developed another series of programmes called ASTRON, the purpose being to devise a modern version of the “harm- ony of the spheres” of the Middle Ages. The programme allows the user to “regard” the stars from different points in the universe and was used while working on Ad Astra for chamber orchestra written in 1982. This is a purely instru- mental composition, but controlled by calculations of distant and neighbouring stars and constellations looked at from different directions. “It mostly deals with the balance between the stars. I am fascinated by all these proportions that appear to be random, yet are not. Ad Astra is a very consonant piece of music, using consonant chords. The piece basically deals with the balance between dissonance and consonance.” Ad Astra was performed at the biennial in Reykjavik in 1982. In the autumn of the same year, the English soprano Jane Manning gave the first performance of another work, Webby in the Woodlands, for soprano and piano - a charming, naive and spontaneous bagatelle. After this Porsteinn Hauksson has not made known any further composition up to the present time of writing. He says that the reason for this silence is that he is thinking - thinking about his role as a composer. He believes that he is a member of a select, exclusive private club, whose music has no significance for the rest of the world. “1 feel that music has arrived at a dead end. It just tells the same old story again and again and I have no inclination to do that at present.” He is a master of the technical means, he has access to perhaps the most advanced computer technology in the world at Stanford, he is sure about the interplay between man and computer (the composer decides, the computer must never make important decisions), yet he is uncertain about the function of his music. He is envious of rock music because it has found a way to get itself over and project itself to its audience. “I very much want to produce music that people can at least understand without having to be brainwashed.” One of his dreams is to make a composition based on the saga of Egill Skallagrfmsson, “in order to - like Fellini - look at the poem as if in a dream”. This then is the way that perhaps the most international of all Icelandic composers approaches tradit- ional material. While awaiting a clarification of his situation he devotes himself to computer programming and teaching.

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(2) Front Board
(3) Front Flyleaf
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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