In the second concert promoted by the Association of Irish Composers in the Lane Gallery on Sunday, the most aggressive work was by Roger Doyle. Mr Foley's Final Moments in which "an old man lies dying. He remembers the war and nights at the opera long ago . . ." was a work for tape. It could have been an accompaniment for a film of natural calamities - tropical thunderstorms, earthquakes, tsunamis - and it severely tested the eardrums. The giant organ notes of nature's forces resounded in space and Mr Foley, dying, was more important than ever in life.

Ian Wilson's Six days at Jericho was a processional piece in which the piano kept up a steady beat and the cello sang above a lyrical line of long notes which tried to break away from the ostinato-like bass. The atmosphere was sombre but there were moments of illumination, as when the moon shines through a break in the clouds.

Elaine Agnew's Trio for violin, cello and piano, receiving its first performance, was a brief and delicate exploration of the possibilities, melodic and harmonic, of limited source material.

This self-imposed limitation rather narrowed the scope of the music, I felt, and more strongly contrasted sections might have added to its effect. The foreign composers represented were Claus-Steffen Mahnkops and Tristan Murail. Pegasos by Mahnkops is for solo harpsichord and is part of his Madusa cycle, which in its turn is part of his working cycle Genesis von Komplexismus. Complexity is the name of the game and David Adams needed all his agility as his hands raced up and down and across the two manuals of the harpsichord. The instrument made one think of Bach, as did the complexity, but it was hard to detect any structure of direction.

Vues aeriennes by Murail, for piano trio and horn, inhabited its own special sound world with its interest in the harmonic series. The sometimes ethereal sounds were propelled with energy, and climaxes were built up in a satisfying manner that could be related to more familiar works.