". . . 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, Boston Musical Intelligencer .
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". . . 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, Asymmetry Music Magazine.
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"And Peter Van Zandt Lane's "Magana". . . used Minimalist techniques as a springboard but headed off in different directions."

- - Allan Kozinn, The New York Times.
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"Peter Van Zandt Lane closed the concert with "Poa Pratensis," a concertino for electric guitar that would have come off as danceable if the propulsive rhythms hadn't been so unusual."

- - Adam Hughes, The Hoot.
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"Lane's {Triptiek for tenor sax, bassoon, and electronics} . . .opened with a "big band" jazzy flourish followed by usy figuration and suprising lyricism. . . "

- - Vance R. Koven, The Boston Musical Intelligencer.
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"[A composer] with an extraordinary sense of rhythm. Watch out for this one."
- - Francisco Kröpfl.

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"Beautifully layered sound, really thick, perfectly balanced- [music that] gives an amazing first impression." - - ShesTheMorningandtheNight Music Reviews

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Cleveland Orchestra Reading - Nothing about the music... But theres a nice picture of me and Andrew Grams, intensely staring at my score in front of the Cleveland Orchestra.
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