In Die Wanderin (2007) we hear the footsteps of a woman walking, her stiletto’s against the pavement. Gradually it becomes clear that her steps becoming faster, that she is fleeing something. She stops to listen, continues again until she finally falls. The violin imitates her breathing and later groans or screams, the bass drum and piano her heartbeat, wind from the wind machine blows her over. This way of composing can be experienced as naive but for Rønsholdt a distinct effect is created in that it is neither music nor drama but in a category of its own. It need not be well formed nor pleasant to listen to, it is the situation and the drama that is central to the work. A sequence is created which potentially can be experienced physically by the listener and which, in an insistent and unexpected way creeps up on the listener and provokes a nearly direct identification with the protagonist.