| COMPOSITION | 2006 For alto sax, accordeon and contrabass 45'
I have generally chosen to discard the problem of sincerity in art, or rather to confine it to a statement such as: "The work itself has a way of being sincere. The author cannot be totally sincere." This is quite a complex matter if we begin thinking of it, especially in regard to such a highly formalized genre as written music is, and especially today in the presence of a myriad of different idioms. I guess that somehow, for each work, we create an author, and that he in some bizarre way could claim to be sincere (if he were real...). But what happens when I put different works together and partly alter their original intentions, when I begin remixing, deviating or mocking the originals? Well, in my case it's a totally natural operation. Already as a child when I burst into tears I was capable of looking into the mirror and making a funny face. I guess I was composing myself, since the word composition simply refers to putting something together and I put a funny face on top of a crying one. However that might be, here we have a cycle by the name of Composition: three solo pieces that may be said to reflect my attitude towards the art of musical composition. We get form and its opposite, placed side by side, in a composition of compositions. Hopefully the totality breeds on the energy released by the friction between its components, and by the friction between them and supposed - , real - , make-believe- , impossible – or violent sincerity. 

The Poing trio was a tremendous source of inspiration for the completion of this work. It is dedicated to the trio. 
main performances
Oslo, Reykjavik, Huddersfield, Trondheim, autumn 2006
| CAPUT CANONIS | 1994 fl , ob , cl , bn , hrn , tpt , tbn , pno , 2vn , vla , vc , cb 6’

Caput Canonis is a homage both to the canon as a compositional technique and to the group that premiered the piece. It might seem contradictory that neither of the two were brought to show their highest expressive qualities in this work: The canon (four voices in two couples of semicanons and two different couples of canons) is simply read in a few different ways and do not give rise to other primary material; and the role of the instruments does not contain the technical challenge usual for a modern work. The whole is rather an essay of quiet rigour imposed by the author on the two, and above all on himself, while tackling the difficult task of writing a slow movement.
For performers: There are two extant versions of this piece, and probably other orchestrations can easily be made.
main performances
Reykjavík, July 11, 1992 (Caput Ensemble)
Milan, December 1994 (same)
| BREKKUGATA | 1993 chamber orchestra: pno / 2 perc / str. 11’
percussion I: tubular bells (only e flat’’, f’’), 2 suspended cymbals (small, medium), tam-tam (medium), xylophone, 3 temple blocks, set of membranes:, snare drum (without snares), 3 tom-toms, timpano, bass drum
percussion II:, 3 cymbals (small, medium, large), tubular bells, triangle (medium), glockenspiel, vibraphon, marimba,
Brekkugata sometimes resembles a concerto grosso where the woodwind form a “concertino” group which is contrapposed to the percussion and strings. The material is however not exposed in delimited sections, it rather forms one continuous line of development throughout the piece. The work was commissioned by The Akureyri Chamber Orchestra and is dedicated to Gudmundur Óli Gunnarsson its conductor. The title is simply the name of a street in the town of Akureyri (Northern Iceland).
For performers: Written for a high-level school orchestra.