Solo and Chamber Works for: 

Deux Mouvements Pour Flute Seule 
I  Roulade 
II Le Cornemuseur Solitaire 
-Stacey David, flute 

My teacher, Michael Mennone was supposed to perform this work.  Due to illness, I was called upon to take his place a week prior to the performance.  Jim stayed with me while I learned the piece, and was by my side as I practiced.  While the intensity was a bit overwhelming at times, the experience was incredible. This piece opened the program.  We had a solitary stool placed in the middle of an empty stage, with blue lighting.  I can hear him saying, "a touch of blue."  It makes me smile.  There was a lot of energy in the packed concert hall that night.  It was quite an honor (and a total rush!) opening with this unaccompanied piece.  I especially love the plaintive opening and ending of the second movement.  This music became a mainstay in my repertoire long before Mr. Furman's passing, and I still have the manuscript with his notations. 

Deux Movements Pour Flute Seule consists of two movements:  I. Roulade, and II. Le Cornemuseur Solitaire (The Lonely Piper).  The work is dedicated to the memory of Don Wells, former member of the WestConn Music Faculty, and is written from Michael Mennone who will be premiering it tonight. 

The Roulade was finished in Louisville in December 1975.  Le Cornemuseur Solitaire was finished on March 25, 1982, shortly after the completion of the first movement of the Piano Sonata.  Both flute movements are written in a free, improvisatory style with a modified ABA form.  Of the two movements, the Roulade is more thoroughly instrumental.  The B section is similar in style, yet contrasted in content to bot the A sections which surround it. 

The A section of Le Cornemuseur Solitaire is written in an ambellished vocal style.  This section closes with a quick intruding thought, followed by reaching gestures to the highest register of the flute.  Seciton B contains virtuostic passages based on exotic scales and arpeggios.  The material of A returns in its original form.  it is, however, fragmented to contrast with descending trills which were included in the B section. 

Suite for Solo Clarinet 
I  Introitus 
II  Moresca 
III Incantation 
IV  Motore Musica 
-Professor Vincent Krulak, clarinet 

The Suite for Solo Clarinet was completed January 25, 1976, in Danbury, Connecticut.  It is dedicated to and was premiered by Vincent Krulak at Ives Concert Hall in Danbury on March 5, 1976.  The work is in four movents:  Introitus, Moresca, Incantation, and Motore Musica. 

Introitus is "the first in a series of chants sung by the choir in the celebration of the Mass."  In this introductory movement hectic motions (Tempo1 - loud, agitated and extremely fast) are placed in alternation with subdued expressions (Tempo 2 - soft, free and very slow).  In Tempo 2, mournful elements are extracted from the chant feeling and transformed into a contemporary song. 

The second movement, the Moresca, was an ancient Moorish dance popular in court society during thr fifteenth and sixteenth centuries.  Ther performers in the dance were garbed and made up to resemble Moors, wearing bells on their legs which jangled rhythmically to the hopping and stomping features of the dance.  The exotic mood of this movement has been influenced by the music of Ravi Shankar.  Frequent meter changes are characterisitic here as well as in the fourth movement.  Both first and second movements use a developmental approach with an elusive recapitulation.  Nevertheless, movement II is in two distinct parts with an interlude which leads to a close of plaintive music similar to that of the introduction. 

The third movement, Incantation, is a "spell that is sung in a magic ritual."  This spell is first depicted with a twelve-tone melody which is interrupted gently with a staccato figure in the lower register.  The mood is one of reaching hypnotic power which lessens in a free contrasting section.  The opening hypnotic music returns by expanding into an even greater dramatic development.  It gradually subsides and finally dissipates with the gentle staccato figure which was heard in the opening. 

The beginning of the fourth movement, Motore Musica, was conceived by Furman's awareness of motor impuissance.  It begins chromatically in a mood of nervous anticipation and then rises to a frantic climax.  This level of intensity is maintained by the use of wide leaps, grace notes and angular figures, all of which are housed within the confines of constantly changing meters. 

Highijin for Alto Saxophone and Piano was completed in Augutst 1980.  It was commissioned by and dedicated to Philip and Mary DeLibero, both of whom are premiering the work tonight.  The writing reflects an equal partnership between saxophone and piano.  It was inspired by the Seven Buddhist Gods of Luck.  The movements are as follows: 

I.  Benten (Goddess of Love)  is an ABA form.  The A sections have repeated arpeggios which depict a romantic waterfall of fire.  These sonorous illuminations of French Impressionism set a mood.  This becomes an accompaniment when the saxophone enters with a prominet Germanic melody.  The B section is an original folk-like tune in the paentatonic.  It is presented in canon with a pointillistic focus in the piano part. 

