Melody Eötvös, Composer in Residence 2025
Melody Eötvös (1984) was born in the Southern Highlands, NSW, Australia. From the age of five she studied piano and music theory under her parent’s tutelage and at eight began learning the cello which coincided with her first experimentations in composition. Eötvös has composed 19 orchestral works to date, and embraces both acoustic and electronic components across her extensive output. Commissions in 2023 include a major new work for Synergy Percussion through Percussion Australia, a string trio for the Stradbroke Chamber Music Festival, a wind quintet for Arcadia Winds in celebration of their 10 year anniversary, and an orchestral work for the Melbourne Conservatorium of Music Symphony Orchestra international tour (Singapore and Malaysia). Melody is a Lecturer in Composition, Aural Studies, and Orchestration at the Melbourne Conservatorium of Music. 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.
As Composer in Residence 2025, Melody has been commissioned to compose a work for Ensemble Q, to be premiered on March 17 at QPAC. The performance will be broadcast nationally by ABC Classic.
Melody will also mentor two emerging composers in the creation of new works for the Soundscapes & Stories - A One Day Festival event on September 27 at Sandgate Town Hall. Her work for string trio "Once to Find" will be featured at this event and she will take part in an open conversation alongside composers Joe Twist and Paul Dean.
As Composer in Residence 2025, Melody has been commissioned to compose a work for Ensemble Q, to be premiered on March 17 at QPAC. The performance will be broadcast nationally by ABC Classic.
Melody will also mentor two emerging composers in the creation of new works for the Soundscapes & Stories - A One Day Festival event on September 27 at Sandgate Town Hall. Her work for string trio "Once to Find" will be featured at this event and she will take part in an open conversation alongside composers Joe Twist and Paul Dean.
WORLD PREMIERE - MONDAY 17 MARCH, QPAC
We are proud to have commissioned Melody Eötvös to compose a new work for septet of violin, viola, cello, bass, clarinet, bassoon and horn (the same as the Berwald and Beethoven septet instrumentation) for our Grand Septet program, the first of our 2025 QPAC series concerts. The work is titled Baelō and is inspired by her unwavering love of sand dunes (and just sand in general) - but in particular a part of Spain, Baelo Claudia, where the sand dunes are being pushed inland more quickly than usual (a climate change effect), and consequently all sorts of ancient ruins are being exposed and uncovered by the forceful winds.
GET TO KNOW THE COMPOSER
Tell us about your background, what inspired you to become a composer?
I grew up in a very musical family - both of my parents were piano teachers and we'd be constantly having music parties and all sorts of musicians over at the house, so it was very much a normal part of life being surrounded by music. I started learning piano from a very early age, and then cello when I turned 8 - I actually composed my first 'proper' piece shortly after receiving my cello as a gift for Christmas. When I got to highschool I picked up the Clarinet, and then Bassoon shortly afterwards. Reflecting on this I always had a natural magnetism towards and curiosity of musical instruments, and needed to try any one that I could get my hands on! I was also a terrified performer (the freezing-on-stage kind) so when I was 14 I finally proved to my parents that I had potential to become a composer (by winning a competition and having the adjudicator [Michael Keiren-Harvey!] commended me on the uniqueness and individuality my music had - thanks Michael! You set me free!). As for inspiration to become a composer - from the moment I realized I could express my inner most thoughts, ideas, feelings, and my love of the world through music, there was no looking back. It was an awakening that I'm still, even now, discovering new ways to tap into and channel through my music!
What is your compositional process, how do you start a work and do you have any personal quirks or habits that keep you going?
I find the process very natural and I usually begin by drafting a few ideas until one catches the hook and then I run with it. I'm a very intuitive, follow-my-instinct kind of composer and it's an easy, enjoyable, and deeply satisfying process - doesn't at all feel like 'work'! As for strange habits? Well, ever since I wrote my first orchestral piece almost entirely from bed (simply becasue I could and perhaps I was feeling lazy, being a recent graduate in my early 20's), so, to this day I do love a good composing session wrapped up in blankets with an open window to look out and trees swaying in the wind off in the distance...
