denly found a unique partner in co-operation who not only was an interpreter on the highest international level but was also interested in playing new Icelandic music, and stimu- lated them to compose for her. Moreover the composers could, through her, communicate their music to the world. Leifur Porarinsson was by no means the only composer who co-operated with her. But her presence clearly gave him impulses that were particularly important and fruitful. During the last decade he has written a long series of works for her, and among them one can find some of his happiest inspir- ations. One of these is Sumarmal for flute and cembalo (1978). The title is the Icelandic word for the last five days of winter. Sumarmal is a free and light-hearted fantasy with a richness of images that is so characteristic of the composer. A tender green garland with connotations of folk songs, jazz, impressionism and sacred song grows out of a simple three note motif - a garland well-suited to bedeck the church where the composition was to be performed, the church of Skalholt, rich in tradition and adorned with its beautiful stained glass windows. In his next composition, Sonata per Manuela (1979) for solo flute, Leifur Porarinsson clearly draws inspiration from Bach’s solo sonatas. The work is given the form of the Leifur Porarinsson: Sonata per Manuela (1979). ITM, Reykjavik. baroque sonata da chiesa with its four movements. A slow preludium is followed by an allegro, the third is an adagio aria, and the final movement is a quick, freely constructed fugue. Despite its model and form, its content is completely 88

(1) Front Board
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