wanted to work with new music. The circle of very capable musicians who for little or no remuneration carried the young Icelandic avant-garde on its shoulders, included the pianist Gfsli Magnusson, the cellist Petur Porvaldsson, the singer GuSrun Tomasdottir, and the organist and conductor Ragnar Bjomsson (cathedral organist from 1968), as well as the previously mentioned musicians and of course the composers themselves. Interest in concerts that promoted only new music declined after a time, however. The generation of young musicians was also keen to play new music at ordinary concerts and Icelandic orchestral music was played more frequently by the symphony orchestra. The need for Musica Nova declined and the organization faded away towards the end of the 1960’s (to be reformed in 1982). One of the most likely causes for this decline was that the symphony orchestra to a greater extent became a forum for new music. For the greater part of the 1960’s the orchestra was led by the Polish conductor Bohdan Wodizcko. He regarded it as self-evident that an Icelandic symphony orchestra should perform Icelandic orchestral music and was an eager supporter of its place in concert pro- grammes. He urged young composers to compose new works for orchestra and kept in close contact with them during the actual work of composition. One speaks today of this time as a golden era for new Icelandic orchestral music. Among the most significant results of the Musica Nova epoch during the 1960’s was that new music and the creation of new music became a part of the musical life of Iceland. Institutions, authorities and the general public became aware of the fact that young musicians and composers existed in the country. Because of the country’s insufficient resources for education, most of these composers and musicians had been compelled to travel abroad for their higher education. This meant that on their return home they carried with them a stream of different styles, traditions and impulses from the different comers of the world. Iceland, however, remained a musically underdeveloped land in many respects despite the expansion of the 1960’s. It is true that a music publishing firm, Musica Islandica, was started in 1962 with financial aid from the Icelandic Cultural Fund. During a period of four years, twenty-five Icelandic

(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
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(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