s e q u i t u r




		Cellos Add Wordless But Lyrical Voices by Allan Kozinn, New York Times 03/04/2008 Stylistic Wanderings and Flirtations With Multimedia And Jazz by Allan Kozinn, New York Times 04/18/2007 Earthy Cuban Sounds, Rendered With An Urban Complexity by Allan Kozinn, New York Times 01/10/2007 A Menu Of Familiar Signposts And A One-Woman Opera by Anne Midgette, New York Times 04/02/2005 American Piano of the 1940s by Jack Sullivan, American Record Guide 01/01/2005 Sequitur-Concertos BBC Music Magazine 04/01/2004 Sequitur-Concertos by Ian Quinn, American Record Guide 01/31/2004 Sequitur-Concertos by Ken Smith, Gramaphone Magazine 01/01/2004 Sequitur-Concertos by Steve Smith, Time Out New York 11/20/2003 Eclecticism and Humor in Works by Lewis Spratlan by Allan Kozinn, The New York Times 11/14/2003 Meditations on Power, Old and Freshly by Allan Kozinn, The New York Times 05/22/2003 Sequitur's new-music cabarets offer contemporary classics with theatrical flair by Brian WIse, Time Out New York 05/15/2003 Music In Review: Sequitur by Anthony Tommasini, The New York Times 05/24/2002 A High-Energy Romp Through The Raucous 1940's by Anne Midgette, New York Times 10/27/2001 Seasons of Squawks on the Crows' Calendar by Anthony Tommasini, The New York Times 03/01/2001 Two Flutists Explore the 20th-Century Repertory by Allan Kozinn, The New York Times 10/28/2000 Concert Connects New With Newer by Allan Kozinn, The New York Times 04/28/2000 Poetry as the Setting for Meditations on a Child's Death by Allan Kozinn, The New York Times 11/16/1999 The Sound of the City by Robert Hilferty, The Village Voice 01/26/1999 Music: Classical and New by Rose Martelli, newyork.citysearch.com 01/18/1999 New Songs Spring Forth In a Lively Mixture by Paul Griffiths, The New York Times 01/13/1999 A Cozy Cabaret Of Comical Sultriness by Justin Davidson, New York Newsday 01/12/1999 Sequitur: George Crumb Concert by Kenneth Goldsmith, New York Press 11/18/1998 Clash Of The Titans: Two Legendary Composers are Feted by Ken Smith, Time Out New York 10/22/1998 Sequitur: Kaye Playhouse Concert by Mark W. Greenfest, The New Music Connoisseur 05/18/1997 New Works Teeming With Fauna by Allan Kozinn, The New York Times 02/22/1997

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	Music: Classical and New by Rose Martelli, newyork.citysearch.com 01/18/1999 Here's testimony to the fine showmanship that was on hand at Tuesday night's "Sequitur: Songs of Sex and Solitude," a new music concert at the Knitting Factory featuring original texts by such wordsmiths as Bertold Brecht and Tennessee Williams (and Special Prosecutor Kenneth W. Starr - we'll get to him later) set to original orchestral compositions. While half of the program was sung in German, and translation sheets provided to the audience, rarely did anybody refer to them during the performance. Everyone was too engrossed in a highly entertaining evening to bother with such minor inconveniences. However, if anyone did take a look at their programs, they would have noted that this evening was an opportunity for several important modern composers to offer their take on the state of the serious song. Among the scribes represented were Thomas Adès (the French composer whose opera, "Powder Her Face," recently bowed at the BAM NextWave Festival), Harrison Birtwistle (the British operatic composer whose magnum opus, "The Mask of Orpheus," just snagged a Gramophone Award), and Hanns Eisler, one of the brilliant German composers whose best work ("Ein Deutsches Sinfonie") was brutally goose-stepped on by the Nazis. The three singers - Dora Ohrenstein, Richard Lalli, and Kristin Norderval - met the challenges of inflecting foreign languages, switching cleanly between lightheartedness and true melancholy, with flying colors. The Eisler pieces - with texts by Brecht - carry sobering titles such as "Über den Selbsmord." These - especially when paired with Dominic Muldowney's "On Suicide" - made for a solid, anchoring counterpoint to such cutesy works as "Amorous Anagrams," which couples the writings of Unica Zurn with real-life personal ads set to music by Sequitur soprano Kristin Norderval, and "Under Oath" (music by Richard Adams), a cheeky, gushing rendition of Monica Lewinsky's testimony, recited by a black-beret-clad Norderval. The musical accompaniment by Sequitur (two clarinets, viola, cello, bass, piano, violin, percussion) was sparse in texture but always maintained at least a thread of melody. Indeed, as most of the instrumental work was done with just a few strings and a clarinet or two (with a little help from the piano at times), the musicians' solid abilities were on constant display; you could almost hear the fingering during particularly wispy moments. Such intimacy proved that the Knitting Factory was the perfect venue for such a curiously appealing evening.

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