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		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 Ian Quinn, American Record Guide 01/31/2004 The excellent New York-based ensemble Sequitur is led by the composer Harold Meltzer (artistic director) and by the group's keyboardist Sara Laimon (managing director).They give us here four pieces that aim to challenge the typical "heroic" role of the concerto soloist--though that's a characteristic strategy of many post-romantic composers confronting the genre, many of whom subvert the soloist-versus-orchestra paradigm by substituting a chamber ensemble for the romantic orchestra. We begin with Meltzer's own Virginal, a well-made nine-minute composition in two continuous movements with Laimon as harpsichord soloist. Meltzer's materials are all light and airy bits of diatonic music, but he juxtaposes and synthesizes them in a great many ways, achieving something like a Stravinskian neoclassicism for the age of Bang On A Can. Meltzer's approach to form--fragmentary yet organic--is very much in line with his European contemporaries, but his nostalgic material calls to mind both David Lang and very recent Ligeti. Next on the program is a horn concerto by David Rakowski. Again we hear a debt to Ligeti, particularly in Rakowski's decision to play the solo instrument against a counterpart in the ensemble, a technique Ligeti has used in all of his concertos except for the Piano Concerto. The five movements of Rakowski's piece are all based on the same basic melodic idea, a (sort of) 12-tone lick that he treats to Schoenbergian processes of developing variation. He is an expert orchestrator and crafts textures of remarkable subtlety and clarity; he is also an extremely funny guy (he taught me score preparation in college, and kept us laughing the whole time) and this shows in the music, especially when he makes fun of typical horn idioms. A recent viola concerto by Thea Musgrave, with a rather programmatic structure detailed in the liner notes, is next. Like Meltzer's Virginal, Lamenting with Ariadne makes much use of traditional diatonic materials, but Musgrave doesn't do anything all that interesting with them (though the writing is solid and assured), and she rarely gives the soloist a break in this much longer piece. The last track is Carter's Double Concerto for piano and harpsichord, something of a gold standard for the three other pieces on the program. Some 30 years older than any of the others, Carter's concerto must certainly have been in the ears of his fellow New Yorkers Meltzer, Rakowski, and Musgrave; and Sequitur's slick performance of it is a fitting conclusion to this excellent collection. Laimon deserves particular praise for her subtle readings of her two very different solo parts (Meltzer and Carter). Liner notes by Frank Oteri, the editor of newmusicbox.org, give a helpful color commentary for each of the pieces, though he's prone to silly turns of phrase like "the wonderful meter of 9/16".

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