Born in Aarau Widmer spent his childhood and teenage years in an art-loving home. In 1934 he received his first instruction in piano. From 1939 until 1943 he attended school (pre undergraduate) in Aarau, he said, "At the age of fourteen I realised that I belonged to music". From 1943 until 1947 he attended college in Aarau and was instructed in piano and the theory of harmony by Otto Kuhn. During this time he formed lifelong friendships, discovered the music of Strawinsky, Hindemith and Bartok and produced his first compositions. Following his undergraduate studies he studied composition and counterpoint (Willy Burkhard), piano (Walter Frey), conducting (Paul Müller), school singing (Ernst Hörler) and analysis (Rudolf Wittelsbach). He was strongly influenced by Burkhards' skill as a teacher and Freys' mediation of modern music. He composed 'Fünf Lieder im alten Stil' in 1949, this is now known as opus 1. He received his diploma in all subjects in 1950 and from then on until 1956 he was the conductor of a church choir in Aarau, a teacher for choral singing at college and a private piano teacher. He closely followed the development of new music. He had early success with his compositions for choir, lieder, instrumental ensembles and solo instruments; this led to numerous composition commissions for radio. These and earlier recordings by radio DRS were later deleted. In 1955 he married the Brazilian singer Sonja Born. After sensing the constriction of Switzerland he remained in Brazil after taking a holiday there in 1956. In the same year he was engaged as a teacher for music theory and choir conducting (later extended to piano teacher) at the 'Seminarios livres da Música' (which later became the music school as part of the 'Universidade Federal da Bahia') in Salvador da Bahia. He was appointed this position by the director H.J. Koellreuter who was then a central figure in the Brazilian music scene. From 1958 until 1967 he led the colleges madrigal choir to international renown, producing compositions for the choir, making recordings and touring. In 1962 he married again, this time to Adriana Bispo (also known as 'Lys') who was the solo soprano in the madrigal choir. Together they had three children. In 1963 he succeeded Koellreutter as teacher for composition and counterpoint. His teaching activities were later extended to improvisation, orchestration, conducting and musical education. From 1963 until 1965, 1967 until 1969 and 1976 until 1980 he was director of the music school in Bahia. In 1966 he founded the 'Grupo de Compositores da Bahia'. Widmer was the intellectual and spiritual mentor for the next generation of Brazilian composers. "Groups but no schools".
In 1967 he accepted citizenship of Brazil under the protection of Swiss citizenship. He was artistic director of the Festival for New Music in Bahia from 1969 until 1973 and then from 1974 until 1982 he was artistic director of the 'Festival de Arte Bahia'. He brought Brazilian composers as well as European and North American contemporary performers to the stage.
Strumentazione: für Chor (SB), 2 Flöten, Trompete, Klavier und Streicher
Testo: Martin Luther
Durata: 4' 00" Manuscritto
Zwei Choräle op. 10 (1953)
Strumentazione: für Solostimme oder Chor unisono und Orgel
Testo: Marthin Luther, Philipp Nicolai
Aus tiefer Not - Wachet auf
Durata: 12' 00" Manuscritto
Sechs Lieder op. 11 (1954)
Strumentazione: für Sopran und Klavier
Testo: Silja Walter
Auf der Bootsbrücke - Weisser Kerbel - Seidelbast - Korallenlied - Lied von der Armut - Vagantenlied
Durata: 13' 00" Manuscritto
Quintett I op. 12 (1954)
Strumentazione: für Bläser (Flöte, Oboe, Klarinette, Fagott, Horn)
Durata: 22' 00" Manuscritto
Dos muchachas op. 13 (1955)
Strumentazione: für Sopran und Klavier
Testo: Federico García Lorca
La Lola - Amparo
Durata: 3' 00" Manuscritto
Quodlibet über vier schweizerische Themen op. 14 (1955)
Strumentazione: für Flöte, Oboe, Klarinette, Fagott, Horn, Triangel ad lib.
