s e q u i t u r




		Brion; 2 Songs from Silas Marner; Sindbad; Exiles by Robert Carl, Fanfare Magazine 03/01/2011 Brion; 2 Songs from Silas Marner; Sindbad; Exiles by Carson Cooman, Fanfare Magazine 03/01/2011 CD review: Harold Meltzer, "Brion, Sindbad, Exiles" by Joshua Kosman, San Francisco Chronicle 10/31/2010 Sounds Heard: Harold Meltzer—Brion; Sindbad; Exiles by Frank J. Oteri, New Music Box 10/26/2010 Concertos II by Kilpatrick, American Record Guide 07/30/2010 The concertos for cello, solo bass clarinet and oboe makes this disc an inviting experiment in the contemporary concerto by Robert Moon, Audiophile Audition 04/15/2010 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 (Albany) by Christian Carey, splendidzine.com 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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	Sequitur: Kaye Playhouse Concert by Mark W. Greenfest, The New Music Connoisseur 05/18/1997 Scott Johnson: "Cold War Suite" (1993) - Bun-Ching Lam: "Bittersweet Music I" (1981) - Harold Meltzer: "Trapset" (1999)* - Russell Platt: "Eating Poetry" (1997)* - Sebastian Currier: "Whispers" - Lee Hyla: "Lives of the Saints Part I" (1998). + Presented by Sequitur. Sylvia and Danny Kaye Playhouse, Hunter College (CUNY), NYC. May 18th. (* world premiere; + NY premiere) Sequitur packed the Kaye Playhouse for this concert, and, if loud applause is an important criterion, then the entire program may be considered a success. Scott Johnson's "Cold War Suite" (1993), based on speech cadences (taped voice of I.F. Stone), and MIDI manipulation was performed strongly, expressively by the Magellan String Quartet (Michael Shih, Patricia Sunwoo, Daniel Panner and Kristina Reiko Cooper, all emerging Juilliard stars.) This reviewer found the composition effective and humorous. Flutist Patti Monson's virtuoso performance of the piece by Lam showed off the lovely timbral possibilities of the solo flute. Than a world premiere: Harold Meltzer's "Trapset". Using a special flute, the composer explores the art of percussion with some fascinating rhythms - a truly entertaining selection quite vigorously appreciated by the audience. Tenor Paul Sperry, violinist Patricia Sunwoo, cellist Gregory Hesselink, and pianist Philip Bush performed the world premiere of Russell Platt's "Eating Poetry", poems set to music, with varied settings, skill in craftsmanship - an exciting and pleasurable work. I, for one, enjoyed the piano-cello could-singing setting of the first poem ("Eating Poetry"), the delicious text, setting and vocal effect in the second ("The Dress"), and the clear, Debussy-like setting of the third ("The Dream"). I also feel that the eighth and final poem, "Lines for Winter," has music that is rich and accessible. Sebastian Currier's "Whispers" is extraordinary music. There is a delicate anticipation, and quite enjoyable interplay of individual sounds, including flowing dotted rhythms - like the clockwork of a Marie Antoinette watch. The piece by Lee Hyla (b. 1952), had its New York premiere (with Mary Nessinger, mezzo-soprano; Monson, flutes; David Gresham, clarinet; Messrs. Shih (violin), Panner (viola), Hesselink (cello), Leandro (percussion), Bill Ruyle (hammer dulcimer), Mr. Bush (piano) and Paul Hostetter (conductor). This virtuosic piece uses jazz and medieval influences that fit together naturally (hammer dulcimer and other percussives join classical and modern instruments), an intelligent text and score. I loved the Spanish reading from St. Theresa at the end of the piece. Mary Nessinger's performance stood out for its effective delivery, fine voice and dramatic sense. The programs of Sequitur are typical of the renaissance of musical performance in New York this year, marked by outstanding playing of music; this is something to celebrate and enjoy, with works of composers of various generations finally being performed.

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