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It is intricate and meditative music and is getting a lot of play these days; the International Contemporary Ensemble performed her installation “In the Light of Air” at the Atlas in the District a couple of years back, and Alan Gilbert led her “Aeriality” in one of his final concerts as music director of the New York Philharmonic this season.

The concert also featured the local premiere of “Aeriality” by the Icelandic composer Anna Thorvaldsdottir, a single-movement orchestral exploration of natural forces.

How the new generation got from there to something like Haukur Tómasson’s glittering Piano Concerto No. 2, with Vikingur Ólafsson as soloist, or Maria Huld Markan Sigfúsdóttir’s darkly sonorous “Aequora,” or Anna Thorvaldsdóttir’s ethereally teeming “Aeriality,” is anyone’s guess, but Reykjavík does happen to be a city that modernized seemingly overnight.

The showpiece is “Aeriality,” performed by the Icelandic Symphony Orchestra, which I missed when it came to the Kennedy Center as part of the “Nordic Cool” festival in 2013.

The very excess of the extravagance, in fact, by suggesting to the reader continually the mere aeriality of the entire speculation, furnishes the surest means of disenchanting him from the horror which might else gather upon his feelings.