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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	A Menu Of Familiar Signposts And A One-Woman Opera by Anne Midgette, New York Times 04/02/2005 You couldn't call it an evening of song. Sequitur, the contemporary-music ensemble, offered a program of vocal music at Merkin Hall on Thursday night that demonstrated a lot of things you can do with the human voice and a group of instruments in three different works. The evening did start with songs: Roberto Sierra's "Cancionero Sefardí," a kind of modern "Chants d'Auvergne" with signposts of musical familiarity like touches of medieval-sounding music rhythmically dancing over sustained bagpipe tones from the cello. Judith Kellock, a soprano, sang as if her mouth was full of music, which sometimes got in the way of clear diction. Call Harold Meltzer's "Exiles" a dramatic monologue. The composer, a co-founder of Sequitur, took two poems by Conrad Aiken and Hart Crane and bridged their very different verbal styles with wistful, darkish music that broke in repeating waves and evoked the emotional barrenness of the poems. Richard Lalli, a baritone, sang with sensitivity and a nice firmness. The evening's biggest event, Eric Moe's 50-minute "Tri-Stan," could be called a one-woman opera, a blockbuster and gloriously but overly ambitious. It's based on an arch story by David Foster Wallace that casts modern Hollywood as a Greek myth for our time (featuring a hero named Agon M. Nar). Mr. Moe took this as a way to probe the boundaries between high and low culture. He responded to social parody with musical parody (with quotations ranging from Strauss's "Elektra" to the theme from "The Brady Bunch"), and he created a tour de force for the gifted mezzo-soprano Mary Nessinger (who had to deliver everything from spoken recitative to Wagner excerpts, and did it well) and subversively inscribed classical music into pop culture. Since this was pseudo-Greek drama, there had to be a tragic flaw: it was that the words were not worthy of Mr. Moe's music. The glib bonbon of Mr. Wallace's story didn't hold up under the inspired weight of its score, which even in fun was more substantial than its slightly irritating text. In a way, this made the piece an appropriate close to a high-quality but not quite satisfying evening. Read it here.

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