Porsteinn Hauksson Bergljot Jonsdottir have not since carried on with composing, while two other composers from the same generation, Hjalmar H. Ragnarsson and GuSmundur Hafsteinsson, were not represented at the UNM festival. All these composers have one factor in common: they had all, with the exception of Hjalmar H. Ragnarsson, studied composition with Porkell Sigurbjornsson at the Reykjavik College of Music. One of the works that attracted a good deal of attention at the UNM week in Framnas in the summer of 1974 was Humma by Porsteinn Hauksson (bom 1949). It is a short vocal-choreographic composition for two sopranos and a bass. The performers trudged around the stage “humming” simple but fixed patterns to themselves, and the work could without difficulty be interpreted as an amusing and fairly clear composition about the difficulties human beings have in communicating with each other. The composer wrote in the programme: “All conversations are a big, big, circle, circle. The eternal circle: humm . . .a?”. The composer of Humma has quite a broad and diverse background. He received a diploma in piano in Reykjavik after studying with Rognvaldur Sigurjonsson and thereafter studied composition with Porkell Sigurbjornsson for four years. He has also played keyboards and guitar in the rock group Tatarar. During the years that followed, Porsteinn Hauksson composed a number of works, mostly in chamber format. These gave an impression of searching, perhaps even of crisis. At any rate there was uncertainty as to the function of composing and of concert music. In 1975 he left Iceland and travelled to the U.S.A. There he studied composition with Salvatore Martirano and Ben Johnston at the University of Illinois. While there, he composed a large-scale work for orchestra entitled Drengurinn og glerfidlan (The Boy and the Glass Violin), a work that is not perhaps fully developed as a whole but that gives a powerful impression of artistic will- power and has an exciting sense of sound colour. Porsteinn Hauksson makes use of a wide range of effects while keeping within the limits of the sound colour techniques of the 1960’s and 70’s. In certain sections, he shows a new and fearless projection of the somewhat absurd features of Humma, using an almost brutal pulsating bass 140

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