Although anniversary years typically evoke increased public interest in historical figures of various profiles, the 150th anniversary of Ivan Padovec’s death has passed rather unnoticed in the shadow of unfortunate events that marked the year 2023. Through this article, I would like to remember our fellow citizen, a guitar virtuoso, composer, music educator, and organizer, the inventor of the decachord guitar, and make a small contribution to commemorating the birth anniversary of this unique personality in Croatian music of the 19th century. Ivan Padovec stands out among his contemporaries as a concert performer throughout Europe. He is the author of the oldest guitar literature in Croatia.
He is the only Croatian composer of that period whose name is regularly mentioned in foreign magazines, encyclopaedias, and books about the guitar, even to this day. His compositions are likely the only ones still being published worldwide (in the US, UK, Germany, Hungary, Poland, etc.). He was the first in this region to write and publish a textbook for progressively mastering the playing of a musical instrument – “The Guitar School” (Theoretisch-practische Guitar-Schule). He also devised a significant innovation for his instrument, a device that allowed chromatic alteration of the four bass strings on the second neck while playing. He was also the first Croatian musician to have his biography published (a biographical article with a list of significant works) during his lifetime (Đuro Deželić, in “Dragoljub,” 1862).
It is highly likely that Deželić obtained the information for this biographical text directly from Padovec himself, and his account was fully respected and followed by the next biographer, Ferdo Plohl-Herdvigov, 12 years later. Departing from this material, sometimes with questionable interventions, Franjo Kuhač provided his account in 1893. In his famous collection “Ilirski glazbenici” (Illyrian Musicians), he included the study “Padovec, kitaraški virtuoz i glazbotvorac” (Padovec, Guitar Virtuoso and Music Creator). We can say that, alongside Krešimir Filić’s work (in “Glazbeni život Varaždina,” 1972), this is the most influential biographical study on Ivan Padovec, referred to by numerous future researchers.
Therefore, the historical information presented in this article, directly or indirectly, is based on the works of the aforementioned authors, which are complemented by more recent research, many of which are related to the international scientific conference held in Zagreb and Varaždin in 2000, commemorating the 200th anniversary of Padovec’s birth.
Regenerate response
Ivan Eugen Padovec was born on July 17, 1800, in Varaždin, to mother Josipa, maiden name Moor, and father Ivan Krstitelj Padovec. All biographical texts state that as a child, he was sickly and had very poor eyesight. Unfortunately, he had the misfortune of losing his left eye due to a stone thrown by a peer during a game. This fact significantly limited his career options and directed him towards music. Since he was rejected from enrolling in the seminary due to his poor eyesight, he decided to pursue a teaching profession. Enrolment in the preparatory school in Zagreb also required knowledge of a musical instrument. To assist him, a relative from Vienna sent him a violin as a gift in 1817, which marked the beginning of his musical development. Although self-taught, he quickly demonstrated great talent, prompting the composer Leopold Ebner from Varaždin to recommend to Padovec’s father that he find him a teacher. We do not know who his first music teacher was, but he acquired basic knowledge of violin technique and music theory from them.
The well-known story tells that young Padovec visited a relative in Vienna in 1818, and he was so profoundly impressed by attending a concert by the famous guitarist Mauro Giuliani that he firmly decided to dedicate himself to the guitar. (Franjo Kuhač assumed that Padovec had already been playing the guitar to some extent before going to Vienna since it was a very popular instrument in Croatian households at the time and could be found in numerous bourgeois homes). Upon his return to Varaždin, Padovec acquired enough knowledge of playing the guitar to be able to teach students. In 1819, he finally enrolled in the preparatory school in Zagreb. Although his life in Zagreb was initially very difficult, and he even contemplated returning home, he soon found numerous students and, after leaving the preparatory school, devoted himself exclusively to music. In addition to practicing the guitar, he began composing. Feeling the lack of necessary knowledge, he started taking lessons in composition, harmony, and piano from Juraj Kralj Wisner pl. Morgenstern, a chorister at the Zagreb Cathedral. Soon, he was composing larger works, and the renowned Viennese publisher Diabelli published his Variationen uber ein beliebtes Thema, op. 1.
