modem and personal. The composition is based on the tone D and its overtones. The Sonata per Manuela differs from the composer’s more characteristic succession of images in its fixed and arched form. Great demands are made on the performer’s power of interpretation and it certainly belongs to the most substantial works in the modern flute literature. Yet another contribution to the flute repertoire must be mentioned. Leifur borarinsson has composed a “flute book” in twelve parts for flute and various combinations of the following instruments: marimba, vibraphone, percussion, piano, harpsichord, guitar and strings. The complexity and originality of Leifur borarinsson’s musical ideas are also particularly well demonstrated in Oboe Concerto written in 1982 for the oboist of the Iceland Symphony Orchestra Kristjan b. Stephensen. Oboe concertos are often characterized by a rather limited mixture of spirit- ual, burlesque and pastoral moods. This is certainly not the case here. Leifur borarinsson has written a twenty-two minute long carefully unified journey through vastly differing styles of expression, including the ever more frequently recurring greeting from Stravinsky in the form of a hint from the Rite of Spring. It is interesting to note that this multiplicity is achieved without the oboist ever having to forsake traditional techniques of playing. This is probably due to the symphonic character of the concerto. The soloist completes the orchestral palette as a whole. The listener hardly notices that the one-movement concerto consists of three sections. The composer’s idea of form gives each event such importance upon its appearance that a comparison with Karlheinz Stockhausen’s Moment-form is not too far-fetched. Leifur borarinsson is at present working on a composition that in one way is similar in character, although the dimensions are much bigger. This is the Symphony No. 2 in four movements, of which the first is complete and has been separately performed under the title Haustspil (1983). Haustspil is indeed one of the composer’s most magnificent creations. The music includes an almost excessively romantic opening in a stylistically motley (but as always well unified) progression of such a mysterious nature that one can well believe that the whole is being controlled by some “secret” underlying programme. Haustspil uses a rich and differenti-

(1) Front Board
(2) Front Board
(3) Front Flyleaf
(4) Front Flyleaf
(5) Front Cover
(6) Front Cover
(7) Page [1]
(8) Page [2]
(9) Page I
(10) Page II
(11) Page III
(12) Page IV
(13) Page 1
(14) Page 2
(15) Page 3
(16) Page 4
(17) Page 5
(18) Page 6
(19) Page 7
(20) Page 8
(21) Page 9
(22) Page 10
(23) Page 11
(24) Page 12
(25) Page 13
(26) Page 14
(27) Page 15
(28) Page 16
(29) Page 17
(30) Page 18
(31) Page 19
(32) Page 20
(33) Page 21
(34) Page 22
(35) Page 23
(36) Page 24
(37) Page 25
(38) Page 26
(39) Page 27
(40) Page 28
(41) Page 29
(42) Page 30
(43) Page 31
(44) Page 32
(45) Page 33
(46) Page 34
(47) Page 35
(48) Page 36
(49) Page 37
(50) Page 38
(51) Page 39
(52) Page 40
(53) Page 41
(54) Page 42
(55) Page 43
(56) Page 44
(57) Page 45
(58) Page 46
(59) Page 47
(60) Page 48
(61) Page 49
(62) Page 50
(63) Page 51
(64) Page 52
(65) Page 53
(66) Page 54
(67) Page 55
(68) Page 56
(69) Page 57
(70) Page 58
(71) Page 59
(72) Page 60
(73) Page 61
(74) Page 62
(75) Page 63
(76) Page 64
(77) Page 65
(78) Page 66
(79) Page 67
(80) Page 68
(81) Page 69
(82) Page 70
(83) Page 71
(84) Page 72
(85) Page 73
(86) Page 74
(87) Page 75
(88) Page 76
(89) Page 77
(90) Page 78
(91) Page 79
(92) Page 80
(93) Page 81
(94) Page 82
(95) Page 83
(96) Page 84
(97) Page 85
(98) Page 86
(99) Page 87
(100) Page 88
(101) Page 89
(102) Page 90
(103) Page 91
(104) Page 92
(105) Page 93
(106) Page 94
(107) Page 95
(108) Page 96
(109) Page 97
(110) Page 98
(111) Page 99
(112) Page 100
(113) Page 101
(114) Page 102
(115) Page 103
(116) Page 104
(117) Page 105
(118) Page 106
(119) Page 107
(120) Page 108
(121) Page 109
(122) Page 110
(123) Page 111
(124) Page 112
(125) Page 113
(126) Page 114
(127) Page 115
(128) Page 116
(129) Page 117
(130) Page 118
(131) Page 119
(132) Page 120
(133) Page 121
(134) Page 122
(135) Page 123
(136) Page 124
(137) Page 125
(138) Page 126
(139) Page 127
(140) Page 128
(141) Page 129
(142) Page 130
(143) Page 131
(144) Page 132
(145) Page 133
(146) Page 134
(147) Page 135
(148) Page 136
(149) Page 137
(150) Page 138
(151) Page 139
(152) Page 140
(153) Page 141
(154) Page 142
(155) Page 143
(156) Page 144
(157) Page 145
(158) Page 146
(159) Page 147
(160) Page 148
(161) Page 149
(162) Page 150
(163) Page 151
(164) Page 152
(165) Page 153
(166) Page 154
(167) Page 155
(168) Page 156
(169) Page 157
(170) Page 158
(171) Page 159
(172) Page 160
(173) Page 161
(174) Page 162
(175) Page 163
(176) Page 164
(177) Page 165
(178) Page 166
(179) Page 167
(180) Page 168
(181) Page 169
(182) Page 170
(183) Page 171
(184) Page 172
(185) Page 173
(186) Page 174
(187) Page 175
(188) Page 176
(189) Page 177
(190) Page 178
(191) Back Cover
(192) Back Cover
(193) Rear Flyleaf
(194) Rear Flyleaf
(195) Rear Board
(196) Rear Board
(197) Spine
(198) Fore Edge
(199) Scale
(200) Color Palette