{"title":"Sheet music composed by Hayes Biggs (1957-)","description":"Hayes Biggs (1957-) is a composer.","products":[{"product_id":"biggs-e-m-am-flugel-peters","title":"Biggs: E. M. am Flügel","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: E. M. am Flügel (Poem-Étude)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790300740560\u003c\/span\u003e\n\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 20\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"Edition Peters","offers":[{"title":"Default Title","offer_id":41462913204303,"sku":"EP67486","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/873ff9a60ff470e0a3117007d3290a30.jpg?v=1749696638"},{"product_id":"biggs-mass-for-all-saints-peters","title":"Biggs: Mass for All Saints","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eSATB Choir\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Mass for All Saints\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eLatin\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790300742540\u003c\/span\u003e\n\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 36\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"Edition Peters","offers":[{"title":"Default Title","offer_id":42769240752207,"sku":"EP67612","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/ab25a69f57d36d49c253401e82f5ba9b.jpg?v=1749384364"},{"product_id":"biggs-o-magnum-mysterium-motet-for-christmas-peters","title":"Biggs: O magnum mysterium (Motet for Christmas)","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eSATB Choir\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: O magnum mysterium (Motet for Christmas)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eLatin\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790300740584\u003c\/span\u003e\n\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 12\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"Edition Peters","offers":[{"title":"Default Title","offer_id":42769245896783,"sku":"EP67488","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/987207c05e4944801909776255b109e4.jpg?v=1752417373"},{"product_id":"h-biggs-in-recovery-mode-aca","title":"H. Biggs: In Recovery Mode","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Violin, Clarinet\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: In Recovery Mode (2025)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600236619\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003eThe \"recovery\" here is from nothing dire, not illness nor computer-related disaster. It's more like reclaiming, repurposing, recycling, and reusing. This recovery of is that of old melodies and other thematic material of mine that languished for years in search of a piece or pieces in which they could find a proper home.\u003c\/p\u003e\n\u003cp\u003eIn 1987 I composed a short lullaby in celebration of the birth of a family member's new baby. That tune actually did find its way into a piece for instrumental septet, \u003cem\u003eWhen you are reminded by the instruments\u003c\/em\u003e (1997), but I decided to recycle it yet again in this work. in the new piece, that tune, played in artificial harmonics by the violin, doubled at times in the right hand of the piano, begins the proceedings, and recurs in a few later passages. Soon after, the clarinet enters with a fragment I came up with some years ago, thinking I would use it in an unaccompanied solo for that instrument.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":43756083445839,"sku":"ACA-BIGH-002","price":37.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/f2d78af25472d9ea6b9f330fae2d81e9.webp?v=1780257360"},{"product_id":"h-biggs-reveries-passions-aca","title":"H. Biggs: Reveries. Passions.","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano Quartet (Piano, Violin, Viola, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Reveries. Passions. (2020)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237234\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003eI began working on\n\u003cem\u003eReveries. Passions.\u003c\/em\u003e\nin 1990. It is a piece that, it turns out, I was not yet ready to write when I began struggling with my initial ideas for it. in addition, the vagaries of life and various other projects got in the way, and, though I occasionally glanced at it and picked at it a bit, I basically put it away for about 20 years and really didn't resume work on it in earnest until around 2012.\u003c\/p\u003e\n\u003cp\u003eThe quartet might be described as a reflection of my love of nineteenth century music, particularly in its more obsessive and extreme manifestations. My title refers to that of the opening movement of\n\u003cem\u003eSymphonie fantastique: Épisode de la vie d'un artiste ... en cinq parties\u003c\/em\u003e (Fantastical Symphony: Episode in the Life of an Artist, in five parts)\nby Hector Berlioz (1803-1869), an arch-Romantic if ever there was one.