miyuki jokiranta, Earshot, Australian broadcasting corporation
3 October, 2020
"Traditionally, in rural Afghanistan landays are performed by women who’d be at risk of punishment if the poems were attributed to them.
They're made up of two-lines. Every poem has 22 syllables, 9 in the first line and 13 in the second.
They’re oral. They’re improvised. And they're part of a powerful folk culture. When spoken aloud, they lilt from word to word in a way that belies the sharpness of their content. They speak of war, love, death, beauty, grief, separation and homeland. They describe life when reading and writing are not an option.
But for the women who give voice to these ideas, there's a price to pay."
"Gemma Peacocke is a New Zealand-born, but usually United States-based, composer who’s recently come back home. Gemma has studied in New York with Bang on a Can founder Julia Wolfe, at IRCAM in Paris, and is a doctoral student in composition at Princeton University.
Her music combines acoustic instruments and voices with electronics. Her work often has a sociopolitical focus, a lot of it focusing on the marginalisation of women."
Compelling gifts in small packages make for rewarding MusicNOW night
lawrence a johnson, chicago classical review
december 3, 2019
"Shudder was the first work Gemma Peacocke composed after coming to the United States from her native New Zealand. The single-movement work for string quartet was inspired by sleep myoclonus, the sudden twitches one can have when falling asleep.
Beginning in hushed mysterious fashion with discordant textures, tremolos pass from player to player suggesting the title’s involuntary physical jerks. A more rhythmic section accelerates the tempo, leading to a furioso climax, and a slow, quiet fadeout, ending as it began.
Shudder maintains a compelling atmosphere of unsettling tension in its brief span, and Peacocke’s quartet is crafted with impressive skill and string writing facility. Exploring a wide range of dynamics, violinists Yu and Dodge, violist Danny Lai and cellist Cook made the strongest possible case for Peacocke’s music."
"Gemma Peacocke, composer of Quiver, chose the title for its significant double meaning – “to tremble with fear or emotion, or a case for arrows” – tension and resolution. Hamish Gullick (double bass) entered as the musical protagonist, at first announcing a strong driving masculine sonority with solo jazz riffs, which built with short, sharp accents as tom-tom and piano added insistency from a driving pulse, until long sustained bass notes diminished the emotion. Both inside strings and outer frame of the piano became a percussion instrument, adding almost a metallic effect to the variety of colourful changing dynamic levels. With the increasing tempo and repetition of strongly accented drum rhythms and changes of metres, a threatening and primitive tribal atmosphere took control. This exciting jazz influenced work highlighted both the exceptional skills of the Rubiks soloists, and their brilliant and focussed teamwork, as precise timing was paramount in this exciting work."
"Afghan women's folk poems have been given new life by a Kiwi composer.
New Zealand composer Gemma Peacocke, based at Princeton University, launched her song cycle Waves & Lines in New York on International Women's Day in March. For the remarkable composition, Peacocke has taken eight landays – folk poems from the secret world of Afghan women under the Taliban – from a collection of translations, I Am the Beggar of the World, by US poet Eliza Griswold. Landays are passed on through oral tradition, their creators often illiterate. These short, intimate verses brim with yearning, love, rage, resignation, and irony."
Aki Yli-Salomäki, YLE Klassinen (Finnish Broadcasting Company)
April 16, 2019
"Uusiseelantilainen säveltäjä Gemma Peacocke on omintakeinen tekijä, joka on luonut erilaisista tyylillisistä elementeistä luontevan synteesin. Lopputulos ei ole crossoveria tai edes jälki-crossoveria, vaan aito erilaisten tyylillisten elementtien sulautuminen. Sellaista voi syntyä niiden toimesta, jotka ovat aidosti kykeneviä herkistymään ja innoittumaan aikamme moninaisuuden ja alati hämärtyvien genrerajojen edessä."
Review: New Philip Glass commission presents a rhythmic perspective
Joshua Kosman, San francisco chronicle
April 4, 2019
"Most exciting, perhaps, was “Death Wish,” a piece for marimbas by the New Zealand-born composer Gemma Peacocke, in which repetitive rhythmic figures and minor-key harmonies grow increasingly off-kilter until seemingly anodyne material becomes urgent and a little menacing. Midway through, Peacocke conjures up a fierce but loving parody of Khachaturian’s “Saber Dance” that demonstrates exactly why that music is so irresistible."
"New Zealand-born Princeton-based composer Gemma Peacocke – wrote songs inspired by and using Afghan women’s folk poems called landays from the collection translated by Eliza Griswold, I Am the Beggar of the World. Peacocke set these texts – ranging from a collective rage, a lament, a filthy joke, a love of homeland, an aching longing, a call to arms. The song cycle, scored for voice and piano, percussion, bass, and electronics, features the use of fixed electronics and projections which hint at “the distance, anonymity and strange intimacy of phone calls, text messages, and radio broadcasts in which the poems are shared.” (Gemma Peacocke’s Bandcamp)"
Gemma Peacocke’s Waves and Lines Amplifies Stories of Afghan Women
Hannah Rosa schiller, i care if you listen
MARCH 1, 2019
"The evocation of place is central in Gemma Peacocke’s Waves and Lines (New Amsterdam Records). Her newest album, a multimedia song cycle for soprano, electronics, and chamber ensemble, sets two-line folk poems (landays) written by women in contemporary Afghanistan. The landays, translated by Eliza Griswold, reflect on life in Afghanistan and the impact that nearly two decades of war with the United States have had on the nation."