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.”


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

Follow & Share

Sign up to receive email updates with the latest blog posts, news, and concert dates.


Christmas Morning, 2012

Happy Holidays to all!

O magnum mysterium was completed in 1990. My memory is fuzzy on this, but I think I wrote the opening of it to use as my musical holiday greeting in 1989 and then finished it during the following year. More on my musical Christmas card tradition — which has gotten sidetracked a bit in the last couple of years — in a later post. This motet is published by C. F. Peters.

Cover of the C. F. Peters edition of my “O magnum mysterium.”

In the meantime, enjoy this 1991 performance by The Rhodes College singers under the direction of my friend, teacher and mentor Tony Lee Garner. (I sang with him as a member of the bass section when I was a student there in the seventies.) The text and a translation follow.

O magnum mysterium, et admirabile sacramentum, ut animalia viderent Dominum natum, jacentem in praesepio! O Beata Virgo, cujus viscera meruerunt portare Dominum Christum. Alleluia.

O great mystery and wondrous sacrament, that animals should behold the Lord lying in a manger. O blessed Virgin Mary, whose womb was deemed worthy to bear the Lord Jesus Christ. Alleluia.

One Comment  |  Posted in Composers, Hayes Biggs, News


  1. From Hayes Biggs on August 7, 2013

    Thanks for commenting! To the left of the post is a section called “Follow and Share,” where you may sign up for email updates, etc.

Leave a Comment

© Hayes Biggs  |  Site by Roundhex