\u003c\/p\u003e\n\u003cp\u003eWhen I began writing Reveries. Passions., I spent time looking at and listening to many quartets and quintets for piano and strings, from the standard ones by Mozart, Brahms, and Fauré to more modern examples by Aaron Copland and my first composition teacher Don Freund, but the one that had the most profound effect on me was Schumann's Piano Quartet in E-flat Major, Op. 47, particularly its slow movement, with its beautiful cantilena and the scordatura low B-flat pedal point in the cello at the end. I quote from the opening of Schumann's first movement near the conclusion of my quartet. Here is a brief synopsis of the three movements of Reveries. Passions.:\u003c\/p\u003e\n\u003cp\u003eI. Passion awakened. The first movement, bearing the indication \"Wistful,\" starts softly and tentatively and becomes increasingly agitated, building to an outburst in the cello, marked appassionato, accompanied by tremolo figures in the other instruments. Once this has subsided, a lyrical tune is introduced in the viola and developed, ultimately leading to a recapitulation of the opening material and a subdued, somewhat austere and desolate sounding coda.\u003c\/p\u003e\n\u003cp\u003eII. Passion mocked. This scherzo is a flippant, sardonic take on the folksong \"Barb'ry Allen.\" The lyrics of that song — which with the right performer can be a very sad, beautiful and moving one — concern a young woman spurning the love of her suitor, who lies on his deathbed. She is angry that he once slighted her while drinking toasts with and to his friends at a tavern, and on her arrival at his bedside she greets him coldly with the words, \"Young man, I think you're dying.\" After she leaves and the young man proves that her observation was indeed correct, Barb'ry Allen hears his funeral bells tolling and dies of a broken heart. in many versions of the song, the two end up buried in the same churchyard, and a rose growing from his grave intertwines with a briar growing from hers in a \"true lovers' knot.\" My treatment of the song ignores these more heartwarming parts of the story.\u003c\/p\u003e\n\u003cp\u003eIII. Passion recalled. Marked \"Lento (Wistful),\" this movement commences with a ruminative — one might say bittersweet — piano solo, which gradually grows in volume and intensity, culminating in the sudden entry of the strings, which bring back material from the first movement, including the lyrical tune initially heard in the viola (the same instrument that plays it this time around). After the climax, all the instruments join to recap the material of the opening piano solo, eventually introducing the Schumann quotation and a quiet ending.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Set of Parts","offer_id":43934367907919,"sku":"ACA-BIGH-003","price":94.5,"currency_code":"USD","in_stock":true},{"title":"Full Score","offer_id":45034847928399,"sku":"ACA-BIGH-003s","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/a497898d17e0015e27a0a00142a9b061.webp?v=1780257510"},{"product_id":"biggs-symphonia-brevis-aca","title":"H. Biggs: Symphonia brevis","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Symphonia brevis (Symphony No. 1) (2010)\u003c\/li\u003e \u003cli class=\"binding\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: Spiral Bound\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237531\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e11.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e16.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eChamber Orchestra:\n0212 - 2200 - timp - strings\u003c\/p\u003e\n\u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSymphonia brevis\u003c\/em\u003e\nwas composed for and is dedicated with thanks to Riverside Symphony, which premiered it under the direction of George Rothman in Alice Tully Hall at Lincoln Center on February 12, 2010. The work employs an orchestra of Classical dimensions (minus flutes), and is in two movements.\u003c\/p\u003e\n\u003cp\u003eThe opening\n\u003cem\u003eIntrada\u003c\/em\u003e, marked\n\u003cem\u003eMaestoso\u003c\/em\u003e, sets forth a fanfare that exerts a strong pull toward a persistent B-Flat Major chord and introduces an insistent timpani motive focused on the note D. An extensive transition —including a cantabile passage for the strings, a duet for oboe and English horn, and a clarinet solo— finally allows an escape from the orbit of B-Flat Major, as more lyrical music centered on F and an upward arching thematic idea for the woodwinds are presented in close succession. A solo trumpet begins repeating the earlier solo clarinet music, when suddenly the orchestra is jerked back to the ubiquitous B-Flat Major center. A very brief development follows, undergirded throughout by the obsessive timpani motive. After a tutti climax, the brass and timpani introduce a short recapitulation that is abruptly cut off by an enigmatic coda featuring, respectively, solo Harmon-muted trumpet and stopped horn—in each case doubled by a single viola—against a curtain of soft sustained string sound. At the top of the texture the oboe intones in a Major sixth interval that will form the motivic basis of the next movement,\n\u003cem\u003eScherzando: Vivace\u003c\/em\u003e. Shorter than the\n\u003cem\u003eIntrada\u003c\/em\u003e, the\n\u003cem\u003eScherzando\u003c\/em\u003e\nfunctions as its foil, dissipating some of its pent-up energy and bringing back some of its material, albeit in a very different rhythmic context.