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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	Earthy Cuban Sounds, Rendered With An Urban Complexity by Allan Kozinn, New York Times 01/10/2007 If you've been curious about the state of new music in Cuba, Sequitur offered an answer of sorts in its program at Merkin Concert Hall on Monday evening. But it was an answer with an asterisk, for although the six composers on the program were all born in Cuba, and most began their musical training there, they live elsewhere now. Still, most of the music keeps its Cuban roots clearly in focus, even when techniques and textures are as eclectic as can be. In ''Conjuration'' (2003), Jorge Martín begins with an alternation of slow, tolling sections and bursts of manic energy, but the score melts into an essay in transformed folk melody. Lyrical clarinet lines and rustic violin themes are accompanied by piano and cello figures steeped in Latin rhythms, yet the more acerbic writing of the opening section is always close at hand. Keyla Orozco's ''Para Tí Nengón'' (1998), a transfixing percussion work, elaborates on rhythmic patterns typical in nengón, a form native to eastern Cuba, from which the later popular styles son and changui evolved. Ms. Orozco's four-movement fantasy begins with comparatively simple, light-textured patterns, played on wood blocks, but its rhythms grow increasingly complex as the players -- Matthew Gold and Eduardo Leandro -- move to bongos and tom-toms, then to bell-like instruments and percussive vocalizations. Percussion peeks through a large ensemble to provide much of the Cuban accent in Orlando Jacinto García's ''Musica Para Segovia'' (1994) as well, although the work's muscle is more cosmopolitan. At first, Mr. García's music is a study in sound and silence, with aphoristic phrases -- sometimes only a single chord -- surrounded by rests. But the silences fall away as the phrases grow longer and blossom into thick string, woodwind, piano and percussion textures that, for all their heft, are rarely louder than mezzo-forte. Elizabeth Farnum, the soprano, brought a welcome suppleness to Sergio Barroso's ''Verdehalago'' (2006). The vocal line is essentially lyrical, but with occasional leaps that give it a hint of angularity and keep it from becoming predictable. Just as striking, though, is the instrumental writing, for violin, percussion, bass and electronic sound that mostly mirrors the instruments and voice. The program also included Ileana Perez Velazquez's ''Cípres'' (2003), in which a prominent flute line yields an almost Gallic flavor, and Tania León's ''Toque'' (2006), a rhythmically vital score in Ms. León's characteristically ebullient style. Paul Hostetter conducted the works by Ms. León, Mr. García and Mr. Barroso, and the Sequitur musicians played with consistent precision and verve. Read it here.

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