42:. The actual family home was in Nässjö, some 40 kilometers to the southeast. Neither of his parents was particularly musical: his father worked for Swedish Railways and his mother was a homemaker. But the home environment was one in which music was encouraged. Ingvar was the youngest of four children, all of whom made music at home. The family owned a piano, and Lidholm began his "musical explorations" at an early age. By the age of eleven, Lidholm and his family had moved to Södertälje, which lies to the south of Stockholm. Both at school and at home, he rapidly began to develop his musical skills as a performer – and as a composer. By age twelve, he was writing songs in a tonal and romantic idiom, which led gradually to exercises of larger proportions, including music for full orchestra. This early period also included orchestration studies with
283:, quoted Igor Stravinsky's definition of music as “…a spirit’s free investigation.” He composed in a number of styles of the course of his career, but never keyed his music to a methodology within any one of those styles. Thus, there is not the systematization of Hindemith in his works from the forties, or a strict serial technique in his works of the fifties. Only a small percentage of Lidholm's serial music subscribes to strict pitch order throughout the work. In
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392:, Lidholm had to take into consideration of the performance abilities of the commissioning body, the orchestra of the music high school of Ingesund, Sweden. Poesis, on the other hand, was commissioned for the fiftieth anniversary of the Stockholm Philharmonic Orchestra. Lidholm's inaugural lecture at the Musikhogskola describes the process of writing
417:(“The Dutchman”). This was a joint commission from Swedish Radio-RV and West German Television, which meant that the opera was to be not for the stage, but for television, the first such work by a Scandinavian composer. Premiered in December, 1967, it captured the opera prizes of Florence and Salzburg in 1968.
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Lidholm established a reputation as a composer of demanding (but well-respected) choral music during his early career, and he continued to compose vocal music throughout his career, and especially during his later years. Of the final nine works that he composed after the age of 70, six included choir
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In 1964, Lidholm decided to leave his post at
Swedish Radio and succeed Karl-Birger Blomdahl as professor of composition (a ten-year, non-renewable appointment) at the Musikhogskola. Due to his teaching duties, he produced just four works for the period 1965–1975. He began exploring the challenges of
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Some of these early scores have been preserved in the composer’s personal library; a good many have been discarded. Unfortunately, a similar fate befell most of
Lidholm’s sketches for his later, mature works. Thus, evolutionary studies of individual works, using sketch material, cannot be attempted
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is its graphic notation, due to
Lidholm's abandonment of even loose pitch serialization. In keeping with the works of other composers who introduce new graphical notations, there are several pages of explanatory notes as a preface to the score. This was Lidholm's first composition with newer-style
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As students with common interests, Lidhom, Bäck and
Blomdahl began to meet together, eventually more regularly, and it came about that their gatherings fell on Mondays. Additional students, and then instructors, began to drop in; they held critiques and discussions of music, as well as performances
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I remember so well our first contact with
Lidholm’s Laudi – how depressed we were after the first rehearsal. We understood nothing! The piece appeared like a high wall! But we struggled through and in that way taught ourselves not just Laudi but many other pieces.... What had been very difficult
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in
Stockholm. There, he established friendships with two other students at the conservatory who were to become important composers in their own right: Sven-Erik Bäck and Karl-Birger Blomdahl. Over the following decades, these three men were to hold similar, and influential, posts at
273:, in 1955, the piece with which he became internationally known. Lidholm remarked “After some years of mainly working with chamber music, I desired to test my abilities in a work for larger ensemble.” It made use of large cluster chords and protracted use of percussion.
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for orchestra, commissioned by the SĂĽdwestfunk
Orchestra of Baden-Baden, for large chamber orchestra with dominating percussion. The pitch content was organized serially, but with just nine, not twelve, pitches to the row, plus the inversion of that row. Following
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student, he played viola and contrabass in the school orchestra, and studied violin from the German master
Hermann Gramss. He remained active in composition throughout his school years and completed what may be considered his final student work early in 1940: the
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Lidholm spent the academic year 1946/47 abroad as the recipient of a governmental Jenny Lind scholarship, during which he broadened his artistic experiences, meeting people, discussing ideas, and planning compositions. While in Bergen, Norway, he wrote the
428:, in which rhythm is subordinated to allow for maximal exposure of the harmony and melody, using whole-tone and pentatonic as well as diatonic pitch organization. Its serenity stands in contrast to the work that followed it,
299:(“Contemporary Music”) as an adjunct to the music series of the same name begun in 1957 by Swedish Radio. It was at this time that he came into contact with electronic music. In the fall of 1957, he made a visit to the
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for a chamber orchestra of strings and solo winds. With its debut, this work of the twenty-one-year-old composer attracted immediate interest within
Swedish music circles. The following year, he wrote the
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In 1956, Lidholm left his conducting post in Ă–rebro to assume the head of the
Chamber Music Department at Swedish Radio. He was instrumental in establishing the periodical
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86:(the state broadcasting organization) and the Musikhögskola. They, in turn, were to affect the growth and education of many younger Swedish composers and musicians.
