in terms of instrumental forms. After the appearance of Hall- grfmur Helgason’s piano sonata, other composers were soon to follow with sonatas for violin, cello, trumpet and clarinet. After studying at the Reykjavik College of Music, Hall- grfmur Helgason continued his education in Copenhagen and Leipzig during the years immediately prior to the Second World War. After the war, he continued his studies in Zurich (1948-54) and received a Doctor of Musicology after having written a thesis analysing the structure of Icelandic vocal music in the Middle Ages (Das Heldenlied auf Island). He also received a solid foundation in the tradition on the aca- demic form of Central Europe from composers such as Hermann Grabner, Johann Nepomuk David, Willy Burkhard and Paul Hindemith. At the beginning of the 1940’s he wrote a number of orchestral works including the overture Snorri Sturluson and the Variations on an Icelandic Theme for string orchestra. Here some characteristic qualities can already be discerned, namely his ambition to include Icelandic folk melodies in a contrapuntal texture and his love of variations. During the following decades Hallgrlmur Helgason com- posed a considerable number of chamber and orchestral works, large- and small-scale choral works, and hundreds of songs and folk song arrangements. He was associate pro- fessor of analysis, theory and composition at the University of Saskatchewan in Canada from 1966 until 1974. During this time he composed the large-scale symphonic cantata Sandy Bar for tenor, mixed chorus and orchestra, dedicated to the memory of the first Icelandic congregation in Mani- toba. The work was first performed in Winnipeg in 1975 and clearly bears witness to the composer’s belief in the expres- sive capabilities of contrapuntal writing. The same is true of the Symphony, first performed in Reykjavik in 1982. The work is based on a tvisongur melody Minir vinirfara fjold by Bolu-Hjalmar, who lived in northern Iceland during the nineteenth century. Hallgrlmur Helgason, with his stylistic awareness and his unwavering belief in the contrapuntal model of music, stands relatively alone in Icelandic music. This picture of his contri- bution to the musical scene must be complemented, however. He has been active in many of the different organizations that evolved after the Second World War. Furthermore he has

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