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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	Stylistic Wanderings and Flirtations With Multimedia And Jazz by Allan Kozinn, New York Times 04/18/2007 New-music ensembles, like individual players, have traditionally maintained stylistic allegiances, and many still do. But as dogmatic loyalties break down, performers are wandering through the repertory and playing whatever strikes them. Sequitur, in past seasons, has leaned mainly toward post-tonal composers, serial and otherwise, but the group has also occasionally looked in on more immediately accessible styles. And if its program on Monday evening at Merkin Concert Hall was devoted largely to music with a tart edge, it also included a post-Minimalist multimedia work by Louis Andriessen, and a flirtation with jazz by Yehudi Wyner. Daniel Koontz scored his “Causerie” (2005) for the unusual combination of piano, accordion, guitar and percussion, and gave each player fragmentary, pointillistic lines that yield appealingly tactile textures. The scoring is light and delicate at first, but Mr. Koontz gradually increases the weight and density of each instrument’s line so that eventually the individual contributions merge into an explosive whole. Steven Burke’s “Untitled Universe” (2005), a quartet for English horn and strings, is more conventional, with a lyrical, plaintive English horn melody (played with an almost vocal inflection by Jacqueline Leclair) set against melancholy, mildly dissonant string scoring. That dark character cropped up again with a more overtly mournful and sometimes eerie cast in Simon Bainbridge’s “Four Primo Levi Settings” (1996) for mezzo-soprano, clarinet, viola and piano. These Italian settings dance between gracefulness and ponderousness, and Mary Nessinger moved deftly between those extremes, giving her best performance in “Da RM Rilke,” the cycle’s haunting, gently chromatic finale. Quirkiest scores: Mr. Andriessen’s “New Maths” (2000), a sometimes angular, sometimes rhythmically insistent work accompanied by a gritty, peculiar film in which three geeky young mathematicians ponder and clash. And Mr. Wyner’s “Trapunto Junction” (1991), for brass and percussion, which offered a sporting challenge, with its fanfarelike opening and the rhythmically zesty, jam-session sensibility of its finale. Read it here.

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