Waart, Edo de. 56 Wachmann, Eduard 56

Weidenaar, Reynold (Henry)

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Weidenaar, Reynold (Henry)

(b East Grand Rapids, MI, 25 Sept 1945). American composer, film maker and video artist. He worked with Moog at the Independent Electronic Music Centre in Trumansburg, New York (1965–9) and studied composition at the Cleveland Institute with Erb (BMus 1973) and at New York University with Fennelly (MA 1980, PhD 1989). His earliest awards include first prize in the Sonavera International Tape Music Competition (New York, 1979). Weidenaar has received widespread recognition in the USA and abroad for his films and videotapes, which integrate variations of texture and colour developed parallel to analogue tape music. His Love of Line, of Light and Shadow: the Brooklyn Bridge (1982, for clarinet and stereo and colour video), realized for the centenary of the Brooklyn Bridge, was chosen for inclusion in the Eastman School’s International Computer Music Conference (1983) and the second annual New York City Experimental Video and Film Festival. He has received the Special Distinction Award from the Tokyo Video Festival (1987) and a gold from the International Communication Film & Video Festival (1996). He was appointed an assistant professor of film and television at New York University (1986–93) and has been artist-in-residence at the center for computer music at Brooklyn College, CUNY (1983–4). In 1993 he became assistant professor of communication at William Paterson University in Wayne, New Jersey. Most of Weidenaar’s work involves magnetic audiotape, film or videotape. The Tinsel Chicken Coop, for your Usual Magnetic Tape (1973) and Wiener, your Usual Magnetic Sequel (1974) use vast arrays of electronic, vocal, and acoustic resources. The Wavelines series (1978–9) integrates electronic tape and 16 mm colour film images as does Pathways III (1980). Since 1985, his works have consistently involved the use of videotape, very often in conjunction with solo acoustic instruments, as in Swing Bridge (1997) for clarinet and videotape.


(selective list)

Fanfare, tape, 1973; The Tinsel Chicken Coop, for your Usual Magnetic Tape, 1973; Out of C (Weidenaar, L. Baker, D. Pealle), tape, 1974; Wiener, your Usual Magnetic Sequel (Weidenaar, after jingle), tape, 1974; Twilight Flight, tape, 1978; Wavelines II: 3 Visual-Musical Compositions, 16mm sound-film, 1978–9; Close Harmony, tape, 1979; How to Protect your Home from Frequency Modulation! (Weidenaar), 16mm sound-film, 1979; Pathways II: 7 Sonic Variations, tape, 1980; Pathways III: Visualmusical Variations, videotape, 1980; Pathways IV: Fibonacci loci, tape, 1980; Between the Motion and the Act falls the Shadow, videotape, 1981; Imprint: Footfalls to Return, tape, 1981; Twilight Flight, videotape, 1981; Love of Line, of Light and Shadow: the Brooklyn Bridge, cl, videotape, 1982; Night Flame Ritual, cl, videotape, digital delay, 1983; Southern Fantasy, film score, tape, 1983; The Stillness, a sax, videotape, elecs, 1985; The Thundering Scream of the Seraphim’s Delight, db, videotape, 1987; Bass Bars, videotape, 1988; Long River, pf, videotape, 1993; Long into the Night, Heavenly Electrical Music Flowed Out of the Street (Weidenaar), pf, videotape, 1996; Magic Music from the Telharmonium, videotape, 1997; Swing Bridge, cl, videotape, 1997


‘Down Memory Lane: Forerunners of Music and the Moving Image’, Ear [New York], ix/5–x/1 (1985), 3 only

‘Live Music and Moving Images: Composing and Producing the Concert Video’, PNM, xxiv/2 (1986), 270–79

Magic Music from the Telharmonium (Metuchen, NJ, 1995)


V. Ancona: ‘Reynold Weidenaar: Visual Counterpoints to Music’, Videography, vi/3 (1981), 66

K. Henry: ‘Reynold Weidenaar’, Video Guide, v/3 (1983), 11

T. Rhea: ‘Reynold Weidenaar – the Telharmonium: a History of the First Music Synthesizer, 1893–1918’, Computer Music Journal, xii/3 (1988), 59–63

R. Oakes: ‘Magic Music from the Telharmonium’, Journal SEAMUS, x/2 (1995), 9–10


Weidinger, Anton

(b Vienna, 9 June 1766; d Vienna, 20 Sept 1852). Austrian trumpeter. Because of his skill and diligence his training period was shortened, and he was pronounced to be well qualified for service at court, or in the army as a field trumpeter. Having served in some regimental bands, he joined the court opera in Vienna in 1792. Here he began to experiment with the keyed trumpet by about 1793.

In 1796 Joseph Haydn wrote his Trumpet Concerto for Weidinger, but it was not performed until 28 March 1800. In 1803 he made a concert tour in Germany, France and England; his playing was praised in Leipzig and London. On New Year’s Day 1804 he played Hummel’s Trumpet Concerto in E at Eszterháza, a work demonstrating the virtuosity he had achieved. Neukomm wrote a part for him in his requiem for Louis XVII (Congress of Vienna, 21 January 1815). From then on, Weidinger demonstrated his instrument frequently in concerts in Vienna. Although critics admired his playing, by 1820 his instrument was no longer popular.


R. Heuberger: ‘Anton Weidinger’, Die Musik, vii/4 [no.21] (1907–8), 162–6

R. Dahlqvist: Bidrag till trumpetens och trumpetspelets historia: från 1500-talet till mitten av 1800-talet, med särskild hänsyn till periden 1730–1830 (diss., U. of Göteborg, 1988) [with Eng. summary]


Weidt, Lucie [Lucy]

(b Troppau [now Opava], Silesia, 11 May 1876; d Vienna, 28 July 1940). Austrian soprano of German birth. She studied with her father, Heinrich Weidt, a minor Kapellmeister and composer, and with Rosa Papier. Most of her career was spent at the Vienna Staatsoper, of which she was a regular member from 1903 to 1926, first in succession to the retiring Sophie Sedlmair, and soon sharing the major Wagner roles with Anna Bahr-Mildenburg. She became a famous Leonore in Fidelio and was the first Viennese Marschallin in Der Rosenkavalier; she was also the first to sing the role of Kundry in Milan. She appeared in Munich between 1908 and 1910, for a few Metropolitan performances as Brünnhilde and Elisabeth in the season of 1910–11, and at Buenos Aires in 1912. Janáček much admired her Kostelnička at the Viennese première of Jenůfa in 1918. At the première of Strauss’s Die Frau ohne Schatten (1919, Vienna) she sang the part of the Nurse. Her recordings show a well-trained and strong voice of marked dramatic intensity.


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