Duo-Concertante for Violoncello and Piano - Review

"The most welcome surprise was Baley's Duo Concertante for piano and violoncello, a quasi concerto following a theme and expansion structure with the cellist and pianist competing in a virtuosity content."

 

— Mark Oliva, Reno Evening Gazette

Orpheus Singing for Oboe and String Quartet - Review

"Orpheus Singing, as the title suggests, is another of Mr. Baley's more lyrical works. The Recitative and Aria movements are joyously songful, the latter ending with a 'tip of the hat' to that Legendary master of American song, George Gershwin. In the final movement, Kolomyika, the composer quotes generously from the traditional Ukrainian round dance, but spins the familiar melodies through some rather unconventional modulation schemes.

 

— Oles Kuzyszyn, The Ukrainian Weekly

Duma, a Soliloquy for Orchestra - Review

"...'Duma, a soliloquy' by Virko Baley is written in a vivid contemporary musical language. A work of original and deep reflections (based on) the motives of the Choral Concerto No. 3 of Artem Vedel, it s a profound contemplation of the life, creativity and tragic fate of that 18th century Ukrainian composer: In the concluding section there is an episode which expresses anger and terror, recreated by brass instruments (and) constructed on the mobile signals of Carpathian trembitas, with which the Hutzuls announce of the occurrence of death; it (in the Duma) becomes for the listener the dramatic summary of the life of (Vedel)."

 

— Kultura i Zhyttia (Culture and Life), Kiev, Ukraine

Dreamtime - Review

"Virko Baley's Dreamtime, a massive chamber work (the oxymoron fits), appeared here in concert and on CD (Cambria) simultaneously...In 19 movements spread across 80 minutes, the piece ranged kaleidoscopically in strategy and technique, evoking the dream world sometimes through the illogic of its sudden contrasts....Embedded like jewels within Baley's Euro-complexities were movements and moments worth taking home: the gently rocking dissonances of 'Tears', the bittersweet chorale of 'In the Labyrinth.' A really astonishing passage was movement 10, 'Parastas', in which (Dorothy Stone's) Ukrainian change-quoting flute glided above the twangy murmuring of two Jew's harps." 

 

— Kyle Gann, The Village Voice


"Virko Baley's Dreamtime, which filled the EAR Unit's entire program at the County Museum last week, threatened gadgetry just from the printed program: 19 movements running 80 minutes, their titles suggesting pre-Columbian, Australian Aboriginal and similar other worldliness...the music spacey, its fragments held together by some unexpected logic, marvelously laid out for the awesome talents of this sovereign ensemble of new music performers, it had its captivating moments. You didn't just listen, as you do with Haydn, you gave yourself to it and sort of floated. Afterward at home, I let the trance continue by running a much-adored movie, Werner Herzog's Where the Green Ant's Dream, a sad and haunting fable set in the Australian outback. If you don't know it, or don't know Baley's music, (recorded on Cambria), it's time you did."

 

— Alan Rich, L.A. Weekly


"As chamber music goes, Baley's opus is grand... Dreamtime lays easily on the ear and the mind...An intuitive, eventful, evening, and work."

 

— Josef Woodard, Los Angeles Times

Violin Concerto No. 1 - Review

"Baley's Violin Concerto No. 1…had something of the same spirituality as Part and Gorecki, but with more subtle complexity and less literal repetition. The opening movement's mournful violin melody kept bleeding into the orchestra, whose delicate sonorities were dotted with vibraphone, marimba, harp, harpsichord and piano…Though European in its polish and complexity, the work provided the very feature that audiences listen for desperately: sonic images memorable enough to take home."

— Kyle Gann, The Village Voice, New York


"My most vivid memory of the afternoon…[was] Virko Baley's Violin Concerto No. 1, quasi una fantasia. Conceived as a requiem, the concerto squeezes the elements of the mass into sonata-allegro form, with Lacrymosa as the exposition, Dies Irae as the development and the Lux aeterna as the recapitulation. The fourth movement stands apart as a festive wake, quoting folk figures with abandon and giving percussion-free reign.

Baley's music has been described as 'multilingual with a Slavic accent', and I can do no better. Somewhat reminiscent of the mystic minimalism of Gorecki and Part, the concerto takes almost cliched near-quotes from Kreisler and Paganini and turns them into an effectively haunting texture."


— Ken Smith, THE STRAD (September 1995)


"The work communicated an inherent beauty even on the first hearing. Its lyrical and idiomatic writing for the violin and its decidedly mournful tone touched the emotions with an immediacy all too rare in contemporary music."

— Esther H. Weinstein, MUSICAL AMERICA (July 1988)


 

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