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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	New Songs Spring Forth In a Lively Mixture by Paul Griffiths, The New York Times 01/13/1999 The ensemble Sequitur presented a lively concert of new songs and a few older numbers at the Knitting Factory on Sunday evening. Suiting the place (at 74 Leonard Street in TriBeCa), the repertory was generally informal and cabaret-like, but as mixed as could be. At the start of the second half, Kristin Norderval created a moment of beautiful stillness with Harrison Birtwistle's sky-gazing music for a luminous poem of Paul Celan, right after Dora Ohrenstein had sung a wonderful comic song by Lewis Spratian, and right before one of the penny-plain Brecht settings by Hanns Eisler that crop up periodically, sung by Richard Lalli. These Eisler songs are mostly touching vignettes, but they include one item that recalls the days when cabaret had a political edge: the "Solidarity Song," with its message to "proletarians of all lands" to "unite and you will be free." Mr. Lalli did this straight, but inevitably the effect was funny and absurd - perhaps not just because of the old-fashioned rhetoric but because, too, any kind of political sentiment these days gets to be seen as a joke. Among the six brand new songs on the program, all by American composers, only Richard Adams's "Under Oath" introduced any reference to political affairs, and it did so by giving us the love song of Monica Lewinsky. Ms. Norderval made the piece work like a dream, though the target is hardly a tough one. Of the other new-song composers represented, Mr. Spratian, in his "Vocalise With Duck," offered a humorous anecdote inside some equally humorous scat singing, and David Soldier created a characteristic nest of ironies in his "Letter to Ausonius" by turning a young scholar's warm, not to say heated, expression of love for his master into a polyphonic song in the style of Machaut. Nothing suited the occasion better, though, than Thomas Adès's "Life Story," setting an unillusioned poem by Tennessee Williams about how boring a new lover is likely to be immediately after the act. Ms. Ohrenstein sang this effectively, with a pair of bass clarinets writhing as if in bed together. Harold Meltzer, Sequitur's artistic director, conducted.

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