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44297993617487,"sku":"ACA-BIGH-011s","price":115.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/6ddf74c89df5af208263d05287778198.webp?v=1780256971"},{"product_id":"biggs-pan-fare-aca-1","title":"H. Biggs: Pan-fare","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eChamber Ensemble\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Pan-fare (2007)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237548\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eChamber Wind Ensemble:\n2Picc, 2B♭Cl (Bcl), E♭ASax (E♭BarSax), B♭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)\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Full Score","offer_id":44297995485263,"sku":"ACA-BIGH-012s","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Set of Parts","offer_id":44297995518031,"sku":"ACA-BIGH-012p","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/46c67757c4ce9588232a9cb69817a858.webp?v=1780255188"},{"product_id":"h-biggs-the-trill-is-gone-aca","title":"H. Biggs: The Trill is Gone","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eTenor Saxophone\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: The Trill Is Gone (2013)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237555\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Trill Is Gone\u003c\/em\u003e\n, a brief work for solo tenor saxophone, is dedicated to the memory of the American composer and conductor Edwin London. I first met Ed in the late 1970s, when I was a young composer. He was very kind and encouraging to me then, and in 1995 commissioned me to write a piece for the estimable Cleveland Chamber Symphony, which he had founded in 1980. Ed was an inveterate punster, and that penchant for wordplay was ever present in his choice of titles, which frequently riffed on those of popular songs of his youth (\n\u003cem\u003eTwo A'Marvells for Words\u003c\/em\u003e, \u003cem\u003ePsalm of These Days\u003c\/em\u003e\n, etc.). The trills that permeate the opening of my piece gradually become less frequent and ultimately disappear over its course, a stroke of serendipity that provided me with an apt moniker for this little tribute to Ed's mischievous yet gentle sense of humor.\u003c\/p\u003e\n\u003cp\u003eThe opening is marked \"Playfully, with a hint of rambunctiousness,\" and its tempo and character are reminiscent of a kind of jazzy gigue. A transition leading to a tempo shift introduces tenuto repeated notes that diminuendo, intended to create a kind of reverb effect. Once the new tempo takes over, the ensuing music strikes me as more funk-influenced. As the piece proceeds, a more lyrical modal section over an intermittent G pedal provides a calm, if short-lived respite. Shortly thereafter, some of the previous materials are recapitulated, separated by silences of varying lengths.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44297999319119,"sku":"ACA-BIGH-013","price":16.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/1ee24c17bb4c4eb13ef15fac52b6031f.webp?v=1780256949"},{"product_id":"h-biggs-through-to-and-out-of-the-other-side-aca","title":"H. Biggs: Through to (and Out of) the Other Side","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eSaxophone Ensemble\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Through to (and Out of) the Other Side (2018)\u003c\/li\u003e \u003cli class=\"binding\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: Spiral Bound\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237609\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eSaxophone Choir:\n2 Soprano Sax, 4 Alto Sax, 2 Tenor Sax, 2 Bari Sax, and Bass Sax\u003c\/p\u003e\n\u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThrough to (and Out of) the Other Side\u003c\/em\u003e\nis in a single movement comprising several sections. The first is fast, syncopated and edgy, gradually morphing into a gigue-like rhythm. After a series of episodes this section gradually cycles back to the material of the opening, with siren-like wailing in the altissimo registers of the soprano and top two alto parts. A transition ensues, with some rock and jazz elements and a hint of bluesiness, interrupted from time to time by soft four-part harmonies marked \"senza vibrato, ethereal, disembodied.