II.  Ebisu (God of Abnegation) ia a piano solo.  It has a theme, three variations and a closing chant song.  This movement is based on two Japanese folk songs:  Kochae-Bushi, written in teh Hon-Joshi mode and Yonlyem Jinku.  After the presentation of Kochar-Bushi, the first variation utilizes both melodies together.  Variations II  & III assume greater pianistic brilliance with two interpretations of Kochae-Bushi.  Yonlyem Jinku returns as a closing chant song in a slow, free manner. 

III.  Daikoku (God of Wealth)  is an unaccompanied movement for saxophone.  It is free and virtuostic with kaliedoscopic gestures.  Furman utilizes 20th Century techniques such as harmonics,multiphonics, key pops, flutter and slaptongues. 

Movements IV, V, and VI form a three part unit: 

IV.  Fukurokujin (God of Longevity) consists of 14 canonic variations with an interlude.  The canonic subject is a tone row of perfect fourths.  It appears in the original, inversion, retrograde, retrograde inversion with rhythmic alterations in augmentation an ddiminutioin.  The subject is first stated by the saxophone.  Variation I commences with the entrance of the piano.  The score for Variation III turned upside down - :The last shall be first and the first shall be last" - becomes the music for the next four variations.  The subject for the seven remaining canons is derived from the interlude. 

V.  Jurojin (God of Longevity) is a modified triple fugue.  The subjects are related to the thematic material in the previous movement. 

VII.  Bishamon (God of War) is a tour de force for both saxophone and piano.  A mysterious introduction gradually evolves into a barbaric primitivism.  This is exhibited by constant meter changes, terse harmonies and marked rhythmic displacement.  Despite the plateau technique, there is a continuity which develops out of variety.  Some elements from previous movements are woven into this tapestry and create a psychological effect of unity.  All of these elements lead inevitably into an exultant piano solo.  The opening music returns and builds into a fiery conclusion. 

Piano Sonata 
I  Fantasy 
II A Touch of Blue 
III Sonata Concert Piece 
-Thomas DeStefano, Piano 

The first movement of the Piano Sonata was recently completed in Danbury, Connecticut on March 23, 1982.  Earlier during the same month, finishing touches were put on the second movement.  The third movement was completed in Louisville, Kentucky in August 1980.  This sonata is dedicated to Dominique-Rene de Lerma and will be premiered tonight by Thomas DeStefano. 

Movement I is a through-composed Fantasy which foreshadows stylistic gestures used in the second and third movements.  The piece opens with a brief statement (forte, then piano) played "as rapidly as possible."  This is followed by:  A. a staccato, then legato section;  B. a nocturne;  C. an interlude in free arioso style; and  D.a slow and sustained instrumental hymn. 

Movement II, A Touch of Blue, is a stately American Sarabande in AB-AB-C-AB (ext.) form.  There are occasional harmonic references to jazz.  A fusion of sour-sweet sonorities emerge from a pandiatonic canvas.  An intense pause in time evokes a nostalgic mood for what seems to have been a moretranquil existence in the past. 

Movement III, A Sonata Concert Piece, unfolds as a saga of dramatic intensity.  The prevailing sonorous emotions reflect noble passion, whimsy, struggle with determination to overcome opposing forces, and finally truimph. 

Although sectional, perpetual deelopment prevails.  After a recapitulation, the work culminates with a grand coda of diabolical-like sonorities.  Especially, in this part, are strong virtuostic demands made of the performer.  The sun finally shines through at the very end with an E major chord. 

Sonata for Unaccompanied Violin 
I  Allegro 
II Moderato 
III Presto 
-Eric Lewis, violin 

The Sonata for Unaccompanied Violin was copleted during the summer of 1977 in Louisville, Kentucky.. The work is dedicated to and is being premiered by Eric Lewis. 

The First Movement:  Allegro, begins in an improvisatory manner.  It then assumes a rhythmic pace with gypsy-like exotic intensity.  The theme undergoes a metamorphisis.  There are triple divisions and a slower section with double stops.  More extensive development of the opening ideas occur, after which double stops reappear.  The opening improvisatory statements are reiterated, bringing the movement to a close. 

Movement II:  Moderato is a theme and variations.  The theme is stated with pizzicato.  it is then developed canonically.  A short agitated section leads to a part in an updated Viennese spirit.  The opening music returns intact to form a recapitulatory close. 

