ISCM World Music Days 2018 Shortlist: Announcement!

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The ISCM's 2018 World Music Days Festival is taking place in Beijing! The shortlist for the British Section's composer candidates has now been announced...

A huge well done to all who applied to the British Section for 2018's World Music Days Festival. It was a tough call, but we can now finally announce our British shortlist of composers. With congratulations to... 


Adam de la Cour

Adam de la Cour (b.1979) writes music, makes films and performs in a variety of
settings. He studied composition with Michael Finnissy at the University of
Southampton. His musical work often features elements of absurdity and
harnesses a variety of styles, including contemporary classical, metal and free
improvisation. He has been commissioned by musicians and ensembles such as Ian
Pace, Zubin Kanga, Mark Knoop, Paul Silverthorne, IXION, Reconsil and CoMA, and
festivals such as Borealis, Spitalfields and MATA, where he was one of four
commissioned composers in 2015. His music has been performed at over 25
festivals worldwide, including HCMF, LCMF, TRANSIT, Bergen International
Festival and Melbourne Festival. His music has appeared in journals such as
Contemporary Music Review and he was nominated for the Arts Foundation
Fellowship by Peter Wiegold in 2013. He is a founding member of the artist
collective squib-box.

twitter @adelacour79

Category 6: PIANO TRIO

Submission Title: 15 Small Anatomic Stumps

Commissioned by the music concert series, 840. This is the second in a series of what I call musical ‘Frankensteins’, in which I’ve taken slivers of material from a
selection of my earlier works and grafted them together to create a new musical
form. Rather than sheer laziness, the process is an exercise in economy. The
overarching concept is influenced by galvanism, the 18th Century method of
animating dissected animals with an electrical current, as mentioned in Mary
Shelley’s Frankenstein. Removed from their original musical bodies, the slivers
are treated as dissected body parts to be re-purposed and re-animated. This is
represented in the overall form of the piece; 15 stumps, each constructed from
multiple musical donors, fleetingly animated as independent, ‘organic’ objects,
separated and ‘viewed’ as cuts on a surgeon’s operating table.


angela slater

Angela Elizabeth Slater

Angela Elizabeth Slater is a UK-based composer. She is also the founder and artistic
director of the Illuminate series. In her AHRC-funded PhD in composition at the
University of Nottingham, Angela developed an interest in incorporating
different aspects of the natural world into her compositions. She has been
working on a series of works that engage with the natural world, musically
mapping certain aspects into the fabric of her music. Angela has worked with
many professional and amateur musicians, and enjoys working with both groups
with equal passion and enthusiasm. Recently she has worked with the BSO,
Bozzini Quartet, Assembly project, Aurea Quartet, BBC Singers, and Psappha,
amongst others. Angela is passionate about the promotion of new music for amateur
and professionals and particularly about raising the profile of female
musicians and composers. Angela has recently participated in the St Magnus
Composition Course 2017, working with Alasdair Nicholson and Sally Beamish and
the Britten-Pears Young Artists Composers’ Course 2017, where she has worked
with Olivier Knussen, Colin Matthews and Michael Gandolfi.

twitter @AngelaSmusic

facebook angelacompositions


Submission Title: Eye o da hurricane

Eye o da hurricane for string quartet (2017)– Angela Elizabeth Slater Eye o da
hurricane was written for a colloborative workshop with writers and the Gildas
quartet at the St Magnus composition course (2017). The piece takes inspiration
and imagery from Christian Tait’s poem ‘Fae da Journal o a Crofter’s Wife’. The
piece particularly draws on imagery from certain lines within the poem

Sae here I am ida eye o da hurricane

while a aathing crashes an roars an birls

aboot me. Destructive an oot o control.

ta read atween da lines, or hoo

my hert vibrates laek fiddle-strings

in tune wi der black despair

sood cry my name A’ll hear him

sammas he wis in da nixt room

But ivvery mennit o ivvery day

I bargain wi da Mellishon, offerin him

my sowl if he’ll bring dem safely hame

Dis is what its laek, aa bi me lane

trapped ida eye o da hurricane 


Grace-Evangeline Mason

Grace-Evangeline Mason currently studies composition at the RNCM. She won the BBC Inspire Young Composer’s Competition 2013 with her piece 'Convergence'. Since then, her work ‘RIVER’ (2017) was commissioned by BBC Radio 4/BBC Proms to celebrate the 300th anniversary of Handel’s ‘Water Music’, which was performed by both the London
Early Opera and Royal Northern Sinfonia, as well as broadcast on BBC radio 4
and 3 respectively. Her music has been performed by members of the BBC Symphony
Orchestra, Aurora Orchestra, Trio Atem and the BBC Philharmonic Orchestra in
venues across the UK and internationally. Her chamber opera ‘The Yellow
Wallpaper’, commissioned by the Helios Collective and based on the short story
by Charlotte Perkins Gilman, was performed at ENO Lilian Baylis House, London,
in 2016. She is currently a composer on the LSO Panufnik Scheme 2017. Grace was
awarded the Royal Liverpool Philharmonic Orchestra’s Christopher Brooks Prize
this year.

twitter @G_E_Mason

soundcloud grace-evangeline-mason


Submission Title: KINTSUKUROI:(Golden Repair)

Repair) is a short orchestral work based on a Japanese form of pottery art in
which broken pottery is mended back together with Gold instead of glue. This
creates individual, fragile golden seams across the pot as they naturally occurred.
In this piece, fleeting and delicate lines encircle the opening above a dark,
undulating texture that builds until it suddenly breaks, which resembles the
shattering of the pot. We are then placed into a constant and iridescent
soundworld reflecting the intentions of the art form; it has been made more
beautiful by having been broken.


