never be played again. The context that gave it its meaning has vanished.” When Porkell Sigurbjomsson was presented in Musica Nova in 1960, one paper pointed out that he was the son of Sigurbjom Einarsson, the then Bishop of Iceland. His cultural inheritance and environment was thereby clearly illuminated. Sigurbjorn Einarsson is a prominent religious historian, religious poet and initiator of the two largest church building projects in modern time - Hallgrfm’s Church in Reykjavik and the new church in Skalholt. Porkell Sigurbjomsson is thus the product of a rich, cultural environment that gave the opportunity of gleaning knowledge about the history of Iceland and its people from every possible angle: historically, religiously, culturally, economically, musically, literarily and traditionally. Such a store of knowledge is by no means unique for Porkell Sigurbjomsson, but it plays a central role in his music and actions. At the same time, he is perhaps the most ardent spokesman for placing Iceland - not least its musical scene - in an international perspective. “What is independence? There are two points of view. One is to assimilate the facilities that the world has to offer to help us survive, as for example the latest advances in technology, fishing, how to preserve protein, how to use one’s knowledge so that one has the chance of exporting it. In the field of music it is extremely important to look for experiences and knowledge in the world at large. Pall Isolfsson is a good example of a person who has brought knowledge back home to Iceland. The other point of view is to maintain that Iceland is different, to believe that the world is just waiting for a Messiah from Iceland. Folk music - blood - earth!” His own path of education is representative of the first point of view. As a teenager, he studied piano with the Danish pianist Wilhelm Lanzky-Otto, who played horn in the Iceland Symphony Orchestra at the beginning of the 1950’s. He continued his studies with Ami Kristjansson, and also studied the organ with Pall Isolfsson, music theory with Robert A. Ottosson and history of music with Victor Urbancic. Between 1957 and 1961 he was resident at different universities in the U.S.A., the most important being the University of Illinois, where he studied composition with

(1) Front Board
(2) Front Board
(3) Front Flyleaf
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(6) Front Cover
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(191) Back Cover
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(193) Rear Flyleaf
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(195) Rear Board
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(197) Spine
(198) Fore Edge
(199) Scale
(200) Color Palette