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

		For the most recent articles and review archives click here


	A High-Energy Romp Through The Raucous 1940's by Anne Midgette, New York Times 10/27/2001 It would have been accurate if Sara Laimon had titled her Sunday evening recital ''American Piano Music of the 1940's.'' But that might have been too dryly academic to reflect the sustained interest of her performance. Sponsored by Sequitur, the six-year-old new music ensemble of which she is a co-founder, the evening showcased the prevailing energy of the 40's as well as her sensitive, involved readings. Certainly the programming reflected an academic depth of knowledge, both in its informed selections and in its juxtapositions. Ms. Laimon alternated three sonatas or sonatalike pieces -- by Leon Kirchner, Lukas Foss and Elliott Carter -- with two sequences of commemorations: seven of Leonard Bernstein's ''Anniversaries,'' written for his friends and relatives, and Carl Ruggles's four important late ''Evocations,'' also dedicated to people in this composer's life. If there was a unifying characteristic to the program, it was an explosive quality, from the tangles of Mr. Kirchner's Piano Sonata (1948) through the happy openness of Mr. Foss's ''Fantasy Rondo'' (1946) -- which incorporated popular influences, like ragtime -- to the incredible demands of Mr. Carter's Piano Sonata (1945-46, revised 1982). This piece, Carter's earliest important work, is still colored with tonality. The most demanding of the evening, it traversed the keyboard at a supermechanical pace that led the music into new corners, suddenly yielding to passages of majesty and beauty, but never resting. The program also featured the Ruggles ''Evocations,'' written with such tough certainty that they conveyed a spareness through their sense of inevitability, even when the harmonies were dense. Throughout, Ms. Laimon played with a soft-edged crispness and a sense of knowing exactly where she wanted to go: music-making as intelligent as it was technically proficient. Read it here.

	For the most recent articles click here