You appear to be very visually inspired and your photographs on instagram are beautiful. Which comes first in your head, the music or the image?
Thank you! I've always loved visual stimuli - and enjoy balancing a photo or finding a new way to freeze a moment. Oil painting is also one of my beloved side-hustles, and the compulsion to paint tends to build up like a craving, so that can get interesting when I don't have time to satisfy that urge! As for which comes first: music or image? That's a tricky one, because sometimes I'm not paying attention and suddenly both will be there, or perhaps when I put my mind to the process they simply align! Again, it's all intuitive and much easier to analyse and figure out after all the pieces come together!
Where have you travelled to, and where do you still want to go?
Wonderful question, and I just recently had this conversation with a good friend, so it's easy to answer. I've lived in the UK, and the US and visited Ireland, France, Hong-Kong, Singapore, Malaysia and New Zealand. As for places I long to go, top of the list is Spain, Egypt, and Hungary (I know, it's shocking I havent been there yet!). I'd also love to visit Chile and Denmark, Iceland, and absolutely Antarctica. I could keep going, but let's say that's the top of the list.
Tell us about Baelō!
Okay, so, my piece is called Baelō - and is inspired by my unwavering love of sand dunes (and just sand in general) - but in particular a part of Spain, Baelo Claudia, where the sand dunes are being pushed inland more quickly than usual (a climate change effect), and consequently all sorts of ancient ruins are being exposed and uncovered by the forceful winds.
It has five movements, and they're all attacca (without break):
I - Duno (Dune)
II - Curia (a meeting place/building)
III - Koro (heart)
IV - Rezisto (resistance)
V - Denove (again)
Let me take you to the heart of a place.
I’ve never been there before.
But I can feel the warm sand, sifting through my fingers, draining away in puffs and fits back into the dune, as I hold my hand out in the blustering wind.
The air feels hot and dry, and an earthy, fragrant scent fills my head.
I don’t understand what the scent is, but I’ll know it when I see it.
The glare overwhelms my eyes, though the warm sun soaking into my skin leads me to forget. I can feel the heat an inch deep into my skin. It sinks into my bones.
All the air around me is a warm, radiant embrace.
I've had Spain on the mind alot and very much through music and ongoing collaborations with my wonderful colleague, guitarist Ken Murray. I've also recently visited the "Big Drift", Victoria's largest sand dune system: its was stunning, otherworldly, and utterly breathtaking. I absolutely love sand, so I went hunting for other sand dunes in the world and checking Spain first I came across Baleo Claudia, which, too quickly, is being pushed inland by the increasing winds as a result of climate change, and consequently revealing ancient roman towns that were previously buried by sand.
What were the challenges presented in writing for septet?
From the moment I started writing for this instrumentation, I was in love! This ensemble is literally a minuature symphony orchestra and I find the balance between all instruments equisite! So, perhaps the challenge was in trying not to use everyone all the time! But really, I think this is my new favourite chamber ensemble combination! The orchestration came easily and the warm tones across the ensemble fed into the harmonic world and drones deliciously!
Tell us what you like about Ensemble Q?
That's easy - Ensemble Q are absolute super stars! This incredible ensemble is literally made up of Australia's best musicians, and I'm feeling very lucky and fortunate to be working with them this year! And I'm very excited to be visting them in Brisbane so often to do so!
I grew up in a very musical family - both of my parents were piano teachers and we'd be constantly having music parties and all sorts of musicians over at the house, so it was very much a normal part of life being surrounded by music. I started learning piano from a very early age, and then cello when I turned 8 - I actually composed my first 'proper' piece shortly after receiving my cello as a gift for Christmas. When I got to highschool I picked up the Clarinet, and then Bassoon shortly afterwards. Reflecting on this I always had a natural magnetism towards and curiosity of musical instruments, and needed to try any one that I could get my hands on! I was also a terrified performer (the freezing-on-stage kind) so when I was 14 I finally proved to my parents that I had potential to become a composer (by winning a competition and having the adjudicator [Michael Keiren-Harvey!] commended me on the uniqueness and individuality my music had - thanks Michael! You set me free!). As for inspiration to become a composer - from the moment I realized I could express my inner most thoughts, ideas, feelings, and my love of the world through music, there was no looking back. It was an awakening that I'm still, even now, discovering new ways to tap into and channel through my music!
