Chamber Music of Virko Baley Vol. I Jurassic Bird - Review

Nocturnal No. 4 for Piano - Review

"Of the new works, the most attractive on first listening was Baley's own 'Nocturnal No. 4.' Though reminiscent of the nocturnes and night music of Crumb, it has a strong sense of individuated identify and direction that was mostly missing in other contemporary pieces on the program."

 

— John Henken, Los Angeles Times


"Virko Baley's 'Nocturnal No. 4' uses piano sonority in sophisticated yet highly dramatic ways. In its center are '13 Interludes' — delicate aphorisms each with its own flavor."

 

— Bernard Holland, The New York Times

Nocturnal No. 6 for Piano - Review

"Nocturnal No. 6 evolves from a single melodic line, constantly varied and permitted by the composer: Hints of Ukrainian folk motives creep in and out, and are themselves transformed and fused with other motives."

 

— Oles Kuzyszyn, The Ukrainian Weekly

Nocturnal No. 5 for Piano - Review

"The Baley piece was a Nocturnal, fifth in the series...It was attractive, drawing on the filigree of Chopin and the nature-noises of Bartok's night music in a flittering, dissonant idiom."

 

— Will Crutchfield, The New York Times


"Happily...her program took a turn for the new, first with Virko Baley's 'Nocturnal No. 5,' composed for her in 1980. This is a truly independent and intriguing kind of piece, its concept proceeding from the polytextual motets of the Renaissance. The piano sustains four voices as separate identities in counterpoint...discrete plucked tones in the bass, a running patter of a melody, and above that, sparkling 'night music' events...Spitzer's performance was a tour de force. Her considerable musical and pianistic powers are at their best with such a challenge."

 

— Robert Commanday, San Franscisco Chronicle

Sculptured Birds for Clarinet and Piano - Review

"Mr. Baley's own 'Sculptured Birds' was also austere and experimental — the piano was rattled and strummed, and the clarinet imitated a wind tunnel — but it put these devices to much more musical ends."

 

— Tim Page, The New York Times


"Baley's own 'Sculptured Birds'  the first movement, 'The Jurassic Bird,' composed in 1979; 'Eagle;' 'Bird in the Glide;' and 'The Nightingale' added in 1984, for Mr. Powell — struck deeply. The imagery was keen the musical thought original."

 

— Andrew Porter, The New Yorker

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