17 Facts About Ingvar Lidholm

Ingvar Lidholm was the youngest of four children, all of whom made music at home.

Ingvar Lidholm remained active in composition throughout his school years and completed what may be considered his final student work early in 1940: the Elegisk svit for string quartet.

In 1940, Ingvar Lidholm completed his studies at the gymnasium and passed the Studentexamen, the standard prerequisite test for higher education in Sweden.

Under Rosenberg, Ingvar Lidholm began to achieve a higher compositional output than previously, including: incidental music to a play of Georg Buchner, Leonce och Lena, from which the song Rosettas visa was published separately; Madonnas vaggvisa for voice and piano; and Pa kungens slott, a collection of children's piano pieces.

Ingvar Lidholm auditioned and was accepted for the position of musical director of the Orebro Orchestral Society in 1947, a position he held until 1956.

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In late 1953, Ingvar Lidholm pursued further compositional studies with Matyas Seiber in London for several months.

Ingvar Lidholm remarked “After some years of mainly working with chamber music, I desired to test my abilities in a work for larger ensemble.

In 1956, Ingvar Lidholm left his conducting post in Orebro to assume the head of the Chamber Music Department at Swedish Radio.

Ingvar Lidholm was instrumental in establishing the periodical Nutida musik as an adjunct to the music series of the same name begun in 1957 by Swedish Radio.

Ingvar Lidholm contributed a good deal toward an original and important a cappella choir literature during the second half of the 1950s.

Distinctly new era begins in 1963, when Ingvar Lidholm abandoned serial principles of pitch organization in his two works from that year: Nausikaa ensam and Poesis.

In writing Nausikaa, Ingvar Lidholm had to take into consideration of the performance abilities of the commissioning body, the orchestra of the music high school of Ingesund, Sweden.

In 1964, Ingvar Lidholm decided to leave his post at Swedish Radio and succeed Karl-Birger Blomdahl as professor of composition at the Musikhogskola.

Ingvar Lidholm began exploring the challenges of a medium for which he had not yet written, opera.

In 1978, Ingvar Lidholm completed a commission for another choral work, Perserna, adapted from Aeschylus' play of the same name, and set for a cappella male choir and three soloists.

Ingvar Lidholm played the violin and viola, conducted and served on musical juries.

Ingvar Lidholm established a reputation as a composer of demanding choral music during his early career, and he continued to compose vocal music throughout his career, and especially during his later years.