notations, there are several pages of explanatory notes as a preface to the score. This was Lidholm's first composition with newer-style notation, but certainly not his last: In 1971, he composed Stamp music. This celebrated a stamp issue which honored the 200th anniversary of the Royal Swedish Academy of Music. 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 a medium for which he had not yet written, opera. Together with his librettist, Herbert Grevenius, he settled on reworking an unfinished drama of August Strindberg, Holländarn (“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. In 1973, he completed a commission from the governmental arts board of Sweden, Rikskonserter, for an a cappella choral work, …a riveder le stelle, 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, Greetings from an old world, commissioned by the Clarion Music Society of New York City in 1976. The “old world” of the title is brought into play through the use of Heinrich Isaac's tune, Innsbruck, Ich muss dich lassen. The overall effect of this stylistic mixture is reminiscent of Charles Ives, and other Scandinavian composers such as Lars Johan Werle and Lars Edlund who have utilized tonal and atonal styles within the same piece. In 1978, Lidholm completed a commission for another choral work, Perserna (“The Persians”), adapted from Aeschylus’ play of the same name, and set for a cappella male choir and three soloists. This was followed the same year by Kontakion, in which he uses Russian Orthodox choral music, again as with Greetings from an old world bridging early music and the avant-garde. His second opera, Ett drömspel (1992) is based on Strindberg's "A Dream Play". In 1993, Ingvar Lidholm won the Rolf Schock Prize. He played the violin and viola, conducted and