A graduate of the University of Tubingen and an accomplished instrumentalist who could play the organ, harpsichord, lute, zither, viol, flute and trombone, Widmann was an organist in Styria, and a preceptor and organist at Weikersheim for Count Wolfgang and his immediate successor. His duties included teaching, composing, playing and directing. The musicians at court were required to be able to sing and to play on a variety of instruments. Widmann's abilities were more than conducive to generate sound music. Composing a number of secular works, Widmann's subjects included mythological concerns as well as those dealing with the life of a student. He used polyphony and homophony in his various works. Sacred pieces were set in both German and Latin texts for biblical data and for pietistic poetry. Widmann wrote his own texts for the secular compositions and the mythological works illustrate his strong classical training. Occasional antiphonal and character distinctions are found in Widmann's secular works. "Geistlich Psalmen und Lieder" (spiritual psalms and songs) was his first sacred publication. He employed tuneful melodies which were well-suited for both melisma as well as syllabic writing. "Gantz neue Cantzon, Intraden, Balletten und Courranten" were instrumental dances published by Widmann. Most of them are modal in character and rhythms were consistent, appropriate for dancing. Harmonies used by Widmann were considered new and fresh while his motifs and phrasings without variation maintained the conservatism of the late Renaissance.