A welcome addition to any collector who enjoys electronic music.
With a foundation in serial composition and an ear for electronic avant-garde atmospherics,artist/composer Warren Furman exhibits a masterful blend of rhythms, melodies, tones, and sounds. Some pieces are playful and bright, others quiet and entirely soothing, though always engaging.

Flawlessly composed and executed, Furman has created a work of both timeless quality and universal appeal.
...occupies terrain into which few venture.  Furman's music has a darker sheen.  It draws out like a spider's web, with straight and triplet figures scampering past glacially shifting drones and tone clusters.  With each new line, bundle of notes or gesture, a new structure emerges to create new and still-evolving contexts for the structure that preceded it. Throughout all of his work, a sense of mystery and restlessness prevails.
          —George Graham, WVIA-NPR

I was very impressed. Your music expresses human feeling and a lyricism quite Latin!"
                                                                                —Arnoldo Franchetti, composer

I've just given another thorough listen to your KALEIDOSCOPE and had an absolutely moving experience with it.  I especially like TwoSum, Canon  and Satyricus. Satyricus  is great!
                                                                                                  —Ronn Yedidia, composer

My God what wonderful evocative music you have created!!!! I absolutely love it.
Do you have any more of this quality on CD? You Sir are a genius.

                                                                                         — Steve Sliwinski


Hey Coach,

You've been hiding your genius a little too well on the courts all these years.  This CD is the berries! I love it. Very enjoyable.  Very inspirational, very energizing, very thought provoking, very "what the hell have I done with my life so far".  It is definitely doing my Stinger justice. You certainly cover the scale from beautiful and sublime to raucous.  And this is from a computer???  Jeez. You certainly would be at home in the concert venues at Bennington.  You have made the future happen now.  Thanks for the opportunity for me to glimpse toward the horizon.  Sometimes for me electronic music can seem coldly mechanical.  This seems to be expressing the age old notions of human emotions and ideas via today's most recent technological medium.  There is a human being expressing something with these contemporary sounds, not some whiz- bang kid saying " jeez, look at the noise I can make with this new fangled machine".  You scored an ace coach.

                          Your newest fan
                       —Peter Quigg, English teacher and tennis player extraordaire.

This was such a delightful and totally unexpected message from a new friend that I couldn't resist reproducing it here.


Computer Graphics Magazine Cover
click to read the article

Dear Warren,

I'm so sorry! I only just now noticed your e-mails about your music and artwork. Don't know how I could have missed them. I plugged in and was enthralled. Of course I was moved by the Mahler and the Bach but your music was seductive and so was your art. I particularly liked the sequence inside the dirt road art museum—beautiful and oh so clever—the picture of you on the wall—that was you wasn't it? and the changing scenes seen through the open window at the end of the corridor and the trash can with two paper cups lying on the floor which somebody or bodies were too lazy to put into the receptacle. Congratulations. You are very gifted, multi-gifted.

Best of outcomes --

 —Alice Stern, musician and teacher.


Alter Machlis Award

Joseph Dillon Prize

Lisa Machlis Award

IEM Award

New Sounds finalist

Genuine do-it-yourselfers
become involved in all kinds of neat and sloppy endeavors, which could explain how I became, amongst other things, a computer programmer, furniture designer, house and piano rebuilder, businessman and website designer.  I've also been a salesman, handyman, soldier and part time tennis pro, but tend to think of myself simply as one who enjoys being artistically creative.

About my music

My formal education has been diverse and includes a couple of years in architecture plus a degree in industrial sales, but to focus on music, I earned my B.A. at Queens College, NY (now a part of SUNY) and some insights into world music, ethnomusicology and experimental music at Wesleyan University, CT.

My music has won a variety of awards and prizes and has been heard in concert, on FM stations and at several American music festivals.

People often ask me what kind of music I write.  I used to say "modern" or "serial".  Serial technique is a basic compositional tool which treats musical elements as members of a series which may then as a group be inverted, retrograded, stretched, transposed, etc., a-la JS Bach, and is commonly associated with the Viennese composers Arnold Schoenberg, who developed the technique, and his disciples Anton Webern and Alban Berg.

Serialism eventually evolved into what became known as the "international style" which, although it captured but a small segment of the concert-going audience, dominated serious composition for decades.  Anyone who knew serial music, or the names Bartok, Boulez, Cage, Carter, Stravinsky and Varese, had a pretty fair chance of guessing what my music might sound like.  Some exciting works were created in those days, but the "international style" eventually fell into disfavor leaving in its wake a void that has yet to be filled.

If asked now what kind of music I write, I just say, "Electronic music.  You figure out what to call it."  Some have: "new age", "space", "ambient", "movie", "contemporary classical" are some that I've heard.  No one says, "modern", although my music is certainly modern, or "serial", although I draw heavily upon the serial tradition.  I tend to favor "contemporary classical", but not without some discomfort.

