Melody Eötvös (1984) is a Bloomington IN-based Australian composer whose work draws on both multi-media and traditional instrumental contexts.
She has studied with a variety of composers across the globe, including Gerardo Dirié (Australia), Simon Bainbridge (UK), and, most recently Claude Baker & David Dzubay (USA). She has also studied electronic music with Jeffrey Hass, John Gibson, and Alicyn Warren. Melody has had her music performed by ensembles/orchestras such as the London Sinfonietta, BBC Singers, Tasmanian Symphony Orchestra, and the Australian String Quartet, and has participated in several electronic music festivals including SEAMUS 2011 (US), ACMC 2012 (Australia), and ICMC 2011 (New Zealand). Current projects include a Virginia B. Toulmin Foundation Orchestral Commission administered by the League of American Orchestras, the EarShot Foundation (world premiere: Carnegie Hall October 23rd 2015), guest composer for the Bendigo International Festival of Exploratory Music 2015, a commissioned composer for the Synergy 40x40 project (Sydney, AUS), was a composer fellow at the Aspen Music Festival & School 2015, and will be a Composer resident for the Copland House Residency in May 2016.
Melody holds a Doctor of Music (2014) from Indiana University Jacobs School of Music USA, and a Master of Music (2008) from the Royal Academy of Music, London UK.Download Printable Resume
Concerts, Recordings, and Workshops
"In fact, on the program were an aria and a duet from the opera already selected for a spring 2015 debut, a horror story called "The King in Yellow" that composer Melody Eotvos says "is all at once grisly, tender, thrilling, and disquieting." The music performed at the exhibition indicated that Eotvos is on the right track. Her excerpts had a pulse and a tension that seem right for the theatrical content she's fleshing out." - Peter Jacobi, Herald Times.
"An “inherent sense of creepiness,” as Eotvos put it, permeated her quartet Beetles, Dragons & Dreamers. With its relentless unease and occasional explosiveness, it made for a sensationally good centerpiece. The opening theme, Draconian Measures, had a tense lushness, rippling cascades and then what was by now the expected pursuit segment. Lilith, Begone was both the most accessible and menacing piece on the bill, followed by a restless tone poem, The Inanimate Spider and then a lingering, knife’s‑edge conclusion, Trojan Horse. Over and over, Eotvos punctured shifting, atmospheric sheets from the strings with sudden, jagged motives from throughout the orchestra to max out the suspense factor". - Lucid Culture
"The three movements in the piece were well connected, finishing with a compelling third movement…Her composition also showed beautiful use of instrumentation and revealed a very strong character and voice".- Mary Finsterer
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