in advance: / don’t do this and I never do this. What reasons are there for doing so in music? One does not decide that ‘I shall never read Spanish books’ or ‘I shall never eat butter- flies.’ I believe we live in a pluralistic world. What we call style ... I believe one composes in a similar way, without regard for the actual purpose. What does vary is the material, the instruments, the voices. When I hear my worst pieces that I composed many years ago and have almost forgotten, I still recognize them. Yes, I am as I am, and it is the same process of thought that lies behind all these different pieces.” Forked Sigurbjomsson has composed music in most genres of Western art music. Full-scale operas, larger oratorios and symphonies are, however, not included in his list of works. Most of his works are written for chamber or orchestral combinations and there is also a considerable number of choral compositions, mostly for use in church. It is, however, the functional aspect of his music that is most interesting. As has already been intimated, much of his production consists of fairly small-scale pieces written on the spur of the moment for fixed and often closely related purposes. This gives an adequate if not fully complete picture of the music the Icelandic musical scene has needed. In addition, there are quite a large number of works that are more carefully thought out and are conceived for repeated performance. It would appear that Forked Sigurbjomsson was able to create his musical language at an early stage that is relatively free from the models of the period, such as serial technique or the schools of Boulez and Ligeti. Tonality is an important aspect of his “style”, but the choice of tonality - modal, major-minor, freely tonal - is decided by the required means of expression, not by a certain principle. The structure is usually fairly transparent and makes skillful, and sometimes drastic, use of the character of the different instruments. Extended playing techniques are often called for. The tension in Forked Sigurbjomsson’s music is to a great extent achieved through a living performance characterized by different gestures. One characteristic that undoubtedly be- longs to his personal style is the use of more or less minimal- istic repetition that blossoms out in the electronic works La Jolla Good Friday I and II and Hylling {Greeting), for flute, piano, percussion, tape and audience from the mid-1970’s.

(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
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(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