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He contributed a good deal toward an original and important a cappella choir literature during the second half of the 1950s. The first of these works was
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a medium for which he had not yet written, opera. Together with his librettist, Herbert Grevenius, he settled on reworking an unfinished drama of
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Lidholm's primary performance area was stringed instruments; he eventually studied and mastered all four instruments of the string family. As a
937:, The Royal Academy of Music and The Royal Swedish College of Music, Publication No. 4 (Stockholm: Nordiska musikforlaget, 1968), pp. 57 – 80.
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287:, for example, extraneous pitches are freely integrated into row order, and there is no deliberate effort to maintain an atonal orientation.
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A distinctly new era begins in 1963, when Lidholm abandoned serial principles of pitch organization in his two works from that year:
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for a cappella mixed choir, published in 1948. This piece was a clear departure from traditional Swedish choral works. The conductor
108:. Under Rosenberg, Lidholm began to achieve a higher compositional output than previously, including: incidental music to a play of
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was the first of Lidholm's works to be performed at a convocation of the International Society for Contemporary Music (
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An account of these studies was written by Lidholm after the death of Seiber. See Nutida music, No. 3 (1960), p. 16.
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In the ensuing years, Lidholm's works were performed in different cities, especially within Sweden and Germany.
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for television, with solo soprano, mixed choir, string quartet, and electronic and concrete sounds (1973–74)
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in 1959). Later, he aided in establishing an independent electronic music laboratory for the Musikhögskola.
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in Milan, and by 1959 he had produced his first electronic composition, as an accompaniment to his ballet,
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486:. He played the violin and viola, conducted and served on musical juries. His notable students include
128:(“At the King’s Castle”), a collection of children's piano pieces. A further teaching piece for piano,
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950:. Ph.D. dissertation (Music Theory), Northwestern University, Evanston, Illinois, USA, 1979, p. 89.
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Ingvar Lidholm, private interview with Bruce Brolsma conducted 18 May 1978, in Rönninge, Sweden.
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Ingvar Lidholm, private interview with Bruce Brolsma conducted 18 May 1978, in Rönninge, Sweden.
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764:(A Dream Play), opera for soloists, children's choir, mixed choir, and orchestra (1990)
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During 1947/48, Ingvar Lidholm completed a number of new works: the piano pieces
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In 1973, he completed a commission from the governmental arts board of Sweden,
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He auditioned and was accepted for the position of musical director of the
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With the fall of 1940, Lidholm began his advanced musical studies at the
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In 1940, Lidholm completed his studies at the gymnasium and passed the
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was later used in a series of other choral works from 1959 to form an
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Orchestral Society in 1947, a position he held until 1956. (His work
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in 1956, whose text is an excerpt of the canto of the same name by
242:'s similarly titled piano piece, but Lidholm was familiar with it.
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for piano, dedicated to musicologist and pianist Ingmar Bengtsson.
658:(Rites), ballet: for dancers, orchestra and electronic tape (1959)
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in London for several months. Work from this period includes the
682:(The Dutchman), opera for television, with electronic tape (1967)
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In 1978, Lidholm completed a commission for another choral work,
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who have utilized tonal and atonal styles within the same piece.
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In late 1953, Lidholm pursued further compositional studies with
69:, the standard prerequisite test for higher education in Sweden.
752:(Pastorale in the Forest) for flute, organ, and vibrafone (1988)
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Lidholm, in his prefatory remarks on his compositional style in
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30:(24 February 1921 – 17 October 2017) was a Swedish composer.
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bridging early music and the avant-garde. His second opera,
187:(“Easy Piano Pieces”). An important work of this period was
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notation, but certainly not his last: In 1971, he composed
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The first part of 1960 was devoted to the composition of
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List of music students by teacher: K to M#Ingvar Lidholm
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124:(“The Madonna’s Cradle Song”) for voice and piano; and
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214:In 1949, he attended seminars on music held at the
948:The Music of Ingvar Lidholm: A Survey and Analysis
1526:International Rostrum of Composers prize-winners
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974:"Eric Ericson - 50 years with the Chamber Choir"
770:(The World of Imagination) for male choir (1990)
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842:Quoted in Lars Edlund, “Den nya körmusiken” in
598:for flute, oboe, English horn, and cello (1954)
396:. One of the distinguishing characteristics of
135:The early part of summer of 1944, he completed
881:, 1957), p. 205. Translation Bruce E. Brolsma.