Laurence Osborn

Laurence Osborn studied composition with Martyn Harry at Oxford University, Kenneth
Hesketh at the Royal College of Music, and Julian Philips while at the
Guildhall School of Music, where he was awarded the Leverhulme Arts
Scholarship, and subsequently an Artist Fellowship in Composition. In 2018, he
will begin studying for a PhD in Composition at Kings College London,
supervised by Sir George Benjamin. He has written for many companies and
ensembles including CHROMA, The English National Ballet, Mahogany Opera Group,
The London Symphony Orchestra, and The Riot Ensemble. His work has been
programmed at The Royal Opera House, LSO St Luke’s, and Milton Court, as well
as in Denmark, France, Hungary and Switzerland. He is currently
Composer-in-Association with Nonclassical. Laurence was awarded the RPS
Composition Prize in 2017. Current projects include pieces for the London
Philharmonic Orchestra, Ensemble 360, and Filthy Lucre.

twitter @LaurenceOsborn

Category 10: CHAMBER OPERA

Submission Title: April in the Amazon

April is a cabaret singer with an appetite for love, an addiction to strong coffee
and stronger sedatives, and a story to tell. Having invited us in and
introduced her band, she regales us with tales of her travels, and the numerous
love affairs she has enjoyed along the way. Over the course of five anecdotal
songs, April leads us from performances in Berlin music halls, to botanical
expeditions in the depths of the Peruvian jungle, to a particularly bad trip in
the sterile corridors of a mysterious hospital. April’s stories are about love,
adventure, drugs, and our insatiable lust for the people and places we are yet
to come across.


Neil Luck

Neil Luck is a composer and performer and director based in London. He is interested
in live performance, fallible bodies, the pathetic, theatre, the esoteric and
the unesoteric. His music is concerned with sound, of course, but resonates
with other live and fine arts practices. As a curator and producer he has
organised a number of events and festivals which reflect his interests in
performance, collaboration, and questions of taste. Neil founded the
experimental music ensemble ARCO, and co-founded the artist cooperative and
net-label squib-box with Adam de la Cour and Federico Reuben.

twitter @Neilluck


Submission Title: Clubcb

The human mouth has evolved into one of nature’s most effective forms of acoustic
baffling. A fleshy, foamy cave resonating alongside strings-some kind of
decibellic masking where words result in movements. The discomfort and disgust
this can cause ain’t worth questioning: physical balk follows recognition
follows (probably) nonplus.


Ryan Latimer

Ryan Latimer (b.1990) is a composer whose music has been performed throughout the UK and Europe by leading ensembles such as the London Symphony Orchestra, City of
Birmingham Symphony Orchestra, London Sinfonietta, Britten Sinfonia, Orkest de
Ereprijs (Netherlands), Warszawska Opera Kameralna (Poland) and the Workers
Union Ensemble, with whom he was Composer-in-Association during 2014. Ryan was
recently in residence with the BBC Symphony Orchestra as part of the Sound and
Music Embedded Scheme and his new work for the orchestra was performed in March
2016 and broadcast on BBC Radio 3. His recent composition, Moby Dick, written
for the London Sinfonietta in 2014, features on NMC Recordings’ Next Wave
album. The same year also saw the premiere of his first opera, Three Tall Tales
of Doctor Monsieur Façade, commissioned by the Warsaw Chamber Opera in Poland.
He has most recently been a resident composer with the Cohan Collective,
working in close collaboration with four young UK-based choreographers.

twitter @latimer_ryan

soundcloud ryanlatimer

Category 1: Symphony Orchestra

Submission Title: Antiarkie

My earliest exposure to orchestral music of any kind was through cartoons. Even
now, the playful, frenetic, visceral and often discontinuous nature of much of
this music remains an important aspect of my work. Antiarkie offers both a
tribute to and commentary on this characterful music, which is often in itself
a celebration of so many other musical styles. The title refers to the
composer, Scott Bradley, famous for his exuberant Tom and Jerry scores, who
despite being from Arkansas was careful to point out he was not in fact an
‘Arkie’—a diminutive term for a migrant worker from the state. There is also a
suggestion of the Greek word ‘archi’, meaning authority or establishment.
Considering Bradley spent much of his career as a relative outsider, dedicated
to his own niche corner of the industry whilst remaining well in-tune with the
‘serious’ developments occurring within the European avant-garde, the invented
term Antiarkie (read Anarchic) seems a suitably playful homage to his legacy.


Selected works for the ISCM World New Music Days 2018 will be announced by early 2018.

About the International Society for Contemporary Music

The International Society for Contemporary Music (ISCM) is an important international organisation comprised of an Executive Committee and a network of around fifty member countries (or 'Sections'). It is a "premier forum for the advancement, dissemination and interchange of new music from around the world. Through ISCM, [its] members promote contemporary music in all its varied forms, strengthening musical life in their local contexts and making their music and its creators known to world."

Since the ISCM was founded in 1922 in Salzburg, their network has grown to include more than "60 organisations in over 50 countries, on every continent," with its headquarters residing in Paris, France. The Society's primary purpose is to continue the running of its annual associative festivalWorld Music Days.

The ISCM promotes a strong receptiveness to aesthetic and stylistic diversity. Today, more than ever, with the incredible diversity which exists in contemporary musical expression around the world, this ideal is still strongly supported by ISCM members.

ISCM British Section Panel Members:

  • Mark Bowden
  • Lore Lixenberg


















For further information about the International Society for Contemporary Music and World Music Days, you can visit our ISCM information webpage and our ISCM In Previous Years information webpage.  

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