10 January: Karen Power
Karen Power refers to her concert as 'a 'half 'n' half' concert combining the new with the traditional.' It features two world premières by Power - no chaos: only organised panic for orchestra and live electronics and one piece of chocolate per bar - as well as Michael Alcorn's Synapse for orchestra and live electronics and the Irish première of Scelsi's Quattro Pezzi per Orchestra.

In each of their works for live electronics and orchestra, Power notes that she and Alcorn will 'dare to compose live on stage using our laptops as instruments.' Power's fascination with 'the ready-made "symphonies" of our everyday environments' will reveal itself in no chaos: only organised panic, a work which 'journeys into nature, exploring soundworlds where night-crickets and cracking ice mingle with the orchestral score.' For her, Scelsi's 'Zen-influenced pieces for orchestra' present 'a world of dreamlike meditations and with Alcorn's Synapse, great colliding icebergs of sound!' Find out more.

17 January: Ronan Guilfoyle
Soloist: Rick Peckham, electric guitar
Ronan Guilfoyle's concert takes the form of a workshop and preview performance with soloist Rick Peckham of Hands, Guilfoyle's first concerto for electric guitar and orchestra, ahead of its world première in the RTÉ NSO's main season concert on Friday 20 January.

Speaking about the work, Guilfoyle says: 'After Jimi Hendrix, the electric guitar became an instrument with incredible sonic range and power. In Hands, I've harnessed the power and colouristic possibilities of this amazing instrument and allied it to the power and colouristic possibilities of the modern symphony orchestra. The electric guitar is the most popular instrument in the world today, yet it is not represented in the "classical" world. Now I want to show it off in an orchestral context, and the rhythmic and improvisational skills of the great guitarist, Rick Peckham.'
Find out more

24 January: Kevin Volans
Soloist: Isabelle O'Connell, piano
Kevin Volans concert presents his Concerto for Piano and Wind Instruments (Piano Concerto No. 1) with soloist Isabelle O'Connell and Symphony: Daar Kom die Alabama.

Speaking about the works, Volans notes that 'these works have several points in common: both have an African connection - the Piano Concerto is written with African compositional techniques, and the Symphony refers obliquely to an African song. However, neither sound particularly African and both pieces are somewhat monolithic - there are no large changes of pace, no great changes of density, and no big climaxes. Each piece is quite comfortable in moving quietly forward without histrionics. The interest for me when writing them lay in the detail and in the (sometimes complex) textures and cross-rhythms. Although the basic pace of the pieces is moderate, the detail is often extremely fast (and difficult to play!). So, in listening to the pieces, don't expect something dramatic to happen, despite some sudden changes of texture - just let yourself drift and dwell in the moment, and if you like, enjoy the virtuosity of the performers.' Find out more

31 January: Garrett Sholdice
Garrett Sholdice's concert features the world premières of two works composed especially for his Horizons concert - Sholdice's Fall and Disappear and a new work by Benedict Schlepper-Connolly - as well as three separate arrangements by Sholdice of the Bach chorale Ach wie nichtig, ach wie flüchtig for string orchestra, brass ensemble and full orchestra.

Sholdice describes the two new works as ones 'at once rooted in the traditions of Bach, Feldman and Tenney, and resolutely personal.' He notes that he and Schlepper-Connolly 'share many of the same aesthetic touchstones, and his music has certainly influenced my work. It was important to me to feature his work in my programme.'

Speaking about the programme generally Sholdice says: 'The idea of "chorale" is at the heart of this concert. A chorale is traditionally a tune with a simple, stately accompaniment (context). These pieces are all about viewing the object in different light. Sometimes the tune is front and centre, with elaborate and intricate support. Sometimes it's fragile and stark, nearly naked. Sometimes it's fragmented, only a barely discernible ghost. But the music here is always extremely concentrated and meditative. It will lower your heart rate and enrich your spirit.' Find out more