"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."
"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 April 4, 2019
San francisco chronicle
"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 MARCH 1, 2019
i care if you listen
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.