28 nominations for PRS Foundation supported composers at the Ivors Composer Awards 2024
Huge congratulations to the Composers who have received PRS Foundation support in their career being nominated at this year’s Ivors Composer Awards. 28 nominations feature supported Composers.
36 composers in total have been nominated across eight categories celebrating classical music and sound art. The winners will be revealed at The Ivors Classical Awards on 12 November at BFI Southbank in London.
The Composers who have been supported by PRS Foundation include;
THE IVORS CLASSICAL AWARDS NOMINATIONS 2024
BEST CHAMBER ENSEMBLE COMPOSITION
Celebrating classical works composed for four to eighteen instruments, and for one instrument or voice per part.
MITTERNACHTSLIED composed by Julian Anderson (OPEN FUND FOR ORGANISATIONS / COMPOSERS FUND)
for soprano and ensemble
published in the UK by Schott Music
THE HEARING TRUMPET composed by Hilda Paredes (COMPOSERS FUND / WOMEN MAKE MUSIC)
for flute, oboe, bass clarinet, bassoon, horn, percussion and strings
published in the UK by University of York Music Press
TOMB! composed by Laurence Osborn (COMPOSERS FUND / ISF / RESONATE)
for strings, percussion and piano
UNDONE composed by Soosan Lolavar (ADOPT A MUSIC CREATOR / OPEN FUND FOR MUSIC CREATORS) for solo de-tuned violin and string ensemble
BEST CHORAL COMPOSITION
Celebrating classical works specifically composed for voices; either a capella or accompanied.
BATTER MY HEART composed by Joanna Marsh (COMPOSERS FUND)
for SSAATTBB choir
HALLELUJAH AMEN composed by Oliver Leith (OPEN FUND / COMPOSERS FUND FOR MUSIC CREATORS)
for mixed voices
published in the UK by Faber Music
A CHILDREN’S GUIDE TO ANARCHY
(AN EASTERHOUSE CHILDREN’S MANIFESTO) composed by Brian Irvine (BEYOND BORDERS / NEW MUSIC BIENNIAL / OPEN FUND FOR ORGANISATIONS)
for ensemble and singers
IN YOUR HANDS composed by Amy Bryce (CLASSICAL NEXT)
for youth voices: two SATB choirs with additional upper voices, piano and percussion
TUXEDO: DUST BOWL #3 composed by Hannah Kendall (WOMEN MAKE MUSIC / OPEN FUND FOR MUSIC CREATORS / RESONATE)
for massed ensemble of harmonicas and optional SATB voices
published in the UK by G Ricordi, Universal Music Publishing
BEST LARGE ENSEMBLE COMPOSITION
Celebrating classical works composed for up to thirty-six players.
POUND OF CURE composed by Ryan Latimer (COMPOSERS FUND / OPEN FUND FOR MUSIC CREATORS)
for string orchestra
THE HORSE composed by Matthew Herbert (NEW MUSIC BIENNIAL / THE COMPOSERS FUND)
for orchestra, horse skeleton and electronics
published in the UK by Bucks Music Group
THE SINGING TREE composed by Christian Mason (COMPOSERS FUND / RESONATE)
for five solo voices, children’s choir and ensemble
published in the UK by Breitkopf & Härtel
VIOLA CONCERTO ‘THREE GODDESSES’ composed by Edward Gregson (RESONATE)
for viola and string orchestra
published in the UK by Novello and Co
BEST ORCHESTRAL COMPOSITION in association with Dorico
Celebrating large symphonic works, including works for choir and orchestra.
ECHOES composed by Julian Anderson (COMPOSERS FUND / OPEN FUND FOR ORGANISATIONS / RESONATE)
for solo baritone, chorus and orchestra
published in the UK by Schott Music
HORN CONCERTO composed by Gavin Higgins (COMPOSERS FUND / OPEN FUND FOR MUSIC CREATORS / RESONATE / New Music 20×12)
for horn and orchestra
published by Nimbus Music Publishing
MOSAICS composed by Colin Matthews (RESONATE)
for orchestra
published in the UK by Faber Music
BEST SMALL CHAMBER COMPOSITION
Celebrating classical works composed for one to three instruments, and for one instrument or voice per part.
BYOYOMI composed by Rūta Vitkauskaitė (OPEN FUND FOR MUSIC CREATORS)
for clarinet and string quartet
ENGLISH DANCING MASTER composed by Leo Chadburn (COMPOSERS FUND)
for pre-recorded voices and string quartet
LAKES, MISTS, BATS, DAGGERS, AND FOUNTAINS composed by Laurence Osborn (COMPOSERS FUND / ISF / RESONATE / Classical:Next)
for string quartet
TIDING II (SILENTIUM) composed by Lisa Illean (RESONATE)
for soprano saxophone, percussion, piano and electronics
published in the UK by Faber Music
BEST SOUND ART
Celebrating distinctive sound compositions that exist in hybrid relation to other artforms, environments or situations.
A LADDER IS NOT THE ONLY KIND OF TIME by Benjamin Tassie (COMPOSERS FUND)
three water-powered musical instruments installed in the historic Rivelin Valley in Sheffield accompanied by film, field-recording and live performance to explore ideas of heritage, place, and our changing relationship with the landscape
EACH TINY DROP by Dan Jones (NEW MUSIC BIENNIAL)
sonic accompaniment to Risham Syed’s interactive water ritual on the banks of the River Medlock commissioned by Factory International to open the Manchester International Festival and celebrate connections between Manchester and Pakistan
ORASAIGH by Duncan MacLeod (ADOPT A MUSIC CREATOR)
acousmatic binaural soundwalk composition inspired by the landscape around the tidal island of Orasaigh, located on the coast of South Uist at Boisdale
PO(E)SIES by Una Lee (WOMEN MAKE MUSIC / THE ORAM AWARDS)
live performance work for close-harmony quartet and spoken voice, reincarnating the Korean ancient poetry form ‘Hyangga’
THE BIRD THAT NEVER FLEW by Hanna Tuulikki (WOMEN MAKE MUSIC / OPEN FUND FOR ORGANISATIONS)
place-responsive performance exploring Glasgow Cathedral’s roots in ornithological entanglements and to raise the alarm for critically endangered birds
BEST STAGE WORK COMPOSITION
Celebrating works composed for the stage, including opera, dance and musical theatre.
CALLS TO THIS NUMBER ARE BEING DIVERTED composed by Matthew Grouse (OPEN FUND FOR ORGANISATIONS)
music theatre for two soloists and an ensemble of three
ITCH composed by Jonathan Dove (RESONATE)
opera for a cast of eight singers and twelve players
published in the UK by Edition Peters
THE FAGGOTS AND THEIR FRIENDS BETWEEN REVOLUTIONS composed by Philip Venables (COMPOSERS FUND / NEW MUSIC BIENNIAL)
music theatre for fifteen mixed performers
WOMAN AT POINT ZERO composed by Bushra El-Turk (OPEN FUND FOR MUSIC CREATORS / WOMEN MAKE MUSIC)
opera for two voices, ancient folk instruments and pre-recorded audio samples
