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

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Premiere of a new choral work of mine by C4: The Choral Composer/Conductor Collective and Infinitus, March 16, 2023, 7:30pm

To any of you who happen to be in the New York City area on Thursday, March 16, 2023, please consider coming to this concert by C4 (The Choral Composer/Conductor Collective), and Infinitus, a student-led choral collective from Jacksonville University and the first collegiate member of the Choral Composer/Conductor Collective (C4 Network), for A Parable of Choices, a choral concert that explores the nature of decision-making, collaboration, and duplicity. The concert will take place at 7:30pm at the Church of the Transfiguration, 1 E. 29th St., in Manhattan.

This double choir concert will feature sets by both choirs, as well as a set performed together. The concert includes world premieres by C4 composers Hayes Biggs, Robert Buonaspina, Leslie Frost, and Perry Townsend, as well as a special collaborative piece between C4 member Brian Mountfordand Infinitus member Ron Rybaczuk. The concert is rounded out with music by David Lang, Zanaida Stewart Robles, Sarah Rimkus, and Julian David Bryson.

From left to right: Hayes Biggs, Zanaida Stewart Robles, Sarah Rimkus, and Julian David Bryson.

Among the works presented will be the premiere of my O Oriens/Wie schön leuchtet der Morgenstern.

It’s going to be a wonderful evening of exciting new choral music!

Tickets are $20 online, $25 in-person, and $10 for students (with proof of ID). Click the link below for tickets:

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