What is your compositional process, how do you start a work and do you have any personal quirks or habits that keep you going?
I find the process very natural and I usually begin by drafting a few ideas until one catches the hook and then I run with it. I'm a very intuitive, follow-my-instinct kind of composer and it's an easy, enjoyable, and deeply satisfying process - doesn't at all feel like 'work'! As for strange habits? Well, ever since I wrote my first orchestral piece almost entirely from bed (simply becasue I could and perhaps I was feeling lazy, being a recent graduate in my early 20's), so, to this day I do love a good composing session wrapped up in blankets with an open window to look out and trees swaying in the wind off in the distance...
You appear to be very visually inspired and your photographs on instagram are beautiful. Which comes first in your head, the music or the image?
Thank you! I've always loved visual stimuli - and enjoy balancing a photo or finding a new way to freeze a moment. Oil painting is also one of my beloved side-hustles, and the compulsion to paint tends to build up like a craving, so that can get interesting when I don't have time to satisfy that urge! As for which comes first: music or image? That's a tricky one, because sometimes I'm not paying attention and suddenly both will be there, or perhaps when I put my mind to the process they simply align! Again, it's all intuitive and much easier to analyse and figure out after all the pieces come together!
Where have you travelled to, and where do you still want to go?
Wonderful question, and I just recently had this conversation with a good friend, so it's easy to answer. I've lived in the UK, and the US and visited Ireland, France, Hong-Kong, Singapore, Malaysia and New Zealand. As for places I long to go, top of the list is Spain, Egypt, and Hungary (I know, it's shocking I havent been there yet!). I'd also love to visit Chile and Denmark, Iceland, and absolutely Antarctica. I could keep going, but let's say that's the top of the list.
Tell us about Baelō!
Okay, so, my piece is called Baelō - and is inspired by my unwavering love of sand dunes (and just sand in general) - but in particular a part of Spain, Baelo Claudia, where the sand dunes are being pushed inland more quickly than usual (a climate change effect), and consequently all sorts of ancient ruins are being exposed and uncovered by the forceful winds.
It has five movements, and they're all attacca (without break):
I - Duno (Dune)
II - Curia (a meeting place/building)
III - Koro (heart)
IV - Rezisto (resistance)
V - Denove (again)
Let me take you to the heart of a place.
I’ve never been there before.
But I can feel the warm sand, sifting through my fingers, draining away in puffs and fits back into the dune, as I hold my hand out in the blustering wind.
The air feels hot and dry, and an earthy, fragrant scent fills my head.
I don’t understand what the scent is, but I’ll know it when I see it.
The glare overwhelms my eyes, though the warm sun soaking into my skin leads me to forget. I can feel the heat an inch deep into my skin. It sinks into my bones.
All the air around me is a warm, radiant embrace.
I've had Spain on the mind alot and very much through music and ongoing collaborations with my wonderful colleague, guitarist Ken Murray. I've also recently visited the "Big Drift", Victoria's largest sand dune system: its was stunning, otherworldly, and utterly breathtaking. I absolutely love sand, so I went hunting for other sand dunes in the world and checking Spain first I came across Baleo Claudia, which, too quickly, is being pushed inland by the increasing winds as a result of climate change, and consequently revealing ancient roman towns that were previously buried by sand.
What were the challenges presented in writing for septet?
From the moment I started writing for this instrumentation, I was in love! This ensemble is literally a minuature symphony orchestra and I find the balance between all instruments equisite! So, perhaps the challenge was in trying not to use everyone all the time! But really, I think this is my new favourite chamber ensemble combination! The orchestration came easily and the warm tones across the ensemble fed into the harmonic world and drones deliciously!
Tell us what you like about Ensemble Q?
That's easy - Ensemble Q are absolute super stars! This incredible ensemble is literally made up of Australia's best musicians, and I'm feeling very lucky and fortunate to be working with them this year! And I'm very excited to be visting them in Brisbane so often to do so!
Purchase tickets now to witness this wonderful new work's World Premiere performance