Drei lädrigi Strümpf - De Bach isch do - Chumm mir wei ga Chrieseli günne - Fürio de Bach brünnt
Durata: 5' 00" Manuscritto
Letztes op. 15 (1957)
Liederzyklus
Strumentazione: für Mezzosopran und Klavier
Testo: Dylan Thomas, Federico García Lorca, Pericle Patocchi, William Blake, Paul Klee
1. In my Craft or Sullen Art, 2. Paisaje, 3. Lézard, 4. The Tyger, 5. Letztes
Durata: 15' 00" Manuscritto
30 Variationen über "Im Argäu sind zwöi Liebi" op. 16a (1956)
Strumentazione: für Bläserquintett
Durata: 20' 00" Manuscritto
Variationen über ein schweizerisches Volkslied op. 16b (1958)
"Im Argäu sind zwöi Liebi"
Strumentazione: für 2 Klaviere
Durata: 9' 00" Manuscritto
Bahia-Concerto op. 17 (1958)
Strumentazione: für Soli (Flöte (Picc.), Oboe, Fagott, Horn, Trompete, Klavier) und Streichorchester (Pauke ad libitum)
Hymnus - Tanz
Durata: 17' 00" Manuscritto
Hommages op. 18 (1959)
à Frank Martin, Béla Bartók et Igor Strawinsky
Strumentazione: für Oboe und Streichorchester mit Pauken ad libitum
Introduction - Canon à 6 voix - Canon à 3 voix - Canon à 3 et 5 voix
Durata: 17' 00" Manuscritto
Sechs kleine Orgelstücke op. 20 (1959)
Wie schön leuchtet der Morgenstern (Hommage à A. Honegger) - Es kommt ein Schiff geladen - Vom Himmel hoch - In dulci jubilo - Der Mond ist aufgegangen / Ich liege Herr, in deiner Hut - Nachspiel
Durata: 12' 00" Manuscritto
Partita I op. 19 (1960)
Strumentazione: für Oboe
Pastorale - Sarabande - Menuett - Polka - Gigue
Durata: 11' 00" Manuscritto
Gráfico de la Petenera op. 21 a (1955-1960)
Strumentazione: für hohe Stimme (Sopran oder Tenor), 2 Violinen, Viola, Violoncello
Testo: Federico García Lorca
Campana: Bordon - Camino - Las seis cuerdas - Danza - Muerte de la Petenera - Falseta - De Profundis - Clamor
Durata: 22' 00" Manuscritto
Gráfico de la Petenera op. 21 (1961)
Strumentazione: für hohe Stimme (Sopran oder Tenor) und Gitarre
Testo: Federico García Lorca
Campana: Bordon - Camino - Las seis cuerdas - Danza - Muerte de la Petenera - Falseta - De Profundis - Clamor
2. Fassung von Opus 21a
Durata: 21' 00" Manuscritto
Côco 1961 op. 22 (1961)
Divertimento III
Strumentazione: für Flöte, Klarinette, Horn, Klavier, 5 Schlagzeuger
Durata: 16' 00" Manuscritto
Kyrie op. 46 (1961)
Strumentazione: für gemischten Chor a cappella (SATB)
Durata: 5' 00" Manuscritto
La belle se siet op. 25 (1961)
Variationenrondo nach einem 3-stimmigen Chanson von Guillaume Dufay
Strumentazione: für Altblockflöte (auch Version für Oboe solo)
Dazu Originalsatz und -text (anonym, mittelfrz.).
Oboenversion kleine Terz tiefer, 1962.
Durata: 6' 00" Manuscritto
Partita II op. 23 (1961-1965)
Strumentazione: für Flöte und Cembalo (oder Klavier)
Präludium - Pantomime - Loure - Gigue - Choral
Durata: 16' 00" Manuscritto
Te Deum op. 31 (1961-1963)
Strumentazione: für sechsstimmigen Chor (SMsATBarB) und Orchester (2,3,2,3 - 3,2,2,1 - Klav, 2 Hfe, Schlgz - Str)
Durata: 17' 00" Manuscritto
Veni redemptor gentium op. 24 (1961)
Adventsmusik
Strumentazione: für 7 Blechbläser (3 Trompeten, 3 Posaunen, Tuba)
Durata: 4' 00" Manuscritto
Wettinger Sternsingerspiel op. 52 (1961-1968)
Weihnachtsoratorium
Strumentazione: für Solostimmen oder Chor, Instrumente ad lib.
Strumentazione: für Sopran, Chor (SATB), Trio (V, Vc, Klav) und Orchester (3,3,3,3 - 4,3,3,1 - Schlgz(3) - Str, mind 9,9,6,6,4)
Testo: Jorge de Lima
Durata: 12' 00" Manuscritto
Vier Präludien op. 67 (1970)
Strumentazione: für Orgel
Durata: 6' 00" Manuscritto
Messe VI op. 73 (1971)
Strumentazione: für Tenor oder Sopran, gemischten Chor (einstimmig), Gemeinde, Flöte, Trompete, Violoncello und Orgel
Testo: Silja Walter
Durata: 10' 00" Manuscritto
Plexo op. 74 (1971)
Strumentazione: für Klaviertrio
Durata: 3' 00" Manuscritto
Prismas op. 70 (1971)
Strumentazione: für Klavier und Orchester (1,1,1,1 - 1,1,0,0 - Schlgz(2) - Str)
Durata: 21' 00" Manuscritto
Rumos op. 72 (1971-1973)
Strumentazione: für Sprecher, Instrumente von Walter Smetak, Chor (SMsATBarB), Orchester (2,2,2,2 - 4,3,3,1 - Klav, Schlgz +-6) - Str), Tonband und Publikum
Testo: Ernst Widmer
I. Rumos no Mundo Sonoro (Richtungen in der Klangwelt); II. Rumo Sol: Espiral (Richtung Sonne: Spirale).
Die Instrumente von Walter Smetak werden in der Universität von Bahia aufbewahrt.