\" A very brief accelerando outburst yields to the heart of the work, a slow movement that is by turns lyrical and austere, with fairly large pauses interspersed, suggesting vast spaces. The opening sonority of this section is a simple simultaneous interval of in a Minor third (C to E-flat), which happens to be the opening sound of a haunting late work of Mozart, his\n\u003cem\u003eMasonic Funeral Music\u003c\/em\u003e. Not sure how this found its way in — it is not an exact quotation from Mozart's piece — but somehow it did. After the climax of this section, a stark two part chorale for the entire ensemble asserts itself, before the mood is swept away by the final section in waltz tempo.\u003c\/p\u003e\n\u003cp\u003eBesides the Mozart reference, another piece, coincidentally also in the key of C Minor, wormed its way into my thinking at the end of this work: the Waltz No. 2 from Shostakovich's\n\u003cem\u003eSuite for Variety Orchestra\u003c\/em\u003e, familiar to anyone who has seen Stanley Kubrick's\n\u003cem\u003eEyes Wide Shut\u003c\/em\u003e, where it accompanies the opening scene. Again, there is no direct quotation, and this reference, such as it is, is even less obvious than is the case with the Mozart. The overall trajectory of my piece seems to travel from a more upbeat, if rambunctious opening, through a much more introspective passage, ultimately returning to a mood similar to the opening, with perhaps more of a satirical cast.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Full Score","offer_id":44298004987983,"sku":"ACA-BIGH-015s","price":78.5,"currency_code":"USD","in_stock":true},{"title":"Set of Parts","offer_id":44298005020751,"sku":"ACA-BIGH-015p","price":57.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/47033cc95febcb7834b1a633e434b6ef.webp?v=1780255192"},{"product_id":"h-biggs-piano-preludes-aca","title":"H. Biggs: Piano Preludes","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237456\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003eThe first three of these preludes were commissioned by Thomas Stumpf, who has performed those three, including the premieres of the first and third. I am grateful to him for requesting these pieces, and encouraging me to return to writing solo piano music.\u003c\/p\u003e\n\u003cp\u003e\"The secret that silent Lazarus would not reveal\" takes its title from a poem called \"The Afterlife,\" by Billy Collins, which I found helpful in my own struggles with the concept of an afterlife.\n\"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 perhaps 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.\u003c\/p\u003e\n\u003cp\u003e\"The presence of still water\" was inspired by Wendell Berry's poem \"The Peace of Wild Things.\" Here are its first lines:\n\"When despair for the world grows in me\nand I wake in the night at the least sound\nin fear of what my life and my children's lives may be,\nI go and lie down where the wood drake\nrests in his beauty on the water, and the great heron feeds.\"\nThese lines resonate even more deeply with me in these uncertain times, 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.\u003c\/p\u003e\n\u003cp\u003eThe third prelude, \"du aber bist der Baum\" (\"but you are tree\") in memory of my mother-in-law, Lois J. Orzel, takes its title from Rainer Maria Rilke's poem \"Annunciation: The Words of the Angel,\" from\n\u003cem\u003eDas Marien-Leben\u003c\/em\u003e\n(The Life of the Virgin Mary, 1912).\nWhen asked her thoughts about a fitting poem to use as the basis of a memorial work for\nher mother, my wife Susan suggested something about the Virgin Mary might be\nappropriate. Lois was a faithful Roman Catholic, and thus Mary was an integral part of\nher devotional life. I immediately thought of Rilke's poems on this subject, which speak\nnot only to the grace and compassion of the Virgin Mother, but also to her strength. The\ntwo annunciation poems in particular show the awe in which she is held by the mighty\nangel Gabriel. in Annemarie S. Kidder's translation, Gabriel presents variations on a\nrefrain: \"I am the day, I am the dew, but you are tree\"; \"I am just breath in woods, but\nyou are tree.\" in the prelude I attempt to suggest Gabriel's overpowering presence as he\nenters Mary's dwelling, only to be met — and astonished — by her quiet and serene\nfortitude.\u003c\/p\u003e\n\u003cp\u003ePrelude No. 4,\nQuicksilver\n, has no specific connection to poetry.