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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	Music In Review: Sequitur by Anthony Tommasini, The New York Times 05/24/2002 Since its founding six years ago, the adventurous contemporary music ensemble Sequitur has drawn audiences to smaller concert halls around New York City, including Joe's Pub in Greenwich Village for its innovative cabaret programs. On Tuesday the ensemble took a chance by acquiring Alice Tully Hall for its season-ending concert, also its Lincoln Center debut. Sequitur should be heartened by the sizable audience that turned up for this ambitious program of three premiers and Elliott Carter's landmark Double Concerto for Harpsichord and Piano With Two Chamber Orchestras. Though not called such, the new works were de facto concertos, including David Rakowski's "Locking Horns" for Horn and Chamber Orchestra. Twice a finalist for the Pulitzer Prize in Music, including this year, Mr. Rakowski has technique to burn. The five jam-packed movements of "Locking Horns" all begin with the same music, yet in each the materials are developed differently. In the middle movements, a horn in the chamber ensemble, annoyed by the attention the solo hornist is grabbing, attempts to usurp the starring role but ultimately fails. Mr. Rakowski layers the score with astringent, darting, atonal counterpoint in a way that remarkably manages to keep the overlapping textures audible. Yet, "Locking Horns" lacked a convincing overall structure. Though just 15 minutes, it seemed long-winded. The surprise ending - the music flutters upward then just stops midflight - sounded arbitrary. The horn soloist Daniel Grabois and the ensemble, conducted by Paul Hostetter, gave an assured and vividly colored performance. The respected Scottish composer Thea Musgrave, 73, was in attendance for the American premiere of "Lamenting With Ariadne" (1999). This strong work has a dramatic scenario in which a solo viola (Daniel Panner) represents the mythical Ariadne, abandoned by her beloved Theseus on a lonely island. As the viola sings in fitful lyrical outpourings, an ensemble of six instruments respond with jumpy figurations in Ms. Musgrave's trademark harmonic language - a diffuse, shifting, spiky tonality. An offstage solo trumpet (Brian McWhorter) signals the approach of Dionysus, who soon "arrives" on the scene. With a few insistent blasts the trumpet snaps the viola out of its anguish. A heated love duet follows, which subsides into well-earned serenity. The program also offered the premiere of "Virginal" for Harpsichord and Chamber Orchestra by Harold Meltzer, Sequitur's artistic director. This alluring, imaginatively scored short work with its fresh harmonic language (that could be called wrong-note consonance) abounds in spiraling flourishes of filigree, a nod to the ornate style of early-17th-century British keyboard music found in the Fitzwilliam Virginal Book. Sara Laimon, the deft harpsichordist in Mr. Meltzer's work, was also a soloist in Mr. Carter's Double Concerto, along with the fine pianist Steven Beck. This 1961 work offers Mr. Carter at his most ingeniously complex. Mr. Hostetter and the Sequitur players gave a resourceful, if not entirely confident, performance. But all in all, this was a rewarding concert, and a big step for Sequitur.

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