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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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	Two Flutists Explore the 20th-Century Repertory by Allan Kozinn, The New York Times 10/28/2000 It has been a busy week for fans of contemporary flute music. At Weill Recital Hall on Monday, Young Concert Artists presented one of its recent audition winners, Mimi Stillman, in a program devoted mostly to 20th-century works. Ten blocks uptown, at Merkin Concert Hall on Tuesday evening, the new music ensemble Sequitur presented its flutist, Patti Monson, in a recital that largely duplicated the program of "Conspirare," her just-released debut recording for CRI Records. Together, the concerts conveyed an impression of the breadth of the modern flute repertory, with Ms. Stillman offering a more conservative, melody-oriented view, and Ms. Monson pushing the edges of contemporary technique in works that asked the unaccompanied flutist to create the impression of performing in an ensemble. Three of the pieces accomplished this by setting the flute against a recorded or computer-processed soundtrack. Mr. Reich's familiar "Vermont Counterpoint" (1982), for one, offered a consonant, chirpy, rhythmically interlocked backdrop flute and piccolo lines, against which Ms. Monson's live solo line danced, moving into the harmonies and around the rhythms. In Kaija Saariaho's "NoaNoa" (1992), elements of Ms. Monson's flute line took on lives of their own as they were processed by a computer. A trill, for example, would continue into an echoic haze, augmented by vocalizations (fragments from Gaugin's Tahitian travel diary) as the live flute line worked its way into an expansive, haunting melody. Mr. Bresnick's piece presents a thicker texture: both the recorded and live flute parts are built of fluttering lines, multiphonics (chordlike sounds) and distortions, but the dialogue between them has a forceful, dramatic quality, abetted by Mr. Bresnick's use of space as a compositional element. Other works used illusion to suggest an ensemble's breadth. Robert Dick's "Afterlight" is a study in controlled multiphonics, in which the over- and undertones had an almost chorale-like quality. Mr. Dick's "Piece in the Gamelan Style" (1978) used multiphonics as well but was mostly about color, with the gracefully bent line approximating that of an Asian wooden flute giving way for the harmonic thorniness of the modern Western style. In "Rapidfire" (1992) Jennifer Higdon used dynamics to suggest counterpoint between a sharp-edged melody and a burbling obbligato. And Harold Meltzer, in an amusing collection called "Rumors," provided a dictionary of colorful effects, the most notable being the percussive and breathy sounds that animated "Trapset" (1999), for alto flute, and the illusion of an almost whispered duet in "Bel Canto" (2000), for bass flute. Ms. Monson seemed fully at ease with the demands these works made, but the most compelling aspect of her performance was the degree to which she let musicality take over. A listener noted her technique as a means, not an end. That was generally the case in Ms. Stillman's concert as well, although the only work that made unusual demands was Mason Bates's "Elements." A picturesque suite commissioned for the occasion, the work's movements describe "Earth," "Water," "Air" and "Fire," and if the colors and effects were often predictable (bent notes for "Wind," a rippling piano accompaniment for "Water") they showed Ms. Stillman to be both technically agile and imaginative in her use of color. Mostly, Ms. Stillman's program demanded a more conventional kind of beauty, which she supplied amply, with Hugh Sung as a supportive piano accompanist. Erwin Shulhoff's Sonata (1923) let her put a lovely, rounded tone at the service of graceful melodies in a French Impressionistic style. Ms. Stillman drew on those qualitiesagain in her own transcriptions of Faur, Ginastera and Debussy songs, and filtered them through a chromatic prism in an appealing account of Lowell Liebermann's Sonata (1987). She showed the livelier side of her technique and interpretive sensibilities in the one antiquity on the program, Bach's A minor Suite (BWV 1013) for unaccompanied flute, and a modern echo of Bach's style, Villa- Lobos's "Bachianas Brasileiras" No. 6 (1938), a duet for flute and bassoon in which Ms. Stillman's partner was Darryl Hartshorne.

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