“These days there is so much music here in this country” members of the more established Iceland Symphony Orch- estra. During the following years Islenska Hljomsveitin, under the leadership of Gudmundur Emilsson, gave its own subscription concerts with unconventional programmes and has the stated ambition to perform newly composed Icelandic music. One more important development was the establish- ment of a special department for composition and theory at the Reykjavik College of Music. The changed situation is well illuminated by a reply made at a lunch by Hjalmar H. Ragnarsson one day in January, 1982. “These days there is so much music here in this country that I fear that one day it may all suddenly end.” This declaration applies or could apply to every aspect of music in Iceland, including the island’s choral activities, the work of the music schools that now exist in almost all the county districts, and the vitality of the rock music scene with its many groups, some of which arouse interest, and lively record and tape production. In his triple role of composer, teacher and choir conductor Hjalmar H. Ragnarsson was aware that these factors contrib- uted to a new wave of young composers, some of whom had been nurtured in choirs, others in rock music, and most of them had certainly attended one of the country’s music schools. The UNM week in Reykjavik in 1982 presented no less than thirteen young Icelandic composers, of whom only four had been mentioned earlier. For each year that passes a few more young composers appear, most of them educated first in Reykjavik and then abroad. Even if it is evident that not all of these will continue to work as composers in the future, the following list of names gives an indication of a breadth and plurality in the field of creative art music that is unprecedented in Icelandic history: HroSmar Sigurbjornsson, Kjartan Olafsson, Atli Ingolfsson, Hilmar PorSarson, Mist Porkelsdottir, GuSni Franzson, Helgi Petursson, Haukur Tomasson, RIkarSur H. FriSriksson and Ami Har5arson. The list is naturally incomplete, and must be so. It is not the purpose of this chapter to point out “young masters” from a horde of young composers, most of whom have as yet not completed their education. 168

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