\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003ePiano Prelude No. 1 (\"The secret that silent Lazarus would not reveal\") (2016)\u003c\/li\u003e\n\u003cli\u003ePiano Prelude No. 2 (\"The presence of still water\") (2017)\u003c\/li\u003e\n\u003cli\u003ePiano Prelude No. 3 (\"du aber bist der Baum\" (\"but you are tree\")) (2017)\u003c\/li\u003e\n\u003cli\u003ePiano Prelude No. 4 (Quicksilver) (2022)\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44298007969871,"sku":"ACA-BIGH-005","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/4c34446b63e5c5107e8669496f533cf2.webp?v=1780257219"},{"product_id":"h-biggs-inquieto-attraverso-il-rumore-aca","title":"H. Biggs: Inquieto (attraverso il rumore)","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Violin\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Inquieto (attraverso il rumore) (2015)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237463\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eInquieto (attraverso il rumore)\u003c\/em\u003e\nwas composed at the request of the violinist Rolf Schulte, and is dedicated to him with gratitude. It is a great honor to have the chance to write for a great artist whose work I have admired since arriving in New York as a student many years ago. The work's premiere took place on March 4, 2015 at the Kaufman Music Center's Merkin Concert Hall in New York City, performed by Mr. Schulte and pianist Stephen Gosling.\u003c\/p\u003e\n\u003cp\u003eIn Italian, \"inquieto\" means unquiet or restless, even anxious or uneasy, and \"attraverso il rumore\" can be translated as \"through the noise.\" The disquiet I refer to is that of a restless mind, which must work through clatter and clutter to achieve calm. Thanks to my colleague and friend, the composer Paolo Marchettini, for helping me to come up with the right Italian phrase for the title.\nA restless mind is a terrible thing to waste, hence this piece, which is in two movements, played without pause. The first begins with an oddball kind of jazz idea, moving gradually into a slow, somewhat\nsiciliana-like tempo. The second is much more driven and somewhat frenetic, until it finally settles into a reminiscence of the slow music from the first movement.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44298008199247,"sku":"ACA-BIGH-006","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/fe11deb429ee7a31e0a354aa677e8a2c.webp?v=1780256738"},{"product_id":"h-biggs-prelude-freunds-fuguing-tune-in-e-aca","title":"H. Biggs: Prelude \u0026 Freund's Fuguing Tune in E","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Prelude \u0026amp; Freund's Fuguing Tune in E (noch einmal nach Bach) (2012)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237500\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePrelude \u0026amp; Freund's Fuguing Tune in E (Noch einmal nach Bach)\u003c\/em\u003e\nwas composed in 2012 in honor of the 65th birthday of Don Freund, who was my first composition teacher. The subtitle comes, initially, via George Rochberg, whose\n\u003cem\u003eNach Bach\u003c\/em\u003e\n(\"after Bach\"), a solo work for harpsichord or piano, is one that Don encouraged me to look at during our lessons together. At the time I was writing a work for, of all things, oboe, harpsichord and guitar, and was also quite fascinated at the time with Lukas Foss's\n\u003cem\u003eBaroque Variations\u003c\/em\u003e. Like Don (and quite a few other composers active in the 1970s), I was increasingly intrigued by the ways in which one might convincingly make reference to earlier music, either through quotation or allusion.\n\u003cem\u003eNach Bach\u003c\/em\u003e\nseamlessly embeds fragments of actual music by Bach into Rochberg's (at the time) non-tonal harmonic idiom, one of my first inklings of how such integration could occur. Years later, Don wrote a very lovely work for violin and piano entitled Sonapartita, subtitled\n\u003cem\u003eNoch nach Bach\u003c\/em\u003e\n, (\"still after Bach\"), which in turn provided me with my subtitle, which translates roughly as \"once more after Bach.\"\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44298009641039,"sku":"ACA-BIGH-010","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/64a7d45e8e6918e5637673f4f25e394b.webp?v=1780256519"},{"product_id":"h-biggs-susans-waltz-aca","title":"H. Biggs: Susan's Waltz","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Susan's Waltz (2002)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237494\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSusan's Waltz\u003c\/em\u003e\ngrew out of the first Valentine I sent to my wife Susan after our relationship began, a short piano piece incorporating musical material derived by translating the letters of her name into musical notes (see the top pitches in the right hand, mm. 1-4.) Because it was written rather hastily to give to her on Valentine's Day, I never felt the piece was as fully realized a composition as its material merited. An opportunity to remedy that situation presented itself to me when my good friend, the composer and pianist Eric Moe, asked me to write a waltz for a new CD on the Albany label,\n\u003cem\u003eThe Waltz