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Dubbed a “piano goddess” by Arts Houston, Eleonor Sandresky’s music, described as beautiful, liberating, witty, and as having ever-varying qualities of touch, register and intensity by The New York Times, among others, encompasses the acoustic, the electronic and the multi-media, including music for virtuoso soloists and large ensembles, cabaret, art songs, and evening-length collaborations. Her music has been featured in film at Cannes, among other festivals, and can be heard on Koch International, One Soul Records, ERM Media’s Masterworks of the New Era series, and Albany Records. A MacDowell Colony fellow,  her music has been heard on three continents, from the Composers Concordance Festivals to the Totally Huge New Music Festival in Perth, Australia.  She has received grants and commissions from the Lower Manhattan Cultural Council, NYSCA, Jerome Foundation, ASCAP, American Music Center, and Meet the Composer.

In the last year, Ms. Sandresky has collaborated with an impressive list of composer performers, including Kevin Norton, Pat Irwin, Kamala Sankaram and Jim Pugliese in her concert series at Spectrum in NYC, Rétes, creating new compositions with different composer/performers for each concert.  She has also completed a 92 minute film score for Wunderkammern: The Private Life of Objects, with LA filmmaker, Erika Suderburg, a tribute to Terry Riley’s In C, entitled In Short Db,  and will complete a commissioned work for Parthenia viol consort, to be premiered on March 22, 2015.

Working at the forefront of avant-garde concert-as-theater, she reinvented herself as a Choreographic Pianist with her evening-length composition, A Sleeper’s Notebook, premiered at the Kitchen in 2003.  In it she explores her deep interest in how motion translates to emotion through sound, a hyper-emotional experience for the audience and the performer.  Ms. Sandresky’s latest pieces, created for herself as well as other performers, build on these concepts. Her latest commission, from NYSCA, is for a new work for Parthenia choreographed. Please visit www.esandresky.com for more information and to listen and watch.

photo by Robin Holland

Dubbed a “piano goddess” by Arts Houston, Eleonor Sandresky writes music that has been described as “lovely, but enigmatic,” as having “ever-varying qualities of touch, register and intensity,” as “witty, liberating” and “beautiful” by The New York Times, Village Voice and AUFBAU. Her music is featured in film, and at Cannes, and on radio, recently as a part of Hammered 2014 WQXR. Her music has been released on Koch International, One Soul Records, ERM Media and Albany Records. The results of one of her more recent collaborations was a part of the Venice Biennale 2013. She has received grants and commissions from the Lower Manhattan Cultural Council, New York State Council on the Arts, Jerome Foundation, ASCAP, American Music Center, and Meet the Composer. Eleonor has been a composer-in-residence at Swing Space, through the LMCC, at STEIM, The MacDowell Colony, and in Hvar, Croatia, among others.  Recent works include Meditation 2, for choreographed orchestra, The Mary Oliver Songs Book 1: The Return, for choreographed pianist and Wonder Suit, a remote sensor system, with live electronics, and an ongoing series of piano etudes, Strange Energies, that explore the acoustic phenomena of the piano and the way it interacts with the room it sits in. Her latest commission is for Parthenia, for baroque harp and consort of viols, and will be premiered in the Fall of 2014.

She is at the same time one of New York’s pre-eminent new music pianists, with performances and premieres of new works by a wide range of composers from Don Byron and Philip Glass to Eve Beglarian and Egberto Gismonti. She has recorded for CRI, Nonesuch, One Soul Records, New World Records, Mode Records, and Orange Mountain Music, and plays concerts throughout the world.

Working at the forefront of avant-garde concert-as-theater, Eleonor reinvented herself as a Choreographic Pianist with her evening-length composition, A Sleeper’s Notebook, premiered as a part of the Kitchen Keyboard Summit in 2003.  In the choreographic works, she explores her deep interest in how motion translates to emotion through sound, mining her experience as a performer for her compositions. Since 2009, she has been working with Michael Clemow and Semiotech on the design of the Wonder Suit, developed to fulfill her desire for her movements to initiate sound. The Wonder Suit is a collection of wireless sensors that she straps onto her body and piano bench to allow her to initiate and control various electronic parameters in her pieces with live electronics.

In 2013 she initiated a series of collaboration projects that she presented at Spectrum called Rétes: collaboration series. Each month she composed and rehearsed music with or by another composer performer. Her collaborators included Pat Irwin, Kevin Norton, Kamala Sankaram, Jim Pugliese and Mary Rowell. In 2015, the series will include Du Yun, Mrtha Mooke, Andrew Sterman and Randy Gibson.  She continues to perform with Pat Irwin.

As a music director, she has led ensembles in a variety of theatrical settings, from dance performances with Susan Marshall to conducting live ensemble to film with the Philip Glass Ensemble, of which she was a member from 1991 – 2004 and with whom she continues to perform.  Eleonor, is co-founder of the MATA Festival with Lisa Bielawa and Philip Glass.

photo by Robin Holland