By founding the “Zagrebački sekstet,” a group of amateur string players and guitarists, Ivan Padovec began performing publicly. This attracted professional musicians to the ensemble, including his teacher, Mr. Morgenstern, with whom he developed the idea of establishing a music society in Zagreb. Through the collaboration of several musicians, the society started its activities in 1827, initially under the name Musikverein, later changing names several times, and since 1925, operating as the Croatian Music Institute (Hrvatski glazbeni zavod). The role of Ivan Padovec in the newly established Musikverein and their relationship have not been entirely clear and have been interpreted differently. While many authors, primarily based on Kuhač’s study and his personal perspective, believe that Padovec was unjustly excluded in favor of Mr. Morgenstern, who became the director because he was German, others argue that there were no misunderstandings between Padovec and Musikverein. Padovec is mentioned as one of the first members of the newly formed social orchestra, but it is unclear whether he belonged to the unpaid volunteers or the paid members of the orchestra. In any case, from newspaper reports and publications about Musikverein, it is evident that Padovec participated in numerous society concerts as a performer, composer of performed works, and organizer.
However, the local scene seemed to become too limited for the young guitarist, who had mastered the technique of his instrument excellently and was performing his own compositions, following the customary practice of the time. As early as 1827, he embarked on a tour of Croatian cities, and according to his first biographer, his concerts were well-received everywhere, which encouraged him to set off for Vienna.
Although he had a relatively modest music education, mostly self-taught, Padovec managed to find solutions for the challenges, needs, and tastes of his time.
1829 was the same year in which the Varaždin Music School, established a year earlier through Padovec’s efforts, included the guitar in its curriculum. Ivan Padovec performed in Vienna before members of the imperial court at the Theater an der Wien, experiencing great success. According to the prevalent practice at the time, he performed between acts of the play, and we know that he received the same opportunity on later occasions as well.
He stayed in Vienna until 1837, fully establishing himself as a virtuoso performer, composer, and pedagogue. He was highly respected in music circles, and publishers released his works.
Every year, he embarked on concert tours from Vienna, traveling through a significant part of Europe. Biographers mention Austria, Germany, Hungary, the Czech Republic, England, Poland, and more.
In 1830, he organized a solo concert in Zagreb, where he performed three pieces and received great acclaim from the audience. Although we do not have written critiques of his numerous concerts, evidence of their success can be found in the significant attention that his performances of his own compositions garnered from music publishers. His works were published by internationally renowned publishers in Vienna, Budapest, Leipzig, Frankfurt, Prague, London, Paris, and more. It was a golden age of Padovec’s professional activities.
However, as Zdravko Blažeković emphasized in his study listing Padovec’s works, “one must be cautious when creating a romantic image of a composer who plays for delighted listeners while publishers chase after his compositions. Padovec was evidently aware of the importance of publishing his compositions from the very beginning, even before he moved to Vienna, and he skilfully organized their printing throughout his life.”
Although he lived in Vienna at the time and traveled extensively abroad, Padovec was enthusiastic about the Illyrian Revival. He likely knew Ljudevit Gaj from Varaždin and Zagreb, and they met again in Vienna and Pressburg (Bratislava), after which Padovec dedicated his work “Narodne horvatzke poputnice, op. 12” to him. Diabelli published them in Vienna at his own expense, with Croatian titles. Although Padovec was often criticized for a lack of national expression, and his music did not exhibit characteristics of Croatian folk melodies (as he considered music to be generally international), he frequently set texts by Illyrian poets such as Lj. Vukotinović, S. Vraz, I. Trnski, P. Preradović, I. Kukuljević-Sakcinski to music.
Franjo Kuhač, who was quite sensitive to national issues, deemed Padovec’s patriotism unquestionable, stating, “since he strove to introduce several of his compositions to the world with Croatian titles… Padovec’s patriotic merits also include the fact that he always distinguished himself as a Croat, and with his guitar skills, he brought fame to the name and musical talent of the Croatian people in distant lands. Considering that, he deserves an honorable place in our musical history.”
In 1837, at the height of his career, Padovec cancelled a planned tour of Russia and retired to his hometown of Varaždin, most likely due to vision problems. After partially recovering, he resumed his usual roles as a guitarist (as far as we know, he continued performing only in Croatia), composer, and pedagogue, and also began constructing guitars.
His ten-string guitar is first mentioned in relation to a concert he organized in Zagreb on March 27, 1842, where he performed two compositions with “rare agility and true perfection” (D. Demeter: Muzikalne zabave u Zagrebu, Danica ilirska, 1842). The modification to the standard instrument consisted of adding four additional bass strings on a second neck. During that time, experiments with adding strings were common throughout Europe, but what made Padovec’s instrument unique was a device that allowed the additional strings to be raised by a semitone while playing.
