Page 361 - Weiss, Jernej, ur./ed. 2023. Glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo ▪︎ Music societies in the long 19th century: Between amateur and professional culture. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 6
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the role and contribution of immigrant musicians to the music societies ...
an elderly and experienced musician from Coburg, came from Opava to
Celje at the end of July 1887 to take over the post of artistic director.111 He
was not only an excellent conductor, but also a meticulous and kind teach-
er.112 With his arrival, the role of the Kapellmeister changed: he continued
to compose the concert programmes and lead the orchestra, while the con-
certs of the association were prepared and conducted by the artistic direc-
tor. Weidt’s duties therefore included running the music school, teaching
piano, theory and strings, and assisting the Kapellmeister. In addition, he
also gave private lessons.113 Under his direction, important changes took
place and the repertoire he performed with the orchestra was quite de-
manding.114 At the concerts (Parkmusiken) held in the summer of 1888 it be-
came clear that Nottek was unable to conduct the orchestra, and therefore
Weidt took over. However, since the management of the association was
not satisfied with his activities as Kapellmeister and he also gave private
singing lessons without permission, Weidt left Celje soon after. He wrote
several works in the city, which were performed on the stage of the Cel-
je Music Association. Three salon pieces, op. 141, Weidt dedicated to Ma-
rie Zangger (née Lichtenegger), the wife of Franz Zangger.115 To commemo-
rate the Regional Exhibition in Celje in 1888, the composer wrote the piano
march Die Bergkraxler von Cilli op. 144 and dedicated it to C. Adolf Lutz.
The piece, probably composed for Weidt’s pupils, was published in Celje by
Fritz Rasch.
Wertheim, then lived in Hamburg, where he performed first as an actor, then as a
singer and composer. He worked in at least 24 places in Europe as an actor, sing-
er, bandmaster, choirmaster, composer, and pedagogue. Weidt moved to Celje in
1887 and was artistic director and director of the Celje Music Association until 1890.
From Celje he moved to Banat in 1893, where he worked in various places as a choir-
master, music director, and piano teacher. In 1899 he settled in Graz, where he died
in 1901. See: Franz Metz, Heinrich Weidt–Der Lebensweg eines deutschen Kapell
meisters im Europa des 19. Jahrhunderts (Munich: Edition Musik Südost, 2015).
111 Anon., “Theater, Kunst, Liteartur,” Deutsche Wacht, June 16, 1887, 7; Anon., “Theat-
er, Kunst, Literatur. Cillier Musikverein,” Deutsche Wacht, September 11, 1887, 5–6.
112 Anon., “Theater, Kunst, Literatur,” Deutsche Wacht, June 16, 1887, 7.
113 See the advertisement of Heinrich Weidt: Advertisement, Deutsche Wacht. August
18, 1887, 8, http://www.dlib.si/?URN=URN:NBN:SI:doc-IEHB8AQJ.
114 In the 1887/1888 school year, classes for girls and piano lessons were newly intro-
duced at the Musikverein School. Weidt occasionally reinforced the orchestra with
musicians from Ptuj and enlarged the orchestra to 40 players. He conducted works
such as Haydn’s Symphony in E-flat Major, Beethoven’s Symphony in C Major, Men-
delssohn’s Ruy Blas.
115 Zangger, Künstlergäste, 24.
359
an elderly and experienced musician from Coburg, came from Opava to
Celje at the end of July 1887 to take over the post of artistic director.111 He
was not only an excellent conductor, but also a meticulous and kind teach-
er.112 With his arrival, the role of the Kapellmeister changed: he continued
to compose the concert programmes and lead the orchestra, while the con-
certs of the association were prepared and conducted by the artistic direc-
tor. Weidt’s duties therefore included running the music school, teaching
piano, theory and strings, and assisting the Kapellmeister. In addition, he
also gave private lessons.113 Under his direction, important changes took
place and the repertoire he performed with the orchestra was quite de-
manding.114 At the concerts (Parkmusiken) held in the summer of 1888 it be-
came clear that Nottek was unable to conduct the orchestra, and therefore
Weidt took over. However, since the management of the association was
not satisfied with his activities as Kapellmeister and he also gave private
singing lessons without permission, Weidt left Celje soon after. He wrote
several works in the city, which were performed on the stage of the Cel-
je Music Association. Three salon pieces, op. 141, Weidt dedicated to Ma-
rie Zangger (née Lichtenegger), the wife of Franz Zangger.115 To commemo-
rate the Regional Exhibition in Celje in 1888, the composer wrote the piano
march Die Bergkraxler von Cilli op. 144 and dedicated it to C. Adolf Lutz.
The piece, probably composed for Weidt’s pupils, was published in Celje by
Fritz Rasch.
Wertheim, then lived in Hamburg, where he performed first as an actor, then as a
singer and composer. He worked in at least 24 places in Europe as an actor, sing-
er, bandmaster, choirmaster, composer, and pedagogue. Weidt moved to Celje in
1887 and was artistic director and director of the Celje Music Association until 1890.
From Celje he moved to Banat in 1893, where he worked in various places as a choir-
master, music director, and piano teacher. In 1899 he settled in Graz, where he died
in 1901. See: Franz Metz, Heinrich Weidt–Der Lebensweg eines deutschen Kapell
meisters im Europa des 19. Jahrhunderts (Munich: Edition Musik Südost, 2015).
111 Anon., “Theater, Kunst, Liteartur,” Deutsche Wacht, June 16, 1887, 7; Anon., “Theat-
er, Kunst, Literatur. Cillier Musikverein,” Deutsche Wacht, September 11, 1887, 5–6.
112 Anon., “Theater, Kunst, Literatur,” Deutsche Wacht, June 16, 1887, 7.
113 See the advertisement of Heinrich Weidt: Advertisement, Deutsche Wacht. August
18, 1887, 8, http://www.dlib.si/?URN=URN:NBN:SI:doc-IEHB8AQJ.
114 In the 1887/1888 school year, classes for girls and piano lessons were newly intro-
duced at the Musikverein School. Weidt occasionally reinforced the orchestra with
musicians from Ptuj and enlarged the orchestra to 40 players. He conducted works
such as Haydn’s Symphony in E-flat Major, Beethoven’s Symphony in C Major, Men-
delssohn’s Ruy Blas.
115 Zangger, Künstlergäste, 24.
359
