Interestingly, the work that tried to please the least was the most compelling. Hayes Biggs’ piece Ave Formosissima harkens back to the dance-mad, melismatic and slightly raucous music of the Middle Ages. But the score, with its zig-zagging lines and pungent dissonances, is genuinely contemporary.”

—New York Times

A Consuming Fire, a short, zesty trio by Hayes Biggs, led off the evening. The piece is framed by some engagingly angular rhythmic writing, with a lyrical nougat at the center.”

—San Francisco Chronicle

[The] most convincing and coherent performance [was] Hayes Biggs’ homage to his composer/pianist colleague Eric Moe, E.M. am Flügel, a short piece with romantic gestures and echoes of Berg and Stravinsky.”

—Aufbau

The Mass for All Saints would be an exciting challenge for those choirs skilled in precise intonation and rhythmic agility. Biggs writes with knowledge of and respect for the expressive capabilities of the human voice.”

—Choral Journal

Hayes Biggs’s wedding motet Tota Pulchra Es, here being sung for the first time, impressed by its quiet solemnity and neat working of its expressive opening motif: not empty fanfares but a reminder of the seriousness and privacy of love.”

—New York Times

Mass for All Saints by composer Hayes Biggs releases shadows transformed into tendrils of light by the arabesque of the vocal line. Contrapuntal procedures are used to their utmost expressive effect. [It] is a work of a melodist of talent in the manner of Puccini, or better yet, Respighi.”

—La Liberté

The Biggs song, Northeast Reservation Lines, is a real party piece... the sneakiness of the changes, the liveliness of the music and the verve of the performance worked handily... a potential recital hit in the vein of Bernstein’s I Hate Music cycle.”

—The Village Voice

All the works tried a return to tonality typical of the decade; the most successful made the return oblique and ambiguous. Hayes Biggs’ O Sacrum Convivium took off from the motet of Tallis, yet it handsomely reconfigured early modes in a modernistic scheme of free tonality.”

—New York Times

Hayes Biggs’ To Becalme His Fever... is a vivid evocation of anxiety, fits and repose. The language embraces pointillistic colors, romantic lines and prickly episodes when the demons hover. Biggs claims a forceful and subtle dramatic hand, along with a keen command of instrumental resources.”

—The Plain Dealer

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Works

Orchestra, Large Ensemble

2010

15'30''

APNM

02(EH)12 2200 Timp Strings

2007

3'

2Picc, 2B≤Cl (Bcl), ASax (BarSax), TSax, Tpt, Trb, Tba, Pf,

2perc: Perc. 1: (Steel Pan (Soprano), Pedal Bass Drum, Tambourine with Foot Pedal, Vibraslap (shared w. Perc. 2); Perc. 2: Bongos, Congas, Vibraslap (shared w. Perc. 1), Chinese Opera Gong (upward bending), Marimba (4.5 octave)

1995

15'

1(Picc)1(EH)1(Bcl)1 1110 Timp, 2 Perc, Strings (solo or sections)

1995

Flute (doubling Piccolo and Alto Flute), Oboe (doubling English Horn) and Piano
Duration: ca. 9 minutes
Publisher: C. F. Peters Corporation, Edition Peters 67675

1989

2'

4hn, 3tpt, 2trb, btrb, tba, timp, 2perc

Organ Solo

2010

24'

APNM

Voice and Piano (Soprano voice unless otherwise indicated)

Sephestia’s Song to Her Child (poem by Robert Greene)

1991

3'30''

1984

3'30''

Margun Music, Inc., available from Music Sales Group and J.W. Pepper

Soprano and Piano

Lay your sleeping head, my love (poem by W.H. Auden)

1982

5'

O cool is the valley now (poem by James Joyce)

1978

1'

i carry your heart (poem by E.E. Cummings)

1977

2'

Strings in the earth and air (poem by James Joyce)

1977

1'30''

Voice(s) and Instrument(s)

f1994

5'30''

Female Voice and and 4 violoncelli

1989

8'

Tenor, viola and piano Score

1985

15'

Soprano, flute/alto flute/piccolo, clarinet/bass clarinet, violin, cello and piano

rev. 1987

1985;

10'

Margun Music, Inc., available from Music Sales Group and J.W. Pepper

Soprano (who preferably also plays claves and tambourine, though a separate percussionist may be used), Clarinet, and Violoncello

Voice(s) and Chamber Orchestra

2002

15'

APNM

Eleven Haiku Settings for Four Voices Unaccompanied (solo quartet or chamber chorus)

1988

20'

Soprano, Mezzo-Soprano, Tenor and Bass-Baritone soloists, 2 fl (Picc/A Fl),
ob(EH), clarinet/bass clarinet I, bass clarinet II/contrabass clarinet, horn,
trumpet, trombone, 2 percussion, piano, harp, 4 violins, 2 violas, 2 cellos,
double bass

