Background
Adolf H. A. Weidig was born in Hamburg, Germany, the son of Ferdinand and Hulda (Albrecht) Weidig. His father was a trombonist for thirty-eight years in the City Theatre orchestra at Hamburg.
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Adolf H. A. Weidig was born in Hamburg, Germany, the son of Ferdinand and Hulda (Albrecht) Weidig. His father was a trombonist for thirty-eight years in the City Theatre orchestra at Hamburg.
He received his general education in the schools of that city, and began to study violin at the age of twelve with Johannes Jagan, a member of the City Opera orchestra. From 1882 to 1887 he studied in the Hamburg Conservatory with K. L. Bargheer (violin), Hugo Riemann (theory and composition), and J. von Bernuth (piano). When he was sixteen years of age he became a member of the Hamburg Philharmonic Orchestra and played under famous conductors. He entered the Munich Conservatory in 1887 and became a pupil of Rheinberger (harmony, theory, and composition) and Abel (violin), graduating in 1891.
In 1888 he had composed a string quartet that won for him the Frankfort "Mozart Prize, " yielding an annual allowance of 1800 marks for four years. In June 1892, he came to America and settled in Chicago. His abilities as a violinist enabled him at once to enter the Chicago Symphony Orchestra, then the Thomas Orchestra, and he remained a member of the first violin section from 1892 to 1896, when he resigned to devote himself to teaching. In 1893 he joined the American Conservatory of Music in Chicago, as teacher of violin and theory, and from 1907 till his death he was an associate director of this school. In the course of a few years he became widely known as an original thinker and a distinguished teacher, especially of theory and composition. His scholarly and comprehensive treatise, Harmonic Material and Its Uses (1923), was the result of long research and practical experience. His devotion to chamber music led him to become a member (1893 - 1901) of the string quartet of Theodore Spiering, in which he played viola. After 1900 he rarely played the violin in public, but he often appeared as an orchestral conductor, especially of his own compositions. His compositions cover a wide field and show a fine mastery of all the musical means of expression. Though he was sympathetic to the modern musical idioms and encouraged his students to use them, his own style belonged rather to the conservative wing of modernism. He early displayed creative ability and, while a student at Munich, wrote a Symphony in C Minor and an overture, "Sappho, " the latter having been performed by the Thomas Orchestra at the Columbian Exposition in Chicago, 1893. He wrote about twenty-five songs and the song-cycle "The Buccaneer" and numerous pieces for piano, for violin, and for chorus, three string quartets (in D minor, A, and C minor), a string quintet, a piano trio, a suite for violin and piano, Opus 21, Romanza for the cello, Opus 14, and Serenade for strings, Opus 16. His large orchestral works are: "Semiramis, " Opus 33 (first performance, 1906), a symphonic fantasy based on a poem by Edwin Markham; "Drei Episoden, " Opus 38 (1908), based on Clärchen's song from Goethe's Egmont; Symphonic Suite in three movements (1914); and "Concert Overture, " Opus 65 (1919). The Chicago Symphony Orchestra gave first performances of all these except the "Concert Overture" which was played by the Minneapolis Symphony Orchestra with Weidig conducting. In the winter and spring of 1909 Weidig visited Germany and conducted several of his orchestral works, mainly the "Drei Episoden, " in Berlin, Hamburg, Frankfurt, and Wiesbaden, winning highly favorable criticism. His compositions are scholarly and brilliantly scored.
(Unlike some other reproductions of classic texts (1) We h...)
(Excerpt from The Buccaneer: A Song Story About the Publi...)
(This is a reproduction of a book published before 1923. T...)
He was a man of genial disposition, of wide information and broad sympathies.
On June 29, 1896, he was married to Helen Ridgway, of Hinsdale, Ill.