• "Divining Apollo", for cello and ensemble '... Conductor Reinbert de Leeuw achieved a double-whammy for his ensemble with the world premiere of this remarkable work. He made a big impression at the Amsterdam Cello Biennial and also set the stage for the new series of Thursday-evening concerts at the Muziekgebouw. Daring and originality were unmistakenly present in this new composition by Vanessa Lann. The at times brutal simplicity of the melodic material went hand in hand with a unique, and as far as I'm aware, new concept of form. The four movements of the cello concerto formed, in two groups of two, an embrace of the half-hour intermission of the concert program. The rustling and smalltalk of the public during the break therefore became an integral part of the piece, making one think possibly of practices in the Japanese Kabuki Theater, where actors hold discussions while located amidst the audience, situated on planks above the heads of the spectators. Evoking simultaneously the ancient and the new, that is the power inherent in many of Lann's works. Also in "Divining Apollo," which begins with Dionysian motives: the oboe imitating the aulos, the instrument which was said to have accompanied wild orgies in days of yore. Jazzy, filmlike sounds create the soundscape of the second movement, while the composer interweaves slower, protracted patterns in the brass, which almost test the boundaries of repetition. Gradually the work makes room for the solo cellist to enter in full glory, by - among other things - changing position in each of the movements... '
  Trouw, Kees Arntzen, October 24, 2008

• "Valse Ancienne" or "Thirteen Ways of Looking Out a Window", for cello and piano 'The afternoon began with "Valse Ancienne (Thirteen Ways of Looking Out a Window)" by the Brooklyn-born composer Vanessa Lann. This slow, trancelike work owes a debt to Erik Satie: A repeated pattern of chiming, slightly dissonant piano chords forms the backdrop for epigrammatic motifs and glinting harmonics in the cello. Changes are incremental, and there's little conventional melody. It casts a spell over a listener... Gordon and Hodgkinson dispatched all four pieces with excellent musicianship, both individually and as an ensemble. Transparency, balance, and rhythmic precision were impeccably maintained throughout.'
  The Boston Globe, David Weininger, September 12, 2007

• "Springs Eternal", for violin and piano 'Also inspired by Beethoven, not by the "Kreutzer" but by the "Fruhlings" Sonata, is the new piece which Vanessa Lann composed specially for the (Delft Chamber Music) Festival. For her "Springs Eternal" Lann took as her point of departure the equal importance between the two instruments. In an exciting game of role reversal, based on notes from the Scherzo movement of Beethoven's sonata, the violin gradually takes over the leadership position from the piano. Ferschtman and Barnatan performed the work with theatrical "schwung" ("momentum", German).'
  AD / Haagsche Courant, Winand Van De Kamp, August 14, 2007

• "Landscape of a Soul's Remembering", for string quartet 'Lann's "Landscape of a Soul's Remembering" was clear in concept and design. While cellist Hans Woudenberg stayed in his seat in the first three movements and restated his part again and again, the other musicians exchanged places, playing the parts that already existed on each music stand they arrived at. In this manner one heard the same music again and again, but from a different perspective, as if one looked at a painting with fresh eyes. In the last movement, with Woudenberg on piccolo-cello, everything fell into place, and the music began to dance and hum. With a synchronicity of bowing patterns, the group of four appeared as one organism that was driven by one will.'
  Tilburgs Dagblad, René van Peer, April 5, 2007

• "Is a Bell... a Bell?", for two toy pianos (one performer) 'Vanessa Lann's "Is a Bell... a Bell?" (2004) is a propulsively rhythmic score, but its real charm is its use of two toy pianos with different timbral qualities to suggest orchestration, of a sort'
  The New York Times, Allan Kozinn, September 29, 2006

• "The Flames of Quietude," for symphony orchestra '... The influence of The Hague School of composition, with its angular, anti-sentimental and rigorously worked-through concepts, resounded in Vanessa Lann's "The Flames of Quietude".'
  AD Haagsche Courant, Erik Quint, September 18, 2006

• "Illuminating Aleph," for cantor, choir and instrumental ensemble 'Vanessa Lann went the furthest (on the program) in showing that different musical styles could blend together convincingly. In this surprising new commissioned work everything came together into a unified whole. That probably occurred first and foremost through the philosophical concept upon which Lann based her piece. But also a listener unaware of the aforementioned philosophy would be gripped by the tranquility, the diversity and the color in this subtle work. Subtle, also because quite traditional musical gestures are at every moment cloaked unnoticably within a manner of expression that is original.'
  Trouw, Kees Arntzen, December 13, 2005

  'Composer Vanessa Lann strove in "Illuminating Aleph" (2005) to provide a path for (soloist) Mizrahi which remained within the style of cantorial singing to which he was accustomed. He received, and made the most of, all possible ways in which he could shine - within a perfectly paced dramatic structure.'
  NRC Handelsblad, Jochem Valkenburg, December 13, 2005

