meandering coils wind their way throughout the work and stand in contrast to patterns built up of sparse repeated points in an empty room. Sonans is one of Karolina Eiriksdottir’s most open and eloquent works, a powerful declamation made in the clear, high air of an Icelandic September day. Since 1983, she has changed direction towards another and, in its own way, classical point of departure. The piano composition Eins konar rondo (A Kind of Rondo) written in 1984, hints at a new understanding of musical form, which is recognizable both from the title and the contents of the work. She emphasizes, however, that such innovations occur without her active participation. “I only do what comes natur- ally. I do not search for new paths intentionally. The new paths that I do find are only the result of what 1 feel.” The piano work approaches the classical form where a regularly recurring material, either repeated or varied, forms the basis of the work’s form. Repetition and recurrence of autonomous cells are characteristic of the work. There is also a strong inclination towards a tonal centre. Eins konar rondo opens very energetically. The pianist throws herself over the key- board and rips off a falling scale which can remind one of an Indian sitar player. Thereafter she presents a row of cells of very different character and content, one of which is an unusually thorough and repetitive study of the octave. The composer writes: “They are rather like points of orientation. I believe that I unconsciously have a tendency like small children to push things as far as possible, to take upon myself tasks without knowing the outcome . . .” There is no hint of classical logic in the music. It is rather a discernible course of events that can best be expressed in terms of a gradual decrease in energy that allows the formation of an increasing number of soft, relaxed, communicative structures. In 1985 the Icelandic TV commissioned a Sinfonietta, which took the form of a completely abstract orchestral composition in the four movements of the classical sym- phony. The sound texture is as always extremely lucid, but the structure is unusually polyphonic, especially in the middle movements. The brass plays an important role. “I am so fascinated by the brass sound - Gabrieli is one of my favorite composers.” The fact that the Sinfonietta is based on a constructed method of composing is something new for the

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