work has the form of a slow movement, is terse in con- struction, ethereal in sound and has an expressive character that is withdrawn yet full of intensity. Okto November is dedicated to the memory of the composer’s great-grandfather, who was a fisherman and skillful at carving wooden orna- ments with his fisherman’s knife. The Trio for clarinet, violin and viola from 1983 is also characterized by counterpoint, and the same is true of its companion trio Prtteikur for oboe, clarinet and bassoon, written in 1985. This strict way of writing permeates two works that other- wise pay tribute to the art of the virtuoso, namely the Con- certo for Viola written in 1983 for Unnur Sveinbjamardottir and in particular the Piano Concerto from 1985. This latter work was composed for Roger Woodward and is striking on account of its large dimensions and its brilliant piano writing. Askell Masson has for the most part confined himself to instrumental music for the concert hall. He has, however, also written a good deal of music for the theatre and for films. The music to the film The Outlaw based on the Saga of Gfsli Sursson is a rare example of film music that is predominantly vocal. It is also rather archaic in style which creates the required effect of conjuring up the image of Iceland during the Middle Ages, when the action of the film took place. He is at the present time collecting his experiences of music for the theatre and films in a large operatic project. The choral work JEvintyri is one of the most singular compositions in contemporary Icelandic music. It was written in 1983 by Snorri Sigfus Birgisson (born 1954). JEvintyri is based on the folk tale of Prince Hlynur. The tale is told by the choir, reciting in the rhythm of the spoken language. The harmony takes the chord of A major as its starting point and Snorri Sigfus is completely governed by the punctuation of the written tale, Birgisson such that a comma changes one tone in the chord, a semi- colon changes two tones, while a full stop leads to the transposition of the whole chord. The interchange between soloists and chorus is dictated by the occurrence of quotation marks. JEvintyri has still not received a performance. Perhaps the work makes too great a demand on the singers. Nonetheless the score is an interesting example of an attempt to control 158

(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
(10) Page II
(11) Page III
(12) Page IV
(13) Page 1
(14) Page 2
(15) Page 3
(16) Page 4
(17) Page 5
(18) Page 6
(19) Page 7
(20) Page 8
(21) Page 9
(22) Page 10
(23) Page 11
(24) Page 12
(25) Page 13
(26) Page 14
(27) Page 15
(28) Page 16
(29) Page 17
(30) Page 18
(31) Page 19
(32) Page 20
(33) Page 21
(34) Page 22
(35) Page 23
(36) Page 24
(37) Page 25
(38) Page 26
(39) Page 27
(40) Page 28
(41) Page 29
(42) Page 30
(43) Page 31
(44) Page 32
(45) Page 33
(46) Page 34
(47) Page 35
(48) Page 36
(49) Page 37
(50) Page 38
(51) Page 39
(52) Page 40
(53) Page 41
(54) Page 42
(55) Page 43
(56) Page 44
(57) Page 45
(58) Page 46
(59) Page 47
(60) Page 48
(61) Page 49
(62) Page 50
(63) Page 51
(64) Page 52
(65) Page 53
(66) Page 54
(67) Page 55
(68) Page 56
(69) Page 57
(70) Page 58
(71) Page 59
(72) Page 60
(73) Page 61
(74) Page 62
(75) Page 63
(76) Page 64
(77) Page 65
(78) Page 66
(79) Page 67
(80) Page 68
(81) Page 69
(82) Page 70
(83) Page 71
(84) Page 72
(85) Page 73
(86) Page 74
(87) Page 75
(88) Page 76
(89) Page 77
(90) Page 78
(91) Page 79
(92) Page 80
(93) Page 81
(94) Page 82
(95) Page 83
(96) Page 84
(97) Page 85
(98) Page 86
(99) Page 87
(100) Page 88
(101) Page 89
(102) Page 90
(103) Page 91
(104) Page 92
(105) Page 93
(106) Page 94
(107) Page 95
(108) Page 96
(109) Page 97
(110) Page 98
(111) Page 99
(112) Page 100
(113) Page 101
(114) Page 102
(115) Page 103
(116) Page 104
(117) Page 105
(118) Page 106
(119) Page 107
(120) Page 108
(121) Page 109
(122) Page 110
(123) Page 111
(124) Page 112
(125) Page 113
(126) Page 114
(127) Page 115
(128) Page 116
(129) Page 117
(130) Page 118
(131) Page 119
(132) Page 120
(133) Page 121
(134) Page 122
(135) Page 123
(136) Page 124
(137) Page 125
(138) Page 126
(139) Page 127
(140) Page 128
(141) Page 129
(142) Page 130
(143) Page 131
(144) Page 132
(145) Page 133
(146) Page 134
(147) Page 135
(148) Page 136
(149) Page 137
(150) Page 138
(151) Page 139
(152) Page 140
(153) Page 141
(154) Page 142
(155) Page 143
(156) Page 144
(157) Page 145
(158) Page 146
(159) Page 147
(160) Page 148
(161) Page 149
(162) Page 150
(163) Page 151
(164) Page 152
(165) Page 153
(166) Page 154
(167) Page 155
(168) Page 156
(169) Page 157
(170) Page 158
(171) Page 159
(172) Page 160
(173) Page 161
(174) Page 162
(175) Page 163
(176) Page 164
(177) Page 165
(178) Page 166
(179) Page 167
(180) Page 168
(181) Page 169
(182) Page 170
(183) Page 171
(184) Page 172
(185) Page 173
(186) Page 174
(187) Page 175
(188) Page 176
(189) Page 177
(190) Page 178
(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