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 BBC Music Magazine 04/01/2004 Works by Carter, Meltzer, Rakowski, & Musgrave Sara Laimon (harpsichord), Steven Beck (piano), Daniel Grabois (horn), Daniel Panner (viola), Sequitur/Paul Hostetter, Thomas Carling. Albany TROY 607 66:28 minutes The innovative New York ensemble Sequitur makes a bold statement with its debut recording—above all by including Elliott Carter’s Double Concerto for harpsichord, piano and two antiphonal chamber ensembles. Though over 40 years old, this remains a tough nut to crack for both performers and listeners, with its skittering keyboard figuration, complex superimposed rhythms and constant swings of mood. The players negotiate it with aplomb, and the recording makes the different strands exceptionally clear, though the harpsichord sounds oddly as if protected within a bubble of its own. Separate for the seven sections would have been helpful. The Carter is complimented by three recent chamber concertos involving different and changing relationships between soloist and ensemble. In Harold Meltzer’s “Virginal” the harpsichord initially takes the lead in a series of attractively varied textures, but gradually recedes into the background. Contrariwise, in David Rakowski’s “Locking Horns” the horn gradually emerges from the ensemble as an eloquent soloist. And in Thea Musgrave’s “Lamenting with Ariadne” the solo viola, as the abandoned and grieving Ariadne, is revivified by the trumpet as Dionysus, approaching from offstage to lead a joyful dance. These three pieces, excellently performed and vividly recorded, complete a well planned and invigorating programme. Anthony Burton. Performance *** (Outstanding) Sound ** (Excellent)

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