376:Moving away from serial music: 1963 and beyond
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873:Ingvar Lidholm, “Tankar kring Ritornell” in
688:graphic composition for postage stamp (1971)
444:, and other Scandinavian composers such as
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628:for soprano, choir and orchestra (1957/81)
257:for various instrumental combinations and
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670:for soprano, chorus and orchestra (1963)
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916:Ingvar Lidholm, ″Rörelser I färger″ in
171:New compositional directions: 1947–1956
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604:for two instruments or keyboard (1954)
167:was written in 1959 for the society.)
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704:for mixed chorus a cappella (1971–73)
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291:International recognition: 1956–1960
195:had this to say about the impact of
144:for string orchestra, and in 1946 a
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592:for violin, viola and cello (1953)
348:. The twelve-tone series used for
218:in Germany (including lectures by
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782:for baritone and orchestra (1998)
746:for mixed choir a cappella (1983)
652:for mixed choir a cappella (1959)
646:for mixed choir a cappella (1959)
622:for mixed choir a cappella (1956)
586:for mixed choir a cappella (1953)
550:for mixed choir a cappella (1947)
424:, for an a cappella choral work,
238:. It is not directly inspired by
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813:"Tonsättaren Ingvar Lidholm död"
788:for oboe and English horn (2001)
482:In 1993, Ingvar Lidholm won the
60:För vilsna fötter sjunger gräset
1506:Musicians from Jönköping County
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459:(“The Persians”), adapted from
438:Innsbruck, Ich muss dich lassen
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776:requiem for mixed choir (1994)
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520:for chamber orchestra (1944)
301:Studio di Fonologia Musicale
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714:Greetings from an Old World
580:for string orchestra (1952)
526:for string orchestra (1945)
469:Greetings from an old world
430:Greetings from an old world
38:Ingvar Lidholm was born in
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23:Ingvar Lidholm circa 1945.
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708:Inga träd skall väcka dig
202:gradually became natural.
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740:for solo clarinet (1980)
211:), at Brussels in 1950.
183:(“Ten Miniatures”), and
1275:Herzog & de Meuron
1063:Willard Van Orman Quine
946:Brolsma, Bruce Edward.
844:Svensk musik perspektiv
716:for orchestra (1974–76)
640:for orchestra (1959/65)
384:(“Nausicaa Alone”) and
263:Guildhall Music Society
216:Darmstädter Ferienkurse
90:of contemporary works.
28:Ingvar Natanael Lidholm
905:Tankar kring Ritornell
794:for mixed choir (2003)
720:Fantasia sopra 'Laudi'
702:...a riveder le stelle
130:Allegro-Koral-Risoluto
116:, from which the song
34:Early years: 1921–1940
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1541:20th-century violists
1501:People from Jönköping
722:for solo cello (1977)
532:for solo flute (1946)
506:Selected compositions
224:twelve-tone technique
73:University: 1940–1947
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1394:Anne Sofie von Otter
1323:Jean-Philippe Vassal
1056:Logic and philosophy
894:, beginning in 1957.
875:Modern nordisk music
780:stund, när ditt inre
728:for orchestra (1978)
676:for orchestra (1963)
664:for orchestra (1960)
650:(3) Strindbergsvisor
616:for orchestra (1955)
426:…a riveder le stelle
321:A Game Around a Game
768:Inbillningens värld
475:(1992) is based on
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1210:Michael Aschbacher
1192:Richard P. Stanley
933:for Orchestra″ in
879:Natur & Kultur
819:. 18 October 2017.
792:Grekisk gravrelief
560:Lätta pianostycken
267:Luigi Dallapiccola
185:Lätta pianostycken
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817:Svenska Dagbladet
750:Pastoral i skogen
578:Musik för stråkar
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512:PĂĄ kungens slott
488:Edward Applebaum
479:"A Dream Play".
