This recording would please all fans of classical and jazz avant-garde. C Michael Bailey - All About Jazz - November 2006

Artistic Quality 9 Sound Quality 9 Jed Distler - ClassicsToday.com - August 2006

Self-commending and my bargain of the month. Hubert Culot - MusicWeb-International.com - June 2006

For you I have multiplied my voices, my vocabulary, my vowels" Although Italian author Edoardo Sanguineti wrote that dedicatory line for Sequenza VIII, it aptly describes all of the Sequenzas, an astounding series of works for solo instruments written between 1958 and 2002 by Luciano Berio. The Sequenzas reveal unthinkably new timbres, codify new instrumental techniques, and push performers to terrifying heights (as well as speeds) of virtuosity. Monophonic (one-note-at-a-time) instruments like the flute and the bassoon become a miniaturized orchestra of quiet murmurs, clicks, wraithlike chords, and quasi-electronic tones. Two new recordings, Berio: Sequenzas I-XIV (Naxos) and Berio: Sequenzas & Solo Works (Mode), collect the complete Sequenzas and offer a superb, if not superior, alternative to the pricey 1998 set on Deutsche Grammophon, which lacks the final Sequenza XIV composed in 2002. A detailed comparison of all three sets could consume a doctoral thesis; briefly, the Naxos and Mode discs contain performances ranging from really good to great. The budget-priced Naxos release has no frills, short liner notes, and, excepting soprano Tony Arnold, boasts few "name" performers. Mode enlisted several new music all-stars—Irvine Arditti, Carol Robinson, Stuart Dempster—and added a fourth disc of solo works. You can’t go wrong with either set. Essential. Christopher DeLaurenti - The Score - June 2006