Project Revisited: New Waltzes for Piano\u003c\/em\u003e\n(TROY689). Revisited on this recording is the Waltz Project initiated in the mid-1970s by composer-pianists Robert Moran and Robert Helps. This collaboration resulted in a collection of waltzes by contemporary composers as stylistically diverse as Milton Babbitt, John Cage, Philip Glass, Lou Harrison, Andrew Imbrie, Roger Sessions, Virgil Thomson, Joan Tower and Charles Wuorinen, published in 1978 by C. F. Peters Corporation, and an LP of a number of those waltzes released in 1980 on the Nonesuch label. The Albany CD, issued in 2004, draws half of its selections from the earlier collection; most of the remainder were specifically commissioned by Eric from friends and colleagues, and I am honored to be in that company.\n\u003cem\u003eSusan's Waltz\u003c\/em\u003e\n, subtitled\n\u003cem\u003eValse sentimentale\u003c\/em\u003e, is fundamentally Romantic in spirit, both in terms of rhythmic flexibility—it has many more tempo fluctuations than most of my music—and harmonic language.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44298010787919,"sku":"ACA-BIGH-009","price":14.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/249d83359743587dcf6ca92722c14d01.webp?v=1767131172"},{"product_id":"h-biggs-tagrango-aca","title":"H. Biggs: Tagrango","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Tagrango (Being a Brief Identity Crisis) (1997)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237487\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTagrango\u003c\/em\u003e\nwas written at the request of Andrew Rindfleisch and the Phantom Arts Ensemble for a recital in January of 1998 at MIT which showcased the brilliant pianist Geoffrey Burleson. Since the choice Andrew offered me (along with several of my colleagues) was that of composing either a short tango or a short rag for piano solo, this piece may be seen as attempting to have the best of both worlds, or, less charitably, as demonstrating an inability to make up its mind. I was struck by the fact that the two genres share certain types of syncopations (albeit executed at different speeds). Its short attention span notwithstanding, it is my hope that this tiny piece will divert.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44298017177679,"sku":"ACA-BIGH-008","price":14.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/4f2b614a1392c64945dc13b34021f89a.webp?v=1780257226"},{"product_id":"h-biggs-string-quartet-no-1-aca","title":"H. Biggs: String Quartet No. 1","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eString Quartet (Violin I, Violin II, Viola, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: String Quartet No. 1 (\"O Sapientia\/Steal Away\") (2004)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237470\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44298023075919,"sku":"ACA-BIGH-007","price":91.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/31e860cb0d52df6801efb6903dc13c83.webp?v=1780256330"},{"product_id":"h-biggs-psalms-hymns-spiritual-songs-aca","title":"H. Biggs: Psalms, Hymns, \u0026 Spiritual Songs","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Soprano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Psalms, Hymns \u0026amp; Spiritual Songs (2011)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600237999\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003col\u003e\n\u003cli\u003eFrom Psalm 139 (Holy Bible, NIV) (2007), 8 minutes\u003c\/li\u003e\n\u003cli\u003ePsalm 121 (metrical version by Michael Wigglesworth) 3 minutes\u003c\/li\u003e\n\u003cli\u003eVertue (George Herbert) 4 minutes\u003c\/li\u003e\n\u003cli\u003eThe Bliss of Brahman (Sri Aurobindo Ghose) 3 minutes\u003c\/li\u003e\n\u003cli\u003eLet Evening Come (Jane Kenyon) 5 minutes\u003c\/li\u003e\n\u003cli\u003eGod's Grandeur (Gerard Manley Hopkins) 8 minutes\u003c\/li\u003e\n\u003c\/ol\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44516879663183,"sku":"ACA-BIGH-016","price":55.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/c4176cddbc94c45b60c897b87ca0fdf0.webp?v=1780257201"},{"product_id":"h-biggs-be-gentle-and-kind-with-your-wandering-mind-aca","title":"H. Biggs: Be Gentle and Kind with Your Wandering Mind","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Alto Saxophone\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Be Gentle and Kind with Your Wandering Mind (2020)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600238323\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003eAs someone who often finds it hard to turn off his mind — a condition that has cost me a lot of sleep over the years —, the practice of mindfulness has increasingly been a source of calm. and of course, in meditation one often has to gently pull the mind back from thoughts that would distract, without judging those thoughts—the idea is simply to observe and acknowledge them and quickly return to the practice.