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331:The Poet's Night
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1180:Yuri I. Manin
1178:
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1123:Ruth Millikan
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1012:Record review
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1007:Swedish music
1005:
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877:(Stockhollm:
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626:Skaldens natt
624:
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388:. In writing
387:
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370:Motus-colores
366:
365:Motus-colores
361:
359:
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347:
343:
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335:Das neue Werk
332:
328:
327:Skaldens natt
324:
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251:Mátyás Seiber
247:
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119:
118:Rosettas visa
115:
111:
110:Georg BĂĽchner
107:
106:
101:
97:
93:
87:
85:
84:Swedish Radio
80:
70:
68:
67:Studentexamen
63:
61:
57:
52:
47:
45:
44:Natanael Berg
41:
31:
29:
21:
1412:Andrew Manze
1406:Gidon Kremer
1376:Jorma Panula
1363:
1357:Musical arts
1347:Rem Koolhaas
1341:Francis AlĂżs
1319:Anne Lacaton
1257:Rafael Moneo
1216:Yitang Zhang
1168:Andrew Wiles
1145:David Kaplan
1117:Derek Parfit
1105:Thomas Nagel
981:. Retrieved
977:
967:
959:
955:
947:
942:
934:
930:
925:
918:Nutida music
917:
912:
904:
899:
892:Nutida music
891:
886:
874:
869:
860:
851:
843:
838:
831:
825:
816:
807:
791:
785:
779:
773:
767:
762:Ett drömspel
761:
755:
749:
744:De Profundis
743:
737:
731:
725:
719:
713:
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583:
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571:
566:KlavierstĂĽck
565:
559:
553:
547:
541:
535:
529:
523:
517:
511:
500:
481:
477:Strindberg's
473:Ett drömspel
472:
468:
464:
456:
454:
442:Charles Ives
437:
429:
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297:Nutida musik
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193:Eric Ericson
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136:
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125:
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117:
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105:MĂĄndagsgrupp
104:
88:
76:
64:
59:
56:Elegisk svit
55:
48:
37:
27:
26:
1491:2017 deaths
1486:1921 births
1307:Mona Hatoum
1250:Visual arts
1155:Mathematics
1135:Dag Prawitz
1087:Saul Kripke
978:The Art Bin
696:Stamp Music
686:Stamp Music
634:(1958/2000)
620:Canto LXXXI
450:Lars Edlund
403:Stamp music
350:Canto LXXXI
342:Canto LXXXI
1480:Categories
1174:Mikio Sato
1081:John Rawls
1075:Dana Scott
799:References
680:Holländarn
596:Concertino
415:Holländarn
346:Ezra Pound
259:Concertino
244:Fyra körer
100:Stravinsky
1050:laureates
1002:Biography
962:., p. 98.
907:, p. 205.
774:Libera me
756:Arabesque
726:Kontakion
614:Ritornell
608:(4) Pezzi
602:Invention
584:(4) körer
465:Kontakion
461:Aeschylus
436:'s tune,
285:Ritornell
281:Ritornell
271:Ritornell
255:Invention
220:Leibowitz
96:Hindemith
51:gymnasium
40:Jönköping
983:19 April
738:Amicizia
732:Perserna
524:Concerto
457:Perserna
390:Nausikaa
228:Messiaen
142:Concerto
638:Mutanza
572:Sonatin
542:Sonatin
494:. See:
232:Fortner
177:Sonatin
165:Mutanza
1456:Portal
1444:(2022)
1438:(2020)
1432:(2018)
1426:(2017)
1420:(2014)
1414:(2011)
1408:(2008)
1402:(2005)
1396:(2003)
1390:(2001)
1384:(1999)
1378:(1997)
1372:(1995)
1366:(1993)
1349:(2022)
1343:(2020)
1337:(2018)
1331:(2017)
1325:(2014)
1315:(2011)
1309:(2008)
1303:(2005)
1289:(2003)
1283:(2001)
1277:(1999)
1271:(1997)
1265:(1995)
1259:(1993)
1242:(2022)
1236:(2020)
1230:(2018)
1224:(2017)
1218:(2014)
1212:(2011)
1206:(2008)
1200:(2005)
1194:(2003)
1188:(2001)
1182:(1999)
1176:(1997)
1170:(1995)
1164:(1993)
1147:(2022)
1141:(2020)
1131:(2018)
1125:(2017)
1119:(2014)
1113:(2011)
1107:(2008)
1101:(2005)
1095:(2003)
1089:(2001)
1083:(1999)
1077:(1997)
1071:(1995)
1065:(1993)
931:Poesis
674:Poesis
536:Sonata
530:Sonata
398:Poesis
394:Poesis
386:Poesis
309:Aniara
161:Ă–rebro
154:Sonata
146:Sonata
1293:SANAA
786:Aulos
656:Riter
644:Motto
548:Laudi
313:Riter
305:Riter
205:Laudi
197:Laudi
189:Laudi
985:2019
960:Ibid
490:and
448:and
230:and
209:ISCM
222:on
1482::
1321:/
1299:+
1295:/
1137:/
976:.
815:.
498:.
413:,
199::
112:,
98:,
1458::
1040:e
1033:t
1026:v
987:.
356:(
329:(
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