students, and then instructors, began to drop in; they held critiques and discussions of music, as well as performances of contemporary works. Hilding Rosenberg, who was to be Lidholm's composition teacher for two years, was especially important in leading studies into Hindemith, Stravinsky and other modern composers. Thus evolved what was later to be called the Måndagsgrupp. Under Rosenberg, Lidholm began to achieve a higher compositional output than previously, including: incidental music to a play of Georg Büchner, Leonce och Lena, from which the song Rosettas visa was published separately; Madonnas vaggvisa (“The Madonna’s Cradle Song”) for voice and piano; and På kungens slott (“At the King’s Castle”), a collection of children's piano pieces. A further teaching piece for piano, Allegro-Koral-Risoluto, followed the next year. The early part of summer of 1944, he completed Toccata e Canto 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 Concerto for string orchestra, and in 1946 a Sonata for solo flute. 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 Sonata for piano, dedicated to musicologist and pianist Ingmar Bengtsson. He auditioned and was accepted for the position of musical director of the Örebro Orchestral Society in 1947, a position he held until 1956. (His work Mutanza was written in 1959 for the society.) New compositional directions: 1947–1956 During 1947/48, Ingvar Lidholm completed a number of new works: the piano pieces Sonatin (“Sonatina”), (10) Miniatyrer (“Ten Miniatures”), and Lätta pianostycken (“Easy Piano Pieces”). An important work of this period was Laudi for a cappella mixed choir, published in 1948. This piece was a clear departure from traditional Swedish choral works. The conductor Eric Ericson had this to say about the impact of Laudi: 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 gradually became natural. Laudi was the first of Lidholm's works to be performed at a convocation of the International