\u003c\/p\u003e\n\u003cp\u003eSometimes my mind doesn't just wander, it gets stuck, like a record — that's vinyl, for you younger folks. More frequently than I would like, I lie awake in bed with a repetitive sequence of notes or harmonies playing continuously in my brain, and, unfortunately, the notes usually are nothing I would ever want to use in one of my pieces. They usually seem redundant and banal, but I find it is very difficult to banish them.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBe Gentle and Kind with Your Wandering Mind\u003c\/em\u003e\nwas composed for saxophonist Andrew Steinberg and pianist Ashley Zhang, and received its premiere at the North American Saxophone Alliance Biennial Conference at Arizona State University on March 7, 2020. Here follows a brief account of its various wanderings:\nA gently rippling piano solo opens the work, with repeated patterns of pitches, eventually interrupted by the saxophone, in declamatory phrases marked\nappassionato;\nthe piano figuration outlasts the saxophone's interjections, but ultimately peters out. Quasi-clusters in the piano usher in a passage that has something of a rock feel, but with mixed meters, and with the instruments mostly in rhythmic unison, ultimately reaching a climactic point with extreme high notes in the sax against big chords in the piano. The cluster-like chords return, and the music fades gradually to\npianissimo.\u003c\/p\u003e\n\u003cp\u003eMarked \"Fierce. Relentless,\" the next section once again begins with the piano clusters, and the sax has a timbral trill before introducing a motive featuring fast repeated notes. A multiphonic ushers in a new fast section, in a somewhat jazzy idiom, with lots of syncopation. The fast repeated notes in the sax return, but are interrupted by sudden cessation of motion and another multiphonic, leading to a cadenza for the sax. More stillness ensues with more multiphonics in a section marked\nCantabile\n, which is the closest thing to a lyrical slow movement in the entire piece. This builds to a climactic high point in the sax, interrupted by rapid-fire staccato notes in the piano, which alternate with calmer slow music including low piano chords. All of this is wiped away with the onset of the final section (\nVivo. Scherzando\n), a kind of bizarre, pseudo-medieval equivalent of a gigue that swerves back and forth between the raucously high-spirited and the relentlessly frenetic.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44516881367119,"sku":"ACA-BIGH-017","price":43.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/839fa3ece7467899abbb13128ba1c877.webp?v=1780257281"},{"product_id":"h-biggs-2-poems-from-james-joyces-chamber-music-aca","title":"H. Biggs: 2 Poems from James Joyce's \"Chamber Music\"","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Soprano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: 2 Poems from James Joyce's \"Chamber Music\" (1978)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600238446\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44551948009551,"sku":"ACA-BIGH-018","price":14.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/eb691ec491af8cee1e87a037e6f22713.webp?v=1780256677"},{"product_id":"h-biggs-jacob-wrestling-aca","title":"H. Biggs: Jacob wrestling","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eSoprano, Mezzo Soprano, Narrator, Chamber Ensemble\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Jacob wrestling (2004)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eHebrew (Transliteration)\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600238453\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJacob wrestling\u003c\/em\u003e\nwas composed in the fall of 2004 for TACTUS, the excellent contemporary music ensemble of the Manhattan School of Music, at the request of its conductor, Patti Monson. The theme of the concert Patti had in mind was\n\"Words and Music,\" and she indicated to me that she was particularly interested in works that would combine spoken text with music. Though I had a certain amount of trepidation about trying my hand at using spoken narration, as I had always thought it very difficult to pull off convincingly, I nonetheless found myself greatly enjoying the challenge, and ultimately quite pleased with the result.\u003c\/p\u003e\n\u003cp\u003eThe text that captured my interest is found in the book of Genesis. Jacob, who some years earlier had deceived his twin brother Esau into giving up his birthright and their father Isaac into bestowing on Jacob the blessing intended for Esau, now finds himself preparing for what he hopes will be a reconciliation with his brother. He sends his two wives and his children ahead of him, along with gifts to appease Esau. On the eve of his meeting with Esau, Jacob is described as wrestling with what traditionally has been assumed to be an angel or similar supernatural being, though the original Hebrew refers to him only as \"a man.