“ 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
Hayes Biggs, Composer
Performance of two of my Piano Preludes on the MSM Faculty: Create! series
Monday, February 9, 7:30 pm, Greenfield Hall, Manhattan School of Music, 12o Claremont Avenue, New York, NY 10027
Music by: Christopher Vassiliades, David MacDonald, Hayes Biggs, Peter Andreacchi, Paolo Marchettini (Music Theory Department)/Matthew Ricketts (Music History Department)/Duncan Patton (percussion department)
Poetry by: Delano Copprue (Humanities Department)
Anthony de Mare will perform “The secret that silent Lazarus would not reveal” (Piano Prelude No. 1, after Billy Collins’ “The Afterlife”) (2015) and “The presence of still water” (Piano Prelude No. 2, after Wendell Berry’s “The Peace of Wild Things”) (2017).
I hope you can join us for what will be a wonderful evening of music and poetry. In case you cannot attend in person, the performance will be live streamed.
MSM Faculty: Create!
“The secret that silent Lazarus would not reveal” takes its title from a poem called “The Afterlife,” by Billy Collins. “While you are preparing for sleep, brushing your teeth, or riffling through a magazine in bed,” Collins writes, “the dead of the day are setting out on their journey. They’re moving off in all imaginable directions, each according to his own private belief…” Lazarus’s secret, the poet reveals, is that “you go to the place you always thought you would go, the place you kept lit in an alcove in your head.” He gives examples that run the gamut from “standing naked before a forbidding judge who sits with a golden ladder on one side, a coal chute on the other” to “approaching the apartment of the female God, a woman in her forties with short wiry hair and glasses hanging from her neck by a string.” Despite — or because of — my hellfire-and-damnation-filled Southern Baptist upbringing, I found this whimsical poem oddly reassuring. In this short piece I imagine a kind of jazzy march of the motley parade participants, tinged with hints of blues and gospel.
“The presence of still water” was inspired by Wendell Berry’s poem “The Peace of Wild Things.” Here are its first lines:
When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
These words resonate even more deeply with me these days, and the title of this prelude comes from Berry’s recalling of the still waters of the 23rd Psalm, a text that I still find comforting. The piece begins by evoking anxiety, and only gradually achieves a calmer, more placid state, as the rhythmic and harmonic structure becomes progressively simpler, just as meditative breathing eventually becomes deeper and slower.
—Hayes Biggs
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