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-Concertos by Ken Smith, Gramaphone Magazine 01/01/2004 Would Sequitur's lively blend of music and theatrics transfer to record? Definitely! Since its founding in 1996, the chamber music ensemble Sequitur has carved a distinct niche for itself in New York by focusing on multi-disciplinary works and contemporary concert pieces with a touch or two of theatricality. It is not, in other words, the kind of group one thinks of as a natural for recording sessions. As if to prove their mettle immediately, the ensemble have built their first recorded programme around the formidable Double Concerto of Elliott Carter. Not that Carter's music doesn't have an inner theatricality of its own. Individual musical lines, as Virgil Thomson once noted, take on the trappings of a script, with players reacting to each other less like musicians and more like actors in a play. Physicality and the use of space is also a prime concern, even in a recording, and the musicians of Sequitur (and producer Judith Sherman) manage to unfold the piece not as a thicket of musical thoughts but as a true narrative. The three pieces that come before, if neither as ambitious nor as accomplished as Carter's, nonetheless make up an impressive programme. David Rakowski's Locking Horns involves a horn player in the chamber orchestra challenging the soloist for primacy. Thea Musgrave's viola concerto Lamenting With Ariadne goes one notch better, incorporating an actual scenario involving violinist Daniel Panner representing the abandoned lover of the title. A trumpet signals the arrival of Dionysus, who shakes things up a bit before the music settles back into serenity. With his solo harpsichord front and centre, Sequitur artistic director Harold Meltzer's Virginal evokes quite another epoch. Harpsichordist Sara Laimon, Sequitur's founding managing director, finds common ground with the guitar and harp right away, but soon breaks off from her plucked-string brethren and moves in various configurations through the rest of the ensemble. Meltzer wields a wide range of influences, from highly ornamented 17th-century British keyboard music to quasi-minimalist ostinatos, with such style and grace that it's hard to decide whether his music or his ensemble deserves greater commendation.

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