\" Jacob receives from this man the new name of \"Israel,\" in tribute to his boldness in \"striving with God and with man.\" Since I am in general favorably disposed toward the notion that striving with God is not only acceptable but essential, my choice of this text was, in retrospect, only natural.\u003c\/p\u003e\n\u003cp\u003eThe two singers sing verses from the passage in Hebrew, and the Majority of their musical material derives from the traditional melodic patterns that would be used in chanting this passage in the synagogue.\nI would like to acknowledge Cantor JoAnn Rice, Assistant Professor of Choral Studies at the Jewish Theological Seminary, who provided me with a transliteration of the Hebrew and a guide to its pronunciation and word accents. Rabbi Richard Jacobs, of Westchester Reform Temple in Scarsdale, New York, where it has been my privilege for some years to sing High Holidays services, gave me some very useful and thought provoking commentaries on this text, for which I am very grateful.\u003c\/p\u003e\n\u003cp\u003eInstrumentation: Soprano, Mezzo-soprano, Narrator; Clarinet (doubling Bass Clarinet with low C extension), Alto Saxophone (doubling Baritone Saxophone), Tenor Saxophone (doubling Soprano Saxophone), Percussion, and Piano\u003c\/p\u003e\n\u003cp\u003ePercussion Needed:\nVibraphone; Marimba (with low extension down to C2); Chimes; Medium Sizzle Cymbal; 3 Tuned Gongs (Small, Medium, Large); Large Tam-tam; 4 Tom-toms; Bass Drum; Tambourine.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44552066924623,"sku":"ACA-BIGH-019","price":57.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/3412516cf4a583a486437f0b1bf2fcd2.webp?v=1772744087"},{"product_id":"h-biggs-o-orienswie-schon-leuchtet-der-morgenstern-aca","title":"H. Biggs: O Oriens\/Wie schön leuchtet der Morgenstern","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/fr\/collections\/hayes-biggs\"\u003eHayes Biggs (1957-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eSATB Choir\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: O Oriens\/Wie schön leuchtet der Morgenstern\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Languages\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eGerman, Latin\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600238873\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eO Oriens\u003c\/em\u003e\nis one of the so-called \"O Antiphons\" for each day of the last week of Advent, so named because they all begin with the word \"O\". Each of these titles is a name for Christ, reflecting his attributes as mentioned in scripture. Many English speaking Christian worshipers know these from singing the Advent hymn \"O Come, O Come, Emmanuel\" (Veni Emmanuel), whose individual stanzas paraphrase the antiphons. O Oriens refers to Christ as the Rising Sun or Morning Star.\u003c\/p\u003e\n\u003cp\u003eBoth the words and tune of the chorale \"Wie schön leuchtet der Morgenstern\" are attributed to Philipp Nicolai (1556-1608), a German Lutheran pastor who also authored another celebrated chorale, \"Wachet auf, ruft uns die Stimme.\" Both melodies are perhaps best known in their harmonizations and other adaptations (chorale preludes, movements of cantatas, etc.) by Johann Sebastian Bach. While this hymn is most often associated with Epiphany (the Star of Bethlehem followed by the Magi), it is said that Nicolai wrote it in response to a pestilence that had struck his village in 1597.\u003c\/p\u003e\n\u003cp\u003eThe piece begins with a fanfare-like declamation of\n\u003cem\u003eO Oriens\u003c\/em\u003e\nfor soprano and alto soli, who shortly are joined by the rest of the chorus. Though this section is quite chromatic in its harmonic language, it is connected, if only tangentially, to the oddball in A Major tonality in which much of the work lives. After the initial music concludes, the first verse of the chorale tune abruptly barges in after a short pause, clothed in a very full and active contrapuntal texture. Once it has reached a high point, the piece immediately reverts to a continuation of the text and music of the original treble-voiced duo, followed by a brief final challenge by the full choir to \"darkness and the shadow of death.\"\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Full Score","offer_id":45025051803727,"sku":"ACA-BIGH-020s","price":24.0,"currency_code":"USD","in_stock":true},{"title":"Choral Score","offer_id":45025051836495,"sku":"ACA-BIGH-020c","price":12.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/c1f330ee9aec11a3b873371d4965e85c.webp?v=1780254647"}],"url":"https:\/\/www.ficksmusic.com\/fr\/collections\/hayes-biggs.oembed","provider":"Ficks Music","version":"1.0","type":"link"}