  'Composer Vanessa Lann, who wrote a work with the title "Illuminating Aleph" for this production, understood well the particular language of the cantorial singing style.'
  De Volkskrant, Frits van der Waa, December 13, 2005

• "Inner Piece," for piano solo 'Vanessa Lann is an American living in Holland, and her "Inner Piece" (1994, like Meredith Monk's) is [much more] open and optimistic in nature, moving from a rumbling low moto perpetuo to much more jazzy/bluesy materials that emerge above it.'
  Fanfare Magazine, Robert Carl, March/April 2007

  '... a very pleasant, mellow work that at times sounds minimalist but also evokes jazz piano writing. I liked this music a lot, and found it to be fairly distinctive'
  Sequenza21, David Toub, September 12, 2006

  'It's a toccata, and it rolls into a boogie-woogie excitingly, treble-flecking drama tinged with bop traces. Soon a pop tune evolves, drizzled with upper-voiced delicacy --- intricate and attractive.'
  MusicWeb-International.com, Jonathan Woolf, May 6, 2006

  'just check out the remarkable "Inner Piece" of Vanessa Lann, which is driven by a fast ostinato that rolls along for most of eight minutes'
  All Media Guide, David Lewis, May 2006

  '...Lann's "Inner Piece" is a meditative work. Bass notes in the lowest register are syntactically supplemented with, and taken over by, chords rooted in those same notes. Its fairly simple time signatures and minor seventh chords are shoved up against almost jazz-like rhythmic structures that enter and fade as images rather than compositional elements -- which also lends considerable beauty to the work. It's a workout for Mukaiyama, whose dexterous use of the left hand in playing it against the right is remarkable.'
  All Music Guide, Thom Jurek, June 18, 2004

  'Vanessa Lann made a great impression with her minimalistic composition "Inner Piece" in which she demonstrates many layers of compositional ability. She already won the Amsterdam Foundation for the Arts 1995 Prize for Composition for this work. She would make a good candidate for the (Gaudeamus) prize'
  Trouw, Eric van Balkum, September 8, 1995

  '...using rhythm as the most striking element ... from a rumbling trill emerges a refined and jazzy piece... the high speed and energy of the notes provide force and movement ...layers of pitches and colors serve to further accentuate the rhythmic patterns ...the melody that ends the piece comes as an incredible surprise'
  Groene Amsterdammer, Jacqueline Oskamp, October 26, 1994

• "Gardener of the Stream," for symphony orchestra '...In "Gardener of the Stream" there arises a suspenseful balance between, on the one hand, soft, sustained tones and, on the other hand, a diversity of lively rhythmic patterns. This is a strong "process piece," in which one is struck by the symmetry of its structure - more specifically, a mirror form. Fragile tones coming from two groups of violas, placed on opposite sides of the hall, were heard at the beginning and the end. It is an interesting idea to have different groups of instruments, each with their own rhythmic patterns, form a tapestry of sounds. One could not say that Vanessa Lann's music is wanting, either in terms of refinement or a feel for structural proportion. But what must be said is that to write music that sounds so sparse and so tightly packaged, yet builds up such a sense of excitement - there are very few composers who can acheive this.'
  Haagsche Courant, Ad van der Ven, January 21, 2003

• "Resurrecting Persephone," for flute and chamber orchestra '...Vanessa Lann proceeded to draw forth an ocean of sounds from the soloist and the ensemble. Now and then amplification was used to project very special flute techniques which otherwise might have been too soft, but the most special sounds and colors arose through a skillful and inventive orchestration. An exciting composition of 25 minutes in length with an unbelieveable variety of sounds, which the composer had thought through and managed beautifully.'
  Trouw, Kees Arntzen, November 29, 2000

  '...Vanessa Lann did not couple the meaning of the underworld with dark and gloomy sounds. The first and last movements of this arch-like composition sounded light and etherial, with a fragile flute tone which allowed the breath of the performer to be continuously audible. In terms of instrumental color, the first movement is especially beautifully crafted - also in the orchestra.'
  Haagsche Courant, Ad van der Ven, November 27, 2000

  'In the new "Resurrecting Persephone" for flute and chamber orchestra (1999) our concentration is held throughout by the exemplary use of refined, small nuances. Persephone, daughter of Demeter and Zeus, who was captured by Hades to rule by his side in the underworld, was brought back to the world by Demeter and then allowed to return at regular time periods. It is this contrast - in a music of shades and shadows set against a rousing dance of tangible contours - that Vanessa Lann has successfully portrayed, while she represents with flute and drum Demeter's search for her daughter. Having presented the first movement ("Temple of the Mind") as an opening of static stillness, the second movement ("Fruit of the Body") explores the inner regions of the flute through extended techniques, leading to the upwardly-climbing motion of the third movement ("Play of the Spirit") in which Persephone returns for an orgiastic dance before she descends once again in the last movement ("Memory") to the underworld. Even without this helpful storyline, Vanessa Lann's music would remain captivating and enthralling from beginning to end. The first two movements could be seen as a long approach to the trance-like, quasi-archaic dance motion of the main section, which is followed by a coda reminiscent of the first movement. The tight way, not quite concertante, that the orchestra takes over the long lines of the flute, keeps up this portrayal effortlessly until the end.'
  NRC Handelsblad, Ernst Vermeulen, November 29, 2000