Durata: 29' 00" Manuscritto
ENTROncamentos SONoros op. 75 (1972)
Strumentazione: für Klavier, 5 Posaunen, Schlagzeug, Streicher, Tonband
Weitere Versionen:
a) Klavier, Tonband, 5 Posaunen
b) Klavier, Tonband
c) Klavier solo
Durata: 21' 00" Manuscritto
Gott wird Mensch op. 76 (1972)
Ein Weihnachtsmessespiel
Strumentazione: für 3 Chöre (einstimmig), Instrumente ad lib.
Strumentazione: für gleiche oder gemischte Stimmen (Zusatzinstrumente: Schlz, Gitarre)
Testo: Paulo Bonfim, Vinícius de Moraes, Cecília Meireles, Antônio Brasileiro, Carlos Drummond de Andrade, João Texeira Gomes, Fernando
1. A verdade, 2. O pato, 3. Ou isto ou aquilo, 4. A janela, 5. A emenda e o soneto, 6. A lagoa, 7. O pão, 8. Ritmo, 9. A criança, 10. Para ir lua, 11. Pra lá pra cá
Presto quasi calmo, sempre amabile - Adagio ansioso, sempre amabile - Calmo quasi presto e sempre amabile.
Zweite Version des 3. Satzes Tropos - Sinfonia IV op. 153.
Durata: 18' 00" Manuscritto
Cosmofonia III op. 163 (1987)
Strumentazione: für Sopran-Saxophon oder Klarinette
Bratschensolo - Erscheinen der Harfe - Flötensolo - Lied der Rapunzel - Trialog - Transitio, Vernetzung - Choral, Todesahnung und brasilianisches Lied - Tanz der Kraniche - Exodus.
Durata: 21' 00" Manuscritto
Cuatro Madeiras op. 170 a (1988)
Vier Holzbläser
Strumentazione: für Flöte, Oboe, Klarinette, Fagott
Preludio - Juazeiro.
Durata: 8' 00" Manuscritto
De Canto em Canto II, "Possivel Resposta" op. 169 (1988)
Von Lied zu Lied II, "Mögliche Antwort"
Strumentazione: für drei Orchestergruppen (2,2,2,2 - 3,2,2,1 - Schlgz(3) - Str (ohne KB) und die bahianische Karnevalsgruppe "Afoxé, Os filhos de Gandhi" (oder andere Gruppe)
"Antwort" auf Charles Ives' Werk "The Unanswered Question".
Durata: 45' 00" Manuscritto
Konzert für Klavier, Schlagzeug und Orchester op. 160 (1988)
Strumentazione: Orchester: 2 (2. auch Picc),2 (2. auch Eh),2 (2. auch Bkl),2 - 4,3,3,1 - Pk, Schlz(3) - Str (mit 8 tiefen Männerstimmen ad libitum)
Durata: 30' 00" Manuscritto
Neues Klavierheft op. 170 (1988)
32 Stücke
Durata: 55' 00" Manuscritto
Paisagem grapiuna op. 167 (1988)
Strumentazione: für kleines Orchester
Durata: 10' 00" Manuscritto
Toadas dos Romeiros do São Francisco op. 168 (1988)
Lieder der Pilger aus der Provinz São Francisco
Strumentazione: für Streichorchester
Andante, vivo, andante - Largo - Allegretto - Lento, amplo.
Durata: 12' 00" Manuscritto
Trio Basso op. 171 (1988)
"Seufzer - Schatten - Riten"
Strumentazione: für Viola, Violoncello, Kontrabass
Durata: 12' 00" Manuscritto
Surface III op. 111 c (1989)
Strumentazione: für Streichorchester
3. Version von "Surface I" op. 111 a (1978).
Durata: 12' 00" Manuscritto
Tiradentes op. 172 a (1989)
En forma de lamentação, se dirige ao povo infiel
Strumentazione: für Bariton und Klavier
Testo: Dantas Motta
Durata: 3' 00" Manuscritto
Ópera da Liberdade op. 172 (1989)
Grosse Oper mit Prolog, 3 Akten und Epilog
Testo: Myriam Fraga
1. Akt: Utopia; 2. Akt: Peripécia; 3. Akt: Malogro
Soli: Marília (S), Dona Maria I (S), Bárbara Heliodora (Ms), O Aleijadinho (Bassbar), Tiradentes (Bar), Antônio Gonzaga (Dirceu) (T), Alvarenga (B), Visc. de Barbacena (B), Silvério (T)
4 gemischte Chorgruppen, Männerchor, Frauenchor
Orchester: 3 (Blockfl),3,3,2 (Krummhorn) -. 4,3,3,1 - Klav, Hf, Cemb, Git/Pk, Schlz (3) - 12,10,8,8,6
Akt 3 blieb unvollendet (Tod des Komponisten).
Manuscritto
Ich liege, Herr, in deiner Hut op. 173 (1989)
Strumentazione: für Orgel
Nach der Originalmelodie von Willy Burkhard.
Durata: 12' 00" Manuscritto
Discografia
Aargauer Orgelmusik im 20. Jahrhundert (Musiques Suisses Nr. 6253, 2007)