SEE 7 = 1918 - 1950 Most of the national-romantic composers around the turn of the century had no comprehensive musical education behind them. They did not have the capacity for writing music on a larger scale, and they confined themselves mostly to solo song, piano and choral works, especially for male choir in the Scandinavian tradition. Apart from Sveinbjorn Sveinbjomsson who lived abroad, no other composer at- tempted independent instrumental forms. The music that was produced was very much of an informal kind designed for the home or small group. Iceland had neither the tradition nor the resources for anything else, and it was not yet equipped for either an official or public music life. However, during the First World War, three young Iceland- ic musicians travelled to the conservatory in Leipzig, a place that had long been the object of pilgrimage for young Nordic composers, including Sveinbjorn Sveinbjomsson. These three were Pall Isolfsson, Jon Porleifsson and SigurSur PorSarson. All three came in different ways to be of great importance in the growth of a more professional music scene in Iceland. Pall Isolfsson was born in 1893 in Stokkseyri, a poor fishing village on the south coast of the island. His father was Isolfur Palsson, one of the many amateur composers of his time. Aided by his uncle Jon, who was a bank teller, Pall Isolfsson travelled to Leipzig in the autumn of 1913. He studied composition with Max Reger and organ with Karl Straube, the famous organist and choirmaster of St. Thomas. He was introduced to the organ art of Bach and Reger, him- self becoming an organist of the highest order. He was ap- pointed assistant to Straube. Later he went to Paris for additional studies with Joseph Bonnet. His return to Iceland in 1921 almost certainly meant the Pall Isolfsson 33

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