• "The Way of the Ram," for large ensemble 'One of the world premieres was "The Way of the Ram," composed by the American-born Vanessa Lann in 1997. This exciting and colorful piece is an example of programmatic music which is totally convincing as such. The one-note rhythmic motive of the double bass which returns again and again after the exhilarating escapades of the brass instruments, wholeheartedly captures the character of a "destiny-leitmotif" and is exceptionally effective. '
  Gelderlander, Ivo Postma, February 6, 1999

• "DD (Double D)," for piano solo '... a work in which technical toughness is combined with subtle visual imagery... "DD (Double D)" combines motoric Minimalist repetition with a Bartokian rhythmic sense and harmonic edge... picturesque'
  The New York Times, Allan Kozinn, January 21, 2000

  '...the gracious keyboard writing and humor of Vanessa Lann's "DD (Double D)" '
  ClassicsToday.com, Jed Distler, 2002

• "Madness and the Moonwoman," for symphony orchestra '...radical, the austerity of Feldman in a beautiful packaging'
  Haagsche Courant, Dimitri van der Werf, May 15, 1993

• "Entranced by the Beckoning Light," for piano solo 'In "Entranced By The Beckoning Light" for piano solo, Vanessa Lann (USA) offers biting sonorities, long angular lines, and a singleminded logic reminiscent of Ruggles or Ornstein.'
  Perspectives of New Music, Vol. 32, No. 2, p. 296, Elliott Schwartz, Summer, 1994

  'The 25-year-old Vanessa Lann surprised us all with "Entranced by the Beckoning Light," a piano piece in which an energetic and grindingly-dissonant climactic arc is created from harmonies which are layered as building blocks upon each other'
  De Volkskrant, Frits van der Waa, September 9, 1993

  '...very special... a small interval grows more and more expressive and pounding... roaring emotions...'
  Amersfoortse Courant/Veluws Dagblad, Emile Wennekes, December 20, 1993

• "Lullabye for a Young Girl Dreaming," for string quartet '... transported us magically into a mellifluous atmosphere'
  Vrouwen, Patricia Werner Leanse, July/August 1991

  '...this young composer possesses an inventive and fascinating intellect. Vanessa Lann is an artist to watch and listen for in the future.'
  International League of Women Composers Journal, Suzanne Summerville, Dr. phil., September 1991

• "Coming Home," for mezzo soprano and ensemble '...with extreme vitality Vanessa Lann engages the singer and guitarist in a gripping, repetitive tune which she places against an already busy background. Lann also knows how to make good use of the improvisational talents of the musicians.'
  Trouw, Kees Polling, February 27, 1995

  '...playful and pop-like'
  Nieuwsblad van het Noorden, Paul Herruer, December 5, 1994

• "Dancing to an Orange Drummer," for large ensemble '...is not only jazzy, as the title suggests. It is also an extremely tightly interwoven piece of polyphony, which is convincing in a fugal manner... very original'
  Gelderse Courant, Maarten Brandt, January 10, 1994

  '...without doubt a piece of craftmanship and technical ability...'
  NRC Handelsblad, Emile Wennekes, October 10, 1997

  'cheerful and enthusiastic'
  ParisTransatlantic.com, 1998

• "In the Moment," for recorder quartet 'Enthousiasm was created by "In the Moment" by Vanessa Lann ... she is able to break through the severe character of the recorder by liberating the free tones. The music swirls and turns inside the sounds, which is in fact an Asiatic technique. The simultaneous singing in octaves - a consistent theme throughout the work - reminds us of Tibetan monks reciting in overtones. Moreover the piece is extremely interesting to look at, as it requires a complete choreography, in which the musicians move towards and away from microphones in a spectacular way in order to color the dynamic flames. The material is quite simple as in a Bartók dance, but the way the input leads to the result is particularly effective'
  NRC Handelsblad, Ernst Vermeulen, February 14, 1998

• "In the Circumference of My Solitude," for viola and double bass ' ... an exciting relationship between structure and content in this piece, giving the listener a clear image of its meaning...emotion and energy came through clearly.'
  Utrechts Dagblad, Serge van Veggel, February 2, 1999

(photo: Vanessa amathea butterfly)