Chamber Music

2015

14'

APNM

Violin and Piano

2008

9'

APNM

Flute, Violoncello, Piano, Harp

2007

8'

APNM

2004

8'

APNM

Narrator, Soprano and Mezzo-Soprano Soli, B Clarinet
(doubling B (doubling Baritone Saxophone
in E), Tenor Saxophone in B (doubling Soprano Saxophone in B), Percussion
(1) and Piano

2004

25'

String Quartet: O Sapientia/Steal Away

2002

12'

APNM

2 soprano, mezzo-soprano, 2 alto, tenor and bass soli, SATB chorus, piano, four hands and finger cymbals

1997

10'

Oboe (doubling English horn), Clarinet in B≤ (doubling B≤ Bass Clarinet), Horn, Violin, Viola, Violoncello, Contrabass)

1995

9'

Flute (doubling Alto Flute, Piccolo), Oboe (doubling English horn), Piano

1990

3'30''

C. F. Peters Corporation, Edition Peters 67488

Mixed Chorus with instruments

2016

5'

APNM

SATB (with divisi), Finger Snapping, Vibra-Slap, Chinese Opera Gong (poem by Jane Shore)

2004

2'

APNM

mixed chorus and oboe d’amore (or English horn)

2003

5'30''

APNM

Mixed chorus, flute (doubling piccolo), clarinet in B, and piano

2000

3'

Mixed chorus, oboe, English horn, violoncello and congas

1999

15'

Mixed chorus, flute (doubling piccolo and alto flute), English horn, clarinet, bass clarinet, bassoon, trumpet (doubling flügelhorn), percussion, harp, piano, violoncello and contrabass

1999

14'

C. F. Peters Corporation, Edition Peters 67947

Mixed chorus, horn and organ

1998

8'

C. F. Peters Corporation, Edition Peters 67948

Mixed chorus, 2 flutes (1=alto flute, 2=piccolo), 2 violas, violoncello and contrabass

Choral, Mixed Chorus with Organ

1986

4'

Mixed chorus (with divisi), organ

Choral, Treble Voices, unaccompanied

2004

2'30''

APNM

SSAA unaccompanied

rev. 1999

1975;

Choral, Treble Voices with Vocal Soloist and Instruments

2008

3'

APNM

Baritone solo, SA choir (with divisi) and harp

2002

2'30'

APNM

Baritone or Bass solo, chorus of sopranos (two parts), alto flute, oboe d’amore and cello

2001

2'

APNM

Mezzo-soprano solo, SSA, two flutes, 2 oboe d’amore and finger cymbals (or triangle)

Choral, Men’s Voices, unaccompanied

Miserere mei, Deus

1997

4'

Choral, Men’s Voices, with Instruments

2005

Four-part male chorus, violoncello and
harp

Chorus, Treble Voices, with Instruments

2006

Two sopranos (soli or chorus) and flute

Choral, Mixed Voices, unaccompanied

2014

5'

SSAATB

SSAATB

2012

5'

APNM

SATB (with divisi)

2011

5'

APNM

SATB (with divisi)

2008

2'

APNM

SATB (with divisi)

1998

10'30''

C. F. Peters Corporation, Edition Peters 67678

1998

7'

C. F. Peters Corporation, Edition Peters 67949

Mixed chorus unaccompanied (with divisi)

1997

1'40''

APNM

Mixed Chorus Unaccompanied

1991

4'

4 voices unaccompanied (SATB soli or chorus)

1989

3'30''

C. F. Peters Corporation, Edition Peters 67489

1988

4'

1987

3'

C. F. Peters Corporation, Edition Peters 67578

Christmas Music (pieces that originated as holiday greetings)

2008

3'

APNM

Baritone solo, SA choir (with divisi) and harp

2008

2'

APNM

SATB (with divisi)

2006

Two sopranos (soli or chorus) and flute

2005

Four-part male chorus, violoncello and
harp

2004

2'30''

APNM

SSAA unaccompanied

2004

2'

APNM

mixed chorus and oboe d’amore (or English horn)

2002

2'30'

APNM

Baritone or Bass solo, chorus of sopranos (two parts), alto flute, oboe d’amore and cello

2001

2'

APNM

Mezzo-soprano solo, SSA, two flutes, 2 oboe d’amore and finger cymbals (or triangle)

2000

3'

Mixed chorus, oboe, English horn, violoncello and congas

1998

10'30''

C. F. Peters Corporation, Edition Peters 67678

Quem vidistis, pastores?

1996

2'30''

O Sapientia

1995

2'30''

Videntes srellam

1994

2'30''

1990

3'30''

C. F. Peters Corporation, Edition Peters 67488

1988

4'

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