I often begin a new electronic work by choosing a group of random pitches that I run through a series of transformations or algorithms until I arrive at one that exhibits the characteristics I need to give shape and flow to a work. It could be a simple arc or pattern, or a fragment that excites me and hints at what might come next.  Once I'm satisfied with a fragment I can make some decisions regarding character, structure, density, etc., and generate a list of "phrases" or "paragraphs" using the fragment as source material.

By the time I've finished these preliminaries, which might take days or weeks, the music has already taken on a life of its own and I have a fairly clear picture of how to proceed.  Then it's mostly a matter of putting the pieces together in a way that pleases me, makes sense and builds a tightly knit and well-balanced whole. Small to large sections can be moved, copied, manipulated, re-orchestrated and transformed in myriad creative ways -- all with little fear of becoming lost in irrelevance.  The results can then be auditioned, edited if necessary, and all but in a click of a mouse.

Yes, I do use and play a keyboard.  I have, in fact, a Kurzweil PC 88 that I don't hesitate to use it when the music calls for it.  But I could go on and on about the joys of new discoveries and of having the means to manipulate them in a host of exciting ways.  Even without a keyboard, all things seem possible.

Some folks enjoy and celebrate unusual music, others have no use for it.  All I can say is there can be much, much more to music than immediately meets the ear.  Andóat least when it comes to modern musicófamiliarity doesn't always breed contempt.

 ADDENDUM: Any one familiar with my music will wonder where all of these new choral pieces came from. Well, they were written or updated for the Wyoming County Chorale, a choral group in the neighboring Tunkhannock. I had a couple of unchallenging little choral works from my student days at Queens College which I updated and, one thing leading to another, rhen composed a couple more vocal pieces for an upcoming concert in May, 2005.  WCC decided to include TrioCVB, for which they enlisted professional instrumentalists. This inspired me to write a couple more choral works, but this time with instrumental parts. I don't have a good recording of the concert, but you can hear the electronic versions  HERE.

About my Paintings

Digital art is an extraordinarily exciting new medium that closely resembles the digital revolution in music and the way music is created, recorded and archivedóso much so in fact that I could not resist applying some of the techniques I use in composing electronic music to my visual art.  Instant gratification is nice, and I experienced much of it at first, but as anyone will tell you who has used professional graphics programs like Illustrator or Photoshop and tried to create faithful and enduring prints of their work, the learning curves can be very long and very steep indeed.

So I can't say that the transition from electronic musician to digital artist was a smooth one.  But I am pleased to report that the migration of the techniques went marvelously well and that nothing could please me more than to one day combine these two disciplines in one dynamic work.  Sometime in the near future, perhaps...
My formal training in art derives from classes in art and architecture at Pratt Institute, the University of Cincinnati, Wesleyan University and Queens College (SUNY) and covers, though not always in the greatest depth, everything from ceramics and sculpture to painting and figure drawing. My works reside in many private collections and online galleries.  Recent "real world" exhibits include:

Solo exhibit at the Tunkhannock Library
Art Soup exhibit at the Lizza Gallery
Solo exhibit at the William Norris Earnshaw Gallery
Triple Visions exhibit at the Lizza Gallery
Monroe County Council of the Arts Annual Members Show
Endless Mountains Council of the Arts 8th Annual Regional Art Exhibit.
Solo exhibit at the Wyoming County Courthouse.
A mostly solo exhibit at the J Farrar Gallery.

R2001 at the Lubelski Gallery
Twenty-seven of my works are on permanent exhibit at the Air Force Research Laboratories, Rome, NY.

Doonnie Award


Award of Merit

Triangles 17

Hill Country
Arts Foundation's


$200 - third place

About my tables

The sixties were challenging times for aspiring composers.  I had just won more prizes than any young composer has any right to expect, and yet, after some profound musical soul searching, found myself mostly rejecting the great wave of serialism that was engulfing the contemporary music scene.  Whether with good reason or not, I'd decided not only that contemporary classical music was dead, but, in fact, that all fine art was dead as well.  There's a whole lot more to this story than I can possibly tell here, but it's how I got into an "art" that most people will surely see as merely a craft.  You will have to decide for yourself.
I'm not sure whether replacing all of the plumbing in an old house is an act of sheer folly, or whether the satisfaction of having done so justifies the effort.  In any case, I found great satisfaction in getting rid all of those old pipes and replacing them with bright new copper tubing.  The materials, in fact, were such a pleasure to work with that I was inspired to fashion them into a cocktail table.  Friends were intrigued by our new addition and, one thing leading to another, I found myself designing a variety of sculptural, geometric shapes for my new art-tables business.

That was many years ago. There has been a long hiatus during which I returned to composition and, as you can see, become involved in the exciting world of digital art.  Bronze fittings with their strong masculine character are no longer manufactured, alas.  But these new all-copper bases, if less masculine, are certainly more elegant .  I'm finding new pleasures in putting them together.