument, in which Berio explored the technical possibilities of the instrument, and often the player as well. The Sequenza IX for clarinet, on the other hand, is not so spectacular, and that has always surprised Anna. At some point in her life, someone once told Anna that the clarinet Sequenza is also unfinished, that it supposedly requires electronics. 

The question is: Could there be some truth to that? Is an extra voice for the clarinet perhaps missing as well? And what would that have sounded like? 

Together with Koen Kaptijn (trombonist), Anna explores Berio’s Sequenzas during her residency. How might Berio’s world sound, given today’s possibilities? The goal is not to make a reconstruction, but rather to create a parallel. What happens when you build a dream world around the Sequenza?

About Anna voor de Wind
Amsterdam-based clarinetist Anna voor de Wind devotes herself entirely to contemporary music. It provides a connection with the world around us when you dedicate yourself to music being written now, when you commit to creating and performing ideas that are alive today. 

In addition to being a core member of the former Nieuw Ensemble, an alumnus of the Ensemble Modern Academy, and a frequent guest at Het Muziek, she also enjoys sinking her teeth into her own projects, in which she collaborates closely with fellow musicians, composers, and other makers. 

Inspired by
Rebecca Saunders, Mark Andre, George Aperghis, Thanasis Deligianis, Wilbert Bulsink, Noriko Koide, Giuliano Bracci, and Trevor Grahl.