Gemma Peacocke - Strobe Lights and Blown Speakers | Sarah Haines and Contemporaneous

commissioned by The Wilma Theater for Sarah Ruhl’s "Eurydice", directed by Blanka Zizka

released by Cantaloupe Music, 2011

The Book - from Eurydice

Written for 6 voices, vibraphone, and electric guitar. Text by Somi Jun. Performed at Princeton University by Maddy Kushan, Allison Spann, Calvin Wentling, Rosamond Van Wingerden, Danny Pinto, Eli Berman, Henry Peters, and Harrison Davis. Conducted by Gloria Yin (2017).

O'Keeffe Colony (2017)

Limbic resonance can be described as “a symphony of mutual and internal adaptation.” The premise that humans will subconsciously synchronize with others closest to them is explored quite literally here, as musicians gradually move out of hocket to new mechanisms within their instrument families, and then ultimately create uniformity across the ensemble. Each section of this piece is modeled after one facet of a sound amplitude envelope, or ADSR (Attack, Decay, Sustain, Release) and altogether displays a transition from non-pitched sound to wholly sympathetic vibration.

This piece was written for and premiered by the NYU Contemporary Music Ensemble.

limbic resonance

When I look around myself for an idea, when I feel as though I have nothing to work with, when I feel as though I am nothing, when I've been made to feel that I am nothing, I look to the strong women that surround me for inspiration. Women's stories are tales of strength, perseverance, fire, and drive. And as the tides of history churn, gaining momentum, it's no longer dangerous to declare that now it's our turn--the women's turn.

The text for this piece is: "Hush now, baby. Don't say a word. Now it's time for the women's turn."

Don't say a word (2017) // Eighth Blackbird & Annika Socolofsky

Act I, Scene 2 — Ancestors

From STRANGER LOVE. Co-created by composer Dylan Mattingly and librettist Thomas Bartscherer.

Performed by Contemporaneous at Roulette, Brooklyn, Jan. 17, 2018 on the PROTOTYPE Festival. Featuring singers Molly Netter, Jodie Landau, Jane Sheldon, Jonathan Woody, Elisa Sutherland, Kate Maroney, Charlotte Mundy, and actress Ellen McLaughlin.

Stranger Love: Final Mix MP3

Stranger Love, Act I, Scene 2 (Ancestors)

Beautiful performance by: Imani Winds, http://www.imaniwinds.com

Speak, Mind for wind quintet was composed as a response to various current events occurring around the world: violence, injustice, and - most annoyingly - a general public apathy. A seemingly peaceful start gives way to increased activity, and after that the texture remains generally busy throughout, with a game constructed gradually from musical material, moving from chaos to playful and innocent-sounding passages, from conversations to arguments, as if the music is reacting to itself, as if it is trying to escape it's own reality.
mariakaoutzani.com

2018, Chicago, IL

Speak, Mind, for woodwind quintet

(Copyright © December 2017)

performed by Kourtney Newton on Cello

Goddess of Spring

III. Queen of the Underworld

Goriz & Gozaar-2018
Composer: Aftab Darvishi
Video: Sam Asaert
Conductor: Koen Kessels
Singer: Mireille Capelle
performed by: HERMESensemble
Words by: Hafiz

Goriz & Gozaar

The word skirl describes both the shrill sound of a bagpipe and the keening of the bereaved. There is something in it that is mournful, overwhelming, and paradoxically ecstatic in its density and power. There is ugliness and beauty, and there is grief and resilience. Women and girls are called shrill by people who do not want to recognise the meaning of their words. It is a way to infantilise, to degrade, and to silence. Skirl is a celebration of the millions of women and girls reclaiming autonomy and the right to be heard.

It is dedicated to my sister, Chloe.

 – Gemma Peacocke

Gemma Peacocke - Skirl (2018)

The influence of Chinese, Japanese, Brazilian, and Malian rhythms is central to this work for three percussionists. Set in six interlinked movements, the work combines interpretations of ancient rhythmic patterns with aggressive bursts of energy and extended playing techniques. 

Unpitched South American percussion instruments and Chinese drums interplay with western, pitched percussion as the work moves through contrasting energetic rhythmic sections into eerie and suspenseful passages. 

Complex arrays of cross-rhythms give way to almost motionless passages of uneasiness. The uneasiness is extended by a shifting tonal centre. 

The title of the piece is taken from the final line of the haiku Year's End, by the Japanese poet Basho.


all corners of this floating world, swept

Hi! I'm a composer from New Zealand and I live in Brooklyn, New York. I love collaborating with people to make beautiful things and also the colour yellow. You can get in touch through my website contact page.

all corners of this floating world, swept

Gemma Peacocke

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