All of these were attempts to increase the sonority of the instrument and adapt it to the demands of performing contemporary romantic music, which was rich in new harmonies. (However, Padovec’s compositions do not exhibit the characteristics of the new style that should be characterized by the rejection of classicism, subjectivity, aesthetics of emotion, richer harmonization, freer forms, etc.)
According to his own design, Padovec had his ten-string guitar made by Viennese instrument builder Staufer, most likely in 1841. Today, the guitar is owned by the Croatian Music Institute and is preserved in the Museum of Arts and Crafts in Zagreb. Here we encounter another ambiguity – the instrument in the museum is labelled as being built by Friedrich Schenck, Staufer’s student, and not by Staufer himself (although Staufer’s name is mentioned in Padovec’s School and by many biographers). This could indicate that Padovec may have had more than one ten-string guitar, or simply that Staufer delegated the job to his student, as he had done before, and Padovec did not attach importance to that detail.
Throughout his life, Padovec remained active in teaching. He was a versatile teacher who taught guitar, violin, singing, music theory, and even piano. As the years went by, general interest in the guitar waned, and in a conversation with Kuhač in 1863, Padovec lamented that he had difficulty finding guitar students. In his final years, he only taught violin and singing.
There is not much information available about his teaching work, but the numerous students who came for instruction over fifty-five years are evidence that he was a dedicated and patient pedagogue. As Ernest Krajanski, who was in contact with Padovec’s former students after his death, wrote: “The students loved him, and the main thing is that he knew how to lay a good foundation for them and instill in them enough idealism and enthusiasm” (E. Krajanski: Sjetimo se Padovca, Sv. Cecilija, 34/3, 1940).
Ivan Padovec left a lasting impact on Croatian culture through his work. Although the available information about him is incomplete, it is evident that he achieved international recognition at a European level, as the only Croatian musician of his time, using an instrument that was often marginalized and viewed as a domestic instrument for the bourgeoisie.
He left behind a large body of work, including instrumental compositions for guitar, two guitars, piano, violin, and several chamber ensembles. He also composed solo songs with piano or guitar accompaniment, written in Croatian or German, as well as polyphonic compositions and instructional manuals. In addition to the printed works, there are numerous manuscripts, transcriptions, and copies that are preserved in libraries, archives, museums, or private collections. Unfortunately, a certain portion of his work has been lost. It is estimated that his complete opus could contain around 200 compositions.
Performing and publishing his works, as well as uncovering new facts, is a tangible way to keep the legacy of Ivan Padovec alive. His final resting place at the cemetery in Varaždin is still visited by many visitors.
Padovec’s most notable contribution is his textbook, written in the German language, titled “Theoretisch-practische Guitar-Schule vom ersten Elementar-Unterrichte an bis zur volkommenen Ausbildung nebst der Anweisung zum Spiele einer zehnsaitigen Guitare” (Theoretical-Practical Guitar School from the First Elementary Instruction to the Complete Training, Including Instructions for Playing a Ten-String Guitar). According to Padovec’s biographers, the motivation for writing this school was a competition held in Leipzig, where Padovec won the first prize. However, there are no available records about such a competition. The school was printed without a publisher’s number and without indicating the year and place of publication. Since Deželić and Kuhač’s time, there have been mentions that the work was published in Vienna in 1842. However, there is justified doubt that these claims are reliable and that the textbook was printed in some other city (possibly Leipzig) several years later.
The textbook spans 31 pages, making it one of the shorter guitar textbooks of the 19th century. Within that relatively small space, Padovec was very thorough and systematic. In the first part, he explains the basics of music theory, in the second part, he provides instructions for playing the standard guitar, and in the third part, he explains the performance on his ten-string guitar. The presented playing techniques are in line with Padovec’s time.
The exercises in the textbook are not numerous or lengthy, but they are precisely chosen. This demonstrates the author’s extensive performance experience, through which he can select the most useful exercises from a multitude of possibilities for the students.
At the end of the textbook, there is a rather demanding composition for the ten-string guitar: variations on Franz Schubert’s “Trauerwalzer” (Mourning Waltz). Padovec had already used the same theme for the standard guitar in his opus 4, but the compositions are entirely different.
Regarding the intended audience for the textbook, Alemka Orlić states in her work “Padovec’s Theoretisch-practische Guitar-Schule”: “I am inclined to believe that the School was written for amateurs who already had a certain level of playing skill but needed supplementation and systematization of knowledge. If that is the case, the School is excellent in a methodical sense, thanks to its thorough and, at the same time, quick presentation of the material.”