Movement III:  Presto is an intensified fantasia based on material from the first movement.  This completes an arch from for the piece as a whole.  The closing "free and rapid" passage is reminiscent of the ery opening of Movement I, which helps to reinforce this arch concept. 

Eric Lewis, Conductor 
Manhattan String Quartet: 
Eric Lewis, Violin I 
Roy Lewis, Violin II 
John Dexter, Viola 
Judith Glyde, Cello 

Westconn Brass Quintet 
Joseph Grasso Jr., Trumpet I 
James Cahill, Trumpet II 
Lawrence Huntley, Horn 
Howard Williams, Trombone 
Andrew Rogers, Tuba 

Alumi Vocal Sextet 
Vira Czerny, Soprano I 
Jessie Landsberg, Soprano II 
Cynthia McCorkindale, Alto 
James Maroney, Tenor I 
William Smith, Tenor II 
George Hawley, Baritone 

Beethoven:  The Grosse Fuge Revisited is a transcription which includes a vocal sextet and Brass Quintet in addtion to the original String Quartet.  It was completed on May 21, 1980.  The Manhattan String Quartet, the Annapolis Brass Quintet, and the Western Wind Vocal Ensemble premiered it on July 29, 1980 at Art Park, Buffalo, New York.  Furman's reaction to Eric Lewis' commission is stated vividly in the following letter: 

When you (Eric Lewis) suggested that I transcribe Beethoven's monumental Grosse Fuge, I was albaze with excitement.  As I touched this mighty opus (and I might add with great humility) there was a deep sense of pride for the confidence placed in me to appoach the "black hole" of musical creativity. 

No one dare change a note of Beethoven! The fundamental Point d'appiu of the string quartet remains intact, with its motor force illuminated by a brass quintet and vocal sextet.  These added dimensions inevitably provide a color option to the original state.  A larger performing community now fortifies existent conversations with dramatic input articulating despair and triumph. 

There are motivic seeds which give birth to the abstraction of words from Shiller's Ode to Joy, while other literary references inspire passages from his Das Lied von der Glocke.  At times, Beethoven's built-in pointillism triggers my imagination toward sound spectra associated with twentieth century procedures, such as microtones, glissandi, slow and fast vibrati, pointillistic punctuation, klangfarbenmelodie, flutter tonguing, rapid repetition of a pitch, a la electronic wailing,etc. 

The late quartets, Op. 132, 130, and 131 form a grand arch with the Grosse Fuge as the central force.  These quartets are a paradox of their time, but the Grosse Fuge has added dimension of prophecy which anticipates sound concepts of the twentieth century.  The Grosse Fuge embraces a past, conventional fugal concept, but transforms it into a seemingly unbridled and sometimes gentle freedom.  It transcends its own time barrier, containing the pathos and anxiety of the Romantic spirit.  It enters the twentieth century like a super rocket exploding with cosmic wisdom. 

In retrospect, I closed as I began my visitation, with a prayer. 

-James Furman 
  

Manhattan String Quartet: 
Eric Lewis, Violin I 
Roy Lewis, Violin II 
John Dexter, Viola 
Judith Glyde, Cello 

Program Notes by James Furman:  When I received the commission from the Manhattan String Quartet to write a piece for them, I became both excited and anxious for not only do they perform with great depth of feeling but all of them are also first-rank players.  Their approach to playing suggested a certain style and character that the music should embrace; however, I was not restricted as to what I could write.  It was very helpful to have the direction and encouragement from my colleague, Eric Lewis, with whom I have enjoyed a warm friendship over the years.  This composition is dedicated to him and to the Manhattan String Quartet. 

My Quartet is romantic in style.  I have endeavored to put "new wine in old bottles" by revitalizing conventional forms such as the fugue, sonata, and rondo.  The melodic lines are usually angular and independent of each other. 

The Quartet is fundamentally in three parts:  I - Introduction-Fugue; II Song; III Dance.  The basic melodic idea for all three movements is presented in the Introduction.  A fugue follows.  After the first three voices of the fugue have entered, the music becomes more agitated.  The Fugue goes directly into the next movement, a passionate Song that is in ABA form.  When A returns, the two lower voices are comprised of music originally found in the two upper voices; and vice versa, the upper voices are comprised of music originally found in the two lower voices.  After this, the music is repeated in its original form. This movement closes gently with sustained choral-like chords.  Movement III, the Dance, is lively with rhythmic drive.  It is sectional, and the main melodic material is based on that of the Fugue and Song.  There is a short coda that closes the work with a blaze of excitement.