American composer born in 1982 in Escanaba (Michigan).
Ashley Fure was born in the United States in 1982. She composes acoustic and electroacoustic works that are played across Europe and the United States. She holds degrees in composition from the Interlochen Arts Academy and Harvard University, where she earned her doctorate in 2013 under the direction of Chaya Czernowin.
She has participated in the Darmstadt Summer Courses, the Tzlil Meudcan New Music Academy, the Festival Acanthes, and the American Academy of Fontainebleau. She has studied with Brian Ferneyhough, Helmut Lachenmann, Joshua Fineberg, Lewis Nielson, Steven Takasugi, Hans Tutschku, Julian Anderson, Bernard Rands, and Sir Harrison Birtwistle.
During her time in Cursus 2 (IRCAM’s composition and computer music course) in 2010-2011, Fure developed a large-scale multimedia installation titled TripWire in collaboration with the artist Jean-Michel Albert, which premiered at the Fresnoy-Studio National as part of the Panorama show. Another installation, Veer, created in collaboration with architects Ellie Abrons and Adam Fure, was the culmination of a ten-month residency at the Akademie Schloss Solitude in Germany in 2012.
Among her instrumental compositions, Cyan for orchestra (2009) was a commission by the Marquette Symphony Orchestra, with support from the National Endowment for the Arts. Aperture/Iris, for ensemble, a commission by Boston’s Calithumpian Consort, premiered in 2010. Wire & Wool for solo cello and live electronics was the final project for her Cursus 1 course at the IRCAM in 2008-2009. Soma for ensemble (2012) was a commission by Staubach Honorarium.
Fure has also collaborated with the Arditti Quartet – Drips of Hiss (Cambridge, 2006), the SurPlus ensemble – Susurrus (2007), Ensemble Nikel – Pull (Tel Aviv, 2010), eighth blackbird – Inescapable (Chicago, 2007), White Rabbit – Névé (Cambridge, 2009), the Curious Chamber Players – Soma (Darmstadt, 2012), Dal Niente – Something to Hunt (Darmstadt, 2014), Klangforum Wien – Feed Forward (Impuls Festival in Graz, 2015), and the International Contemporay Ensemble – The Force of Things (Darmstadt, 2016).
She has twice been a guest of IRCAM’s Festival ManiFeste: in 2014, she collaborated with choreographer Yuval Pick for an electroacoustic piece titled Ply and in 2017, she worked with the Diotima Quartet for her augmented string quartet Anima.
Her music has been broadcast by National Public Radio (United States), Deutschlandfunk Cologne (Germany), Radio Monalisa (the Netherlands), and performed at festivals such as the ISCM World Music Days in Lithuania, the Siren Festival in Göteborg (Sweden), the Third Practice Electroacoustic Music Festival (United States), and the Impuls Festival in Graz (Austria).
Fure was awarded the Julius F. Jezek prize in 2011, which came with a commission for the Talea Ensemble of New York (Therefore I was, which premiered in 2012) and the Adalbert W. Sprague Prize in 2010. She has also been nominated twice for the ISCM World Music Days, and is the winner of a George Arthur Knight Prize, a SCI/ASCAP Young Composers Prize, a IAWM Pauline Oliveros Prize, a Blodgett Composition Prize, and the Oberlin Conservatory Grand Prize in Composition in 2004. In 2013-2014, she was awarded a Fulbright fellowship to France. In 2014, she was awarded the Darmstadt Kranichsteiner Musikpreis. In 2015, she won the Busoni Preis of the Akademie der Künste in Berlin and in 2016, the Grant for Artists from the Foundation for Contemporary Arts in New York.
In 2012, Fure taught composition at the Oberlin conservatory and since 2015 has taught music at Dartmouth College.
© Ircam-Centre Pompidou, 2019
Site de Ashley Fure.
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- Solo (excluding voice)
- Chamber music
- Shrapnel for string quartet (2004), Inédit
- Inescapable for flute, clarinet, violin, cello, percussion and piano (2005), Inédit
- Drips of Hiss for string quartet (2006), Inédit
- elec Susurrus for flute, violin, cello, percussion and electronics (2006), partition téléchargeable sur le site du compositeur
- Pull for electric guitar and percussion (2010), Inédit
- Soma for piccolo, bass clarinet, cello, two percussions and piano (2012), BabelScores
- Therefore I was for cello, percussion and piano (2012), partition téléchargeable sur le site du compositeur
- elec ircam Anima for augmented string quartet (2016-2017), 26 mn [program note]
- A Library on Light for trumpet in B flat, bassoon and double bass (2018), 14 mn about
- Instrumental ensemble music
- Clay Teeth for chamber orchestra (2004), Inédit
- Spines for ensemble of 13 musicians (2005), Inédit
- elec Blush for large ensemble of 17 musicians and electronics (2007), partition téléchargeable sur le site du compositeur
- Névé for oil container and set (2008), partition téléchargeable sur le site du compositeur
- Cyan for orchestra (2009), partition téléchargeable sur le site du compositeur
- Aperture/Iris for ensemble of 9 musicians (2010), BabelScores
- elec Albatross for ensemble and electronics (2014), 15 mn, BabelScores
- Something to Hunt for set (2014), 10 mn, BabelScores
- Feed Forward for ensemble (2014-2015), 20 mn, BabelScores
- elec Bound to the Bow for orchestra and electronics (2016), 17 mn
- Vocal music and instrument(s)
- A cappella vocal music
- elec Steamed for soprano and live electronics (2005), Inédit
- Electronic music / fixed media / mechanical musical instruments
- Unspecified instrumentation
- Echolocator a capella installation (2018)
- Feed Forward for ensemble, 20 mn, BabelScores
- elec ircam TripWire Installation
- Névé for oil container and set, partition téléchargeable sur le site du compositeur
- elec Blush for large ensemble of 17 musicians and electronics, partition téléchargeable sur le site du compositeur
- Une expérience sensorielle viscérale : entretien avac Ashley Fure par Jérémie Szpirglas, March 24, 2017
- Entretien avec Ashley Fure et Mauro Lanza : Deux compositeurs face au quatuor à cordes augmenté par Jérémie Szpirglas, May 30, 2017