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form. Nevertheless, compared with Konnun, form and ex-
pression are more stylized in the Flute Concerto with long,
monotonous, brutal sections and an extended aria over an
ostinato accompaniment. One aspect of the Flute Concerto’s
distinctive character is its original conception of sound
colour, where the percussion, the electric organ and the saxo-
phone have more prominent parts than the strings. The Flute
Concerto was awarded the music prize of the Nordic Council
in 1976, an honour that has hitherto befallen only two Ice-
landic works.
The third concerto is the bassoon concerto Trobar clus,
written in 1980 for the Norwegian bassoonist Per Hannesdal.
Here once again the individual-collective theme is further
developed, even though the composer describes the concerto
as “Norwegian mountain music.” The title - the quotation
from the Middle Ages “im dunklen suchen und finden” -
illustrates the composer’s thoughts about the relationship
between the soloist and the orchestra. The exceptionally vir-
tuoso solo part is to be more or less covered by the orchestra
- hence “search in darkness” - and grow like a flower.
In 1983 the composer completed the trombone concertino
Jubilus I. It is scored for a relatively small wind ensemble
and is intended for use by music schools. It was indeed
commissioned by the Music School in Akureyri, and it is
fairly conventional in style. It was followed by a larger
second trombone concerto, Jubilus II (1987) The piano con-
certo, written one year later and entitled Concerto Serpentida
is, however, far from conventional. The title means “snake
concerto” and one turns one’s thoughts to the snake as a
symbol for sin, eroticism, etc. The most concrete musical
examples of this “snake” are to be found at the beginning and
end of the work where the piano indulges in creeping
chromatic movements. Concerto Serpentida is written for
piano and a chamber ensemble in which the strings are given
a subordinate role and the chief actors are the wind, the
percussion and plucked instruments. Three singers are also
given an important role and their quasi-Indian hoots and calls
certainly lend the concerto an unusual atmosphere. The five
short movements fluctuate between biting, rhythmic and
static, expectant episodes. The music is percussive and often
dancing in character, with a markedly anti-romantic mode of
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