Called “raw, elemental,” and “richly satisfying” by The New York Times, her work explores the kinetic source of sound, bringing focus to the muscular act of music making and the chaotic behaviors of raw acoustic matter. A finalist for the 2016 Pulitzer Prize in Music, Fure also won a 2018 Lincoln Center Emerging Artists Award, a 2017 DAAD Artists-in-Berlin Prize, a 2017 Rome Prize in Music Composition, a 2017 Guggenheim Fellowship, a 2016 Foundation for Contemporary Arts Grant for Artists, a 2015 Siemens Foundation Commission Grant, a 2014 Kranichsteiner Composition Prize from Darmstadt, a 2014 Busoni Prize from the Akademie der Künste in Berlin, a 2014 Mellon Post-doctoral Fellowship from Columbia University, a 2013 Fulbright Fellowship to France, a 2013 Impuls International Composition Prize, a 2012 Darmstadt Stipendienpreis, a 2012 Staubach Honorarium, a 2011 Jezek Prize, and a 2011 10-month residency at Akademie Schloss Solitude.

Her work has been commissioned by major ensembles throughout Europe and the United States including The New York Philharmonic, The Los Angeles Philharmonic, Klangforum Wien, Ensemble Modern, the Diotima Quartet, Inernational Contemporary Ensemble, Talea, San Francisco Contemporary Music Players, and Dal Niente. 

Notable recent projects include Filament: for Trio, Orchestra, and Moving Voices, hailed as “captivating” and “ravishing” by The New York Times after its premiere at the Phil’s 2018 season gala, The Force of Things: An Opera for Objects, an immersive intermedia opera called “staggeringly original” and “the most purely visceral music-theatre outing of the year” in The New Yorker; and Bound to the Bow, for Orchestra and Electronics, called “boldly individual” by the New York Times and “the most arresting of the world premieres” at the 2016 New York Phil Biennial in The New Yorker.