Hehlehlooyuh (A Joyful Expression)  -James Furman, "to my mother, Ollie Furman"  
copyright 1978, pub. Hinshaw Music, Inc.  P.O. Box 470, Chapel Hill, N.C.  27514 James Furman's Hehlehlooyuh received its premiere performance in manuscript form at the Danbury First Congregational Church in 1976.  The work has since been published (1978).  The music evolved as a choral concerto and claims African, Hawaiian, Spanish and modal influences.  In reference to the choice of the word "Hehlehlooyuh", Furman remarks "Hehlehlooyuh is a religious expression conveying the ecstatic pentecostal experience."  

- taken from Program Notes by Christian Mau, December 13, 1979   Ives Concert Hall, Danbury, CT  
   

(he always referred to the soprano solo as an "ecstatic seizure")  

The Quiet Life -James Furman, "to the living memory of Irving Fine"  
copyright 1980, pub. Music 70 Publishers, 170 N.E. 33rd Street  Fort Lauderdale, FL  33334  
a.  Quiet by Day  
b.  Sound Sleep by Night  
  --We sang this very contemporary a cappella piece in a program with another chorus.  The audience was breathless.  I think they expected something more traditional sounding in a program of music that otherwise ranged from the 14th through 18th centuries.  The sopranos and altos start with some very long, sustained high notes, a major second apart...and the tonalities change from there.  I recall Mr. Furman telling us the second movement was about college life.  I had a habit of writing down quotes of amusing things people said.  On my copy of this sheet music, I found the following:  

"If they would sing the blues on Mars" and "Electronic people on Mars singing the blues."  -JF  
  

Come, Thou Long Expected Jesus  -James Furman, "In loving memory of my sister, Catherine"  
copyright 1980, pub. Music 70 Publishers, 170 N.E. 33rd Street  Fort Lauderdale, FL  33334  
--We performed James' version of this in a concert, preceeded by Come, Thou Long Expected Jesus by Christian F. Witt (1660-1716). The Witt version is a straightforward hymn, very metered, with all 4 voices singing each quarter note together.  James' is very gentle, flowing, a cappella.  The music is extremely accessible, with nice relaxed lines. He's added an occasional blue note and syncopation between the soprano and alto, breaking up the otherwise predictable tonality and feel.  My friends and I liked it so well, we used to assemble quartets around the dining hall table and sing this favorite.  

Four Little Foxes (1971)  published by Oxford University Press, New York  
1. Speak Gently  
2. Walk Softly  
3.  Go Lightly  
4.  Step Softly  

The 1st and 3rd movements are quartets, the others, full chorus.  This piece is based on a poem that James' niece brought home from school.  The mood portrayals in the music are fascinating.  Here are some program notes from our concert Dec. 13, 1979:  

Mr. Furman was moved to write Four Little Foxes when he found a poem dropped on the kitchen floor by his niece.  This four stanza poem by the late American poet, Lew Sarett, is written in a cycle of four short pieces, each one consisiting of one stanza of the poem.  Although the entire composition was originally conceived for full chorus, this performance will alternate between solo quartet and chorus.  Mr. Sarett's text follows: