"Peter Van Zandt Lane's original score explores anarchy and identity in a refreshingly relevant way."
- - Brian Schaefer, Link to full article
"Ballet needs live music and this one offered it on the highest level . . . Lane's voice is expressed with a large and varied vocabulary . . . Lane made the soundworld his own with distinctive electronic overlays which were quite un-bleep-bloopian. They growled, trembled, rang and commented on the live instruments in consistently intriguing ways."
- - Lee Eiseman, Link to full article
"On Friday, the same day that hacker Jeremy Hammond was sentenced to 10 years in prison for his role in the vigilante attacks of Anonymous, an altogether more artistic outcome for the online network took place. The hour-long premier of HackPolitik at the Boston University Dance Theatre . . . reflects the story of the Anonymous . . . and the rise and fall of its hacker splinter group LulzSec. . . Though the final production looked nothing like a traditional ballet, with not a tutu in sight . . . audiences came away with a new appreciation for contemporary dance and it's ability to address modern-day issues."
- - Parmy Olson, Link to full article
"... one had the sense of being in the presence of color-pictures... Lane has a good ear not only for instrumentation, but also for spacing... particularly evident in the slower, more consonant third movement that simply sang as it glittered in the light."
- - Mary Wallace Davidson, Link to full article
"And Peter Van Zandt Lane's Magana, with a repeating, syncopated clarinet figure taken up contrapuntally in the cello and percussion writing . . . used Minimalist techniques as a springboard but headed off in different directions"
- - Allan Kozinn, Link to full article
"... Aeromancer moves seamlessly between worlds, touching on little bits of various genre's here and there, resting long enough to tickle anyone's naughty bits, no matter their personal musical aesthetic... setting toes a-tapping until easing back into a gentle flowing of both live and heavily processed bassoon textures. Very, very well composed, in my opinion."
- - Peter Karman, Link to full article
"[A composer who] understands the rules of music and breaks them with intent - one who understands them well enough to manipulate them . . . particularly in the last piece, in which the players were hooked up to microphones producing electronic echoes. Soprano Jennifer Ashe added dramatic richness to the piece. Peter Van Zandt Lane reconstructed the elements of sound and the role of electronics and voice to form a new sort of musical, portraying the entire arc of life, death and renewal."
- - Viet Tran, Link to full article
"Seven Rants (composed and conducted by Peter Van Zandt Lane) . . . received an excellent performance . . . Seven Rants is a series of charming miniatures for wind instruments, each getting a mini-concerto in a movement or "rant" surrounded by a first and last movement that are palindromes, both rhythmically and pitch-wise. The flutist, Carol Vater, moved over to stroke the piano's inner strings (in one direction) during the bassoon and horn solo. She did such a nice job that for once, I didn't find this an obnoxious cliché. The clarinet solo from Lori Mondragon was charmingly jazzy. All in all, a lovely, accessible piece."
- - Susan Miron, Link to full article
"Both Lane and Davidovsky emphasize the further level of collaboration that comes from living on the Wellesley campus together, rehearsing, attending colloquia, and (not to be underestimated) eating and drinking together at meals and at the end of the day. Davidovsky insists that a true sense of the place cannot be gained by anything less than spending a full day there to truly appreciate 'the sense of industry and dedication of the artist.' From Lane's perspective, the concentrated community offers composers 'a chance to interact for an extended period of time with the people who will be their audience.'"
- - Zoe Kemmerling, Link to full article