When you study the score, however, it quickly becomes apparent that Jónsdóttir’s work does not build on a similar micro polyphony (as with Legeti) but on shimmering chord inversions which continuously overlap and replace each other, coloured by flageolets with strings and inserts of electronically processed sounds.
Jónsdóttir’s composition is a refined and intense study in ‘clang’ with only slight hints of pulse and rhythmic drive.
The electronic components in the work have been processed at the conservatory in Bologna. Jónsdóttir moved there in 1989 to study composition and electronics under Landuzzi, Guarnieri and Camilleri, as well as to complete the flute studies she had begun at the Reykjavík Conservatory of Music. In 1992 Jónsdóttir attended a course with Donatoni, and in 1995-96 she took lessons in composition with Solbiati in Novara.
Jónsdóttir explores the relationship between acoustic and electronic music in a number of works, including one where she herself takes part as solo flautist but also in choral or orchestral works with electronics.
Þuriður Jónsdóttir’s compositions have been performed at festivals in Iceland and Europe, including Présence in Paris, Musica Nova in Copenhagen, OENM in Salzburg and Musica sui più dimensioni in Palermo. She has been commissioned to write works for Radio France and for Caput Ensemble and has twice been nominated for the Icelandic Music Prize.
The nominated work, Flow and Fusion, was chosen in 2004 by the International Rostrum of Composers in Paris.