"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