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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	The Sound of the City by Robert Hilferty, The Village Voice 01/26/1999 Any show entitled "Songs of Sex and Solitude" is bound to capture the attention of New Yorkers blissfully caught up in the cycle of horniness and alienation. Needless to say, new-music group Sequitur's winning romp at the Knitting Factory last week pressed all the right buttons. The cabaretlike atmosphere of the presentation helped set the tone. Indeed, the bulk of the songs performed were penned by German exile-turned-Hollywood composer Hanns Eisler, with texts by Bertolt Brecht, importing just the right touch of smoky Berlin, steamy and seamy. The first Eisler on the program, "Über Den Selbsmord" (On Suicide), had forlorn baritone Richard Lalli scouting bridges around town for their jumping-off appeal. The piano accompaniment was sparse, smartly quoting the opening of Schubert's equally desolate song cycle Winterreise at the get-go. Eisler loves to show off his education, so in his sardonic "Küppellied" (The Couple Song), he ironically quotes Wagner's yearning Tristan chord, to underline what really turns on women: money. Some songs sound like pure Kurt Weill: "Solidaritätslied" (The Solidarity Song) could easily be a reject from Threepenny Opera. Richard Adams's "Under Oath" which sets Lewinsky's testimony from the Starr Report, had soprano Kristin Norderval, decked out in Monica-wear, singing a kind of "Ballad of Sexual Dependency" for the Clinton era. The colorful Dora Ohrenstein tackled Lewis Spratlan's hilarious "Vocalise With Duck," quacking noises provided by a clarinet mouthpiece. The same soprano also expertly pistoled the cunning linguistics of Eleanor Sandresky's witty, liberating "My Goddess." Relief from the relentless ostinato patterns was provided by David Soldier's magical "Letter to Ausonius" with a moving text by Paulinius of Nola. Soldier created an exquisite pastiche of Franco-Flemish ars nova, with delicate yet funky polyphony. His faux Machaut glowed. However, the opening and closing megasongs, Thomas Adès's "Life Story" (a sleazy precursor of his opera "Powder Her Face," based on a text by Tennessee Williams) and Anthony Davis's "Lost Moon Sisters," while ambitious and attractive at times, were too muddled and meandering, both in composition and performance, to make any impact - non sequiturs in Sequitur's otherwise unimpeachable sequence of quickies.

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