Composer, pianist and inventor, Eleonor Sandresky’s music has been described as beautiful, liberating, witty, and as having ever-varying qualities of touch, register and intensity by critics such as Allan Kozinn and Steve Smith of The New York Times. Her work 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.
2014 was a very fruitful year for Ms. Sandresky. During that time, she composed and premiered STRANGE ENERGIES, etudes for solo piano that explore possibilities in sound particular to the piano, and premiered an updated version of THE MARY OLIVER SONGS BOOK 1 for choreographed pianist with live electronics & sensor system called The Wonder Suit. Improvisation has become an integral part of her work in the last few years and recently she has incorporated live electronics into her improvised works, triggered by The Wonder Suit.
She also composed the music for Wunderkammern:The Secret Life of Objects, an independent art film by Erika Suderburg that premiered in LA in 2015. She has been deeply involved in live music and film performances since the early 90s when she began playing in the Philip Glass Ensembles. Since 2010, she has been producing live film and orchestra events for The Leonard Bernstein Office, as part of the creative teams and supervising the productions of West Side Story Film with Live Orchestra and On The Waterfront Film With Live Orchestra.
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. Her works for choreographed musicians explore her deep interest in how motion translates to emotion through sound, a hyper-emotional experience for the audience and the performer. HoustonArts noted that “Her vision has a freshness and unusualness that has become rare in the avant-garde scene, and her delivery is captivating and true.” Ms. Sandresky’s latest pieces build on these concepts, most recently in her Donne Songs Without Words, commissioned by Parthenia with funds from NYSCA, a state agency.