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Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 3 in G Major, K. 216: III. Rondeau. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: I. Allegro (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: II. Andante Cantabile (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: III. Rondeau - Andantino Grazioso - Allegro Ma Non Troppo (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": I. Allegro Aperto (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": II. Adagio (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": III. Rondeau. 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Above the door there was a painting by Helgi which inspired Sveinn Ludvik deeply; he had the sense it was very somber in it's mood-a naked woman with her back turned. Moved by the scene he wrote Tranquility. Later, when discussing the piece with Helgi and admiring the tragic impact of the naked woman in the picture, Sveinn was shocked to discover that the painting, in fact, was of bananas and oranges.Veronique Vaka Jacques, a Canadian-Icelandic composer and trained classical cellist, grounds her work in the geology and topography of Iceland. In Ofdune (track 9), a map of North Iceland serves as groundwork, with the geographical details of a descending river abstractly translated into the work's time progression, using the river's path through hills and valleys as a loose blueprint. 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