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Eleonor Sandresky
North Carolina native Eleonor Sandresky is a graduate of both the Eastman (1984) and Yale (1995) Schools of Music in piano performance and composition respectively. She has been an active member in the New York music scene since her graduation from Yale, both as a pianist and former member of The Philip Glass Ensemble from 1991-2004, and as a curator and advocate for composers, co-founding the MATA Festival together with Philip Glass and Lisa Bielawa in 1996. "Pianist-composer Eleonor Sandresky has long been one of New York's busiest musicians, both as a member of the Philip Glass Ensemble and as a cofounder of composers collective Exploding Music and contemporary-classical festival Music at the Anthology (MATA)"

Composer
She received The Most Promising Young Composer in 1995, been composer-in-residence with Friends and Enemies of New Music which resulted in a commission from Talujon Percussion Quartet, Mathematically Inclined. The piece has also been performed on the Totally Huge New Music Festival in Perth, Australia. In 1997, Sequitur commissioned My Goddess for soprano and chamber ensemble, recorded on Koch International. The Jerome Foundation commissioned It's Come Undone for trumpet, percussion and electronics in 1999, which premiered on the Mata Festival. The following year she became a MacDowell fellow and composed before and after for chamber orchestra, premiered by Nouvel Ensemble Moderne in 2002. Mary Nessinger and Jeanne Golan commissioned Eleonor to compose Voyelles for their Debussy/Berg project in 2006, which was released on Albany Records in 2009.

Eleonor Sandresky writes music that Allan Kozinn of The New York Times decribes as “lovely, but enigmatic,” that TimeOut NY pronounces as having “ever-varying qualities of touch, register and intensity,” The Village Voice reports is “witty, liberating“ and that Leonard Lehrman of AUFBAU hails as “beautiful.”  Her work encompasses music for virtuoso soloists and large ensembles, cabaret, art songs, and evening-length collaborations. Her music was featured in the short film Fault, that opened at Cannes in May 2004. Her music can be heard on Koch International, One Soul Records, ERM Media’s Masterworks of the New Era series, and Albany Records. Eleonor has been a composer-in-residence at STEIM in Amsterdam, at The MacDowell Colony, and at the festival in Hvar, Croatia. Recent premieres include excerpts from Phenomenon 2: etudes, for piano and electronics by the composer, Suite for String Quartet, by Ethel in NYC, and Voyelles, a part of the Innocence Lost: Debussy-Berg Project. Her music has been featured at major venues on three continents, from the Philadelphia Fringe Festival to the Totally Huge New Music Festival in Perth, Australia. She has received grants from the New York State Council on the Arts, Jerome Foundation, ASCAP, American Music Center, and Meet the Composer. Working at the forefront of avant-garde concert-as-theater, Eleonor has reinvented herself as a Choreographic Pianist with her evening-length composition, A Sleeper’s Notebook, that she premiered at The Kitchen as a part of the Keyboard Summit 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. Michele Branwen of HoustonArts, remarks that “Her vision has a freshness and unusualness that has become rare in the avant-garde scene, and her delivery is captivating and true.”  One of New York’s pre-eminent new music pianists, with performances and premieres of new works by a wide range of composers from Steve Reich, Egberto Gismonti, and Don Byron to Eve Beglarian, Philip Glass and David Lang, she has recorded for CRI, Nonesuch, One Soul Records, New World Records, Mode Records, and Orange Mountain Music, and has played concerts throughout the world. "Her language is of a decidedly minimalist stripe, but with ever-varying qualities of touch, register and intensity. From the opening 'Lullaby,' all gauzy harmonic haze drifting amidst beaconlike notes, to the relentless nightmare machine that chugs away throughout 'Dream 2,' A Sleeper's Notebook maps in vivid detail a nocturnal terrain in constant flux."In the summer of 2003, Eleonor was a resident composer in Hvar, Croatia, where she worked with the Hungarian string quartet, Accord. There she composed a suite for string quartet, which she revised in 2006, with a grant from The American Music Center. Ethel gave the premier on the first season of Music With A View in New York. Eleonor composed On The Lip of Insanity for bassist, Peter Askim in 2004 that he premiered in Wroclaw, Poland.

Wonder Suit
While living and working in Budapest from 2004 - 2008, she began incorporating more electronics into her music. After a 2008 residency at STEIM in Amsterdam, the Lower Manhattan Cultural Council awarded Eleonor a Swing Space residency in 2009. She worked with Michael Clemow and Semiotech on the design of the Wonder Suit, 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. The Wonder Suit was premiered in 2012 with her choreographed piano piece, The Mary Oliver Songs: Book 1: The Return at I-Beam in Brooklyn, NY. The Musical Ecologies series in Brooklyn, NY presented some of these works in the Spring, 2014, available soon on Bandcamp.

Eleonor Sandresky has performed and recorded music with a wide range of composers including Peter Gordon, Lucia Dlugoszewski and Eve Beglarian (Go Tell the Birds), as well as premiered works by composers as diverse as Egberto Gismonte (1987) and Randy Hostetler (1998). She has recorded and toured internationally with Essential Music (Mode Records) and Laura Dean Dancers and Musicians and worked as a guest music director for Susan Marshall and Company (2002) and The Philip Glass Ensemble (Nonesuch and Orange Mountain Music), where she conducted the ensemble live to film in Monsters of Grace (2000) and Koyaanisqatsi (in 2002 and 2017). In 2011 she co-curated and produced Music After, a fifteen-hour free marathon concert to commemorate the tenth anniversary of the events of 9/11 with Daniel Felsenfeld.

Designated a Critic's pick by TimeOut NY, in 2013 Eleonor created and curated a collaboration series, Rétes (RAY-tesh), where each month, from June through December, she collaborated with a different composer/performer, premiering the results on that month's concert. Her collaborators covered a broad spectrum of music and included Kevin Norton, Kamala Sankaram and Pat Irwin. In Spring 2015 with Martha Mooke, Du Yun, Randy Gibson and Andrew Sterman. Out of the initial concert series, a collaboration with Pat Irwin resulted in a new performing group, Ensemble 50, with Mary Rowell, Kevin Norton and Jim Pugliese.

Her music has been licensed for the film, Fault (2003), showing at Cannes and other international film festivals. Eleonor recently completed her first dedicated film score (2014), a 92 minute through-composed work for chamber ensemble, in collaboration with the filmmaker, Erika Suderburg, entitled, Wunderkammern: The Private Life of Objects. A live performance of the music synched to film as a part of Tania Leon's Composers Now Festival.

Since 2009 Eleonor is working as associate producer for the film and live orchestra shows West Side Story and On the Waterfront at The Leonard Bernstein Office.

Philip Glass Ensemble
Eleonor Sandresky has been pianist of The Philip Glass Ensemble from 1991-2004. Performing pianist on the soundtrack of Naqoyqatsi and on La Belle et la Bete. In 2017 she conducted Glass' 'Koyaanisqatsi Live! at the Arts Centre in Melbourne. "After you renovate a single room in your home, one of the unintended side-effects can be to make those that remain seem sorely in need of spiffing up themselves; the flaws now seem more naggingly obvious. This thought cropped up again and again during the New York Philharmonic’s fascinating restoration of Leonard Bernstein’s West Side Story score, accompanying a new high-definition print marking the film’s 50th anniversary. One of the pluses: with the painstaking research of Eleonor M. Sandresky, snippets of additional music were audible throughout, the new portions orchestrated by Garth Edwin Sunderland and Peter West."

Works List
 'Mathematically Inclined' (1995)

 'My Goddess' (1997)

 'It's Come Undone' (1999)

 'before and after' (2002)

 'On The Lip of Insanity' (2004)

'Voyelles' (2006)

'A Sleeper's Notebook' (2005)

 'The Mary Oliver Songs: Book 1: The Return' (2012)

Soundtracks
'Fault' (2003)

'Wunderkammern: The Private Life of Objects' (2016)