In 1848, Padovec completely lost his eyesight, which unfortunately extinguished his concert activities. He spent the last quarter of his life modestly and relatively withdrawn, continuing to compose with the help of students who transcribed the notes based on his dictation, teaching, and selling compositions.
Near the end of his life, the Croatian Parliament granted him a pension. Testimonies from people who knew him indicate that despite his blindness and poor financial situation, he always remained active and in good spirits. Milan Grlović, on the occasion of the 100th anniversary of Padovec’s birth, wrote: “Despite the heavy fate that befell Ivan Padovec as a man and as an artist, it did not take away his inner cheerfulness, and he bore the glory of his past and the heavy memories that glory burdened him with for the rest of his life like a philosopher, when envious fate deprived him of the greatest treasure, his eyesight. He bravely fought and gave a beautiful example to the younger generation of how to fulfil one’s duties even in adversity without giving up. He found solace in his work until death.”
On April 2, 1873, seven months before his death, Padovec organized his last concert in the old theatre in Varaždin. His students and friends performed, and he himself, apart from accompanying two songs (“Biser” and “Domovina”), performed his “Velika fantazija” (Great Fantasy) for the ten-string guitar.
Ivan Padovec passed away on November 4, 1873, in Varaždin. His final resting place at the Varaždin cemetery is still visited by many visitors.
Ivan Padovec passed away on November 4, 1873, in Varaždin. His final resting place at the Varaždin cemetery continues to be visited by many visitors to this day.
Through his work, he left an indelible mark on Croatian culture. Although the information we have about him is incomplete, it is evident that Ivan Padovec achieved international acclaim at a European level, being the only Croatian musician of his time to reach such recognition with an instrument that was often marginalized and viewed as a domestic instrument for the bourgeoisie.
He left behind a large number of works, including instrumental compositions for guitar, two guitars, piano, violin, and several chamber ensembles. He also composed solo songs with piano or guitar accompaniment, written in Croatian or German, as well as polyphonic compositions and instructional manuals. In addition to the printed works, there are many manuscripts, transcriptions, and prints preserved in libraries, archives, museums, or private collections. Unfortunately, a certain portion has been lost. It is estimated that his complete opus could contain around 200 compositions.
Performing and publishing his works, as well as uncovering new facts, are evident ways to keep the memory of Ivan Padovec alive.
Here are the original titles of Ivan Padovec`s compositions catalogued by PhD. Zdravko Blažeković:
Op. 1 – Variationen fűr die Guitarre űber ein beliebtes Thema
Op. 2 – Variations brillantes pour la Guitare
Op.3 – Deux polonaises pour deux guitares
Op. 4 – Variationen űber den beliebten Trauer-Walzer von Fr. Schubert
Op. 5 – Introduction und Variationen űber die Barcarole ( Adele lieblich blűhend.) aus der Oper: Fra Diavolo
Op. 6 – Unterhaltungen fűr die Guitarre. Eine Reihe leichter und angenehmer Original-stűcke vorzűglich zum Unterrichte geeignet
Op. 7 – Variazioni per la Chitarra sopra la Cavatina favorita: Tu vedrai la sventurata ( Siehst du sie, die ich verlassen ) del Opera: il Pirata di Bellini
Op. 8 – Introduction et variations pour la Guitare sur un air de l’Opera „La muette de Portici“
Op. 9 – Introduction und Variationen űber ein ungarisches National-Thema von Bihary
Op. 10 – Premier grand rondeau pour deux Guitares
Op. 12 – Narodne Horvatzke Poputnice. Kroatische-National-Märsche fűr das Piano-Forte componirt
Op. 13 – Introduction und Variationen fűr die Guitare űber die beliebte Cavatine: (L’amo ah l’amo e m’e piu cara) aus der Oper: Montechi u. Capuleti, von V. Bellini
Op. 14 – Introduction und Variationen fűr die Guitare verfasst űber die Tirolienne: Jäger oder Hirt
(Op. 15) – Variation/ űber/ ein Beliebtes (Tirol Lied)/ Componirt fűr Solo Guitarre
Op. 16 – Variations pour la Guitare sur un Thême favori de l’Opera Norma de V. Bellini
Op. 17 – Fantasie sur des motifs de l’opera Montechi e Capuleti de Bellini
Op. 18 – Première grande polonaise pour deux guitares
Op. 19 – Grandes Variations pour la guitare seule, sur un theme favorit de l’opera La Straniera
Op. 20 – Fantaisie sur des motifs de l’opera Norma de Bellini
Op. 21 – Fantaisie sur des motifs de l’opera: Robert le Diable de Meyerbeer
Op. 22 – Fantaisie sur des motifs de l’opera: La Straniera (Die Unbekannte) de Bellini
Op. 23 – Fantaisie sur des motifs de l’opera: Anna Bolena de Donizetti
Op. 24 – Fantaisie sur des motifs de l’opera: La Sonnambula de V. Bellini
Op. 25 – Variations pour la guitare sur l’air „Quand je quittai la Normandie“ (Eh’ich die Normandie verlaßen ) de l’opera: Robert le Diable de Meyerbeer
Op. 26 – Introduction und Variationen űber die Cavatine: „Mit dem Schwert wird Romeo rächen“
(La tremenda ultrice Spada ) aus der Oper: Montechi u. Capuletti von V. Bellini
Op. 40 – Trois thèmes, tirés des Opéras: I Montecchi e Capuleti, Norma, et Robert le Diable variés
Op. 41 – Introduction et variations sur le Choeur d’Introduction de Norma
Op. 43/1-3 – Tri pesme od Ljudevita Vukotinovića pod naslovom: Na Cernooku, Moje Jutro i Moje Drago za jedan Glas uz Gitaru ali Klavir
Op. 46/1-3 – Bouquet sehr leichte und angenehme Stűcke fűr die ersten Anfänger der Guitarre
Op. 49 – Geheimer liebe Gram, fűr eine Singstimme mit Begleitung des Piano-Forte oder der Guitare
Op. 50 – Poziv. Pesma od Ljudevita Vukotinovića za jedan glas uz piano-forte ali gitaru
Op. 51 – Fantasie űber beliebte Motive aus der Oper: Puritani von Bellini
Op. 52 – Introduction und Variationen fűr die Guitare űber ein Thema aus der Oper: Sonnambula von Bellini
Op. 53(a) – Lyra. Zusammenstellung des schönsten und Anmuthigsten aus den neusten Opern und andern Werken
Op. 53(b) – Rondolet
Op. 57 – Die Sehnsuscht von Alexander Patuzzi fűr eine Singstimme mit Pianoforte oder Guitare Begleitung
Op. 58 – Gedenke mein
Op. 59 – Lebensbild
Op. 60(a) – Die Einsame
Op. 60(b) – Die Einsame
Op. 61 – Introduction et variations pour la guitare sur un thême favoris de l’Opéra: Lucrezia Borgia de Donizetti
Op. 62 – Der Carneval von Venedig mit concertanten Variationen fűr zwei Guitaren
Op. 69 – Frűhlingsgruss
Op. 70 – Die Perle
Op. 71-73 – Vilini glasi. Vienac pjesamah najobljubljenijih pjesnikah hrvatskih za našu mladež, da se izobrazi u pjevanju
Op. 71 – Pobratimstvo
Op. 72 – Veselje mladosti
Op. 73 – Junakovanje
Op. 74-75 – Vilini glasi. Vienac pjesamah najobljubljenijih pjesnikah hrvatskih za našu mladež, da se izobrazi u pjevanju
Op. 74 – Lahku noć!
Op. 75 – Hajd na gore
Compositions without opus numbers
- a) Instrumental compositions
A:1 Variationen fűr die Guitarre
A:2 Introduction und Variationen
A:3 Variationen fűr die Guittare
A:4 Introduction und Variationen fűr die Guitarre űber ein Thema aus dem Balett Ninna
A:5 Introduction und Variationen fűr die Guitarre űber ein beliebtes Thema aus der Oper Korradin von Rossini
A:6 Variationen űber Schuberts beliebten Trauerwalzer
A:7/1-4 Deutsche=Tänze
A:8 Potpourri fűr die Guitarre
A:9 Grand Polonais
A:10 Polonaise (for ten-string guitar)
A:11 Polonaise u a – molu
A:12 Mazurka Polka
A:13 Mazur Polka fűr die Guitarre
A:14 Monferin
A:15 Marš
A:16 Marsch űber das Serwische Lied (Lepa Maca)
A:17 Phantasie űber Steyerische National Tänze
A:18/ 1-4 Four pieces for Guitar (Philomela Polka, Polka u A-duru, Allegretto u a-molu, Steyrische Tänze)
A:19 Leichte Musikstűcke fűr ein Guitare/ fűr die ersten Anfänger
A:20 Ständchen
A:21/ 1-6 Angenehme Ton-Stűcke zur Űbung im Guitar-Spiele
A:22 Koncert za Rusa
A:23 Gallop fűr den Varasdiner Carneval
A:24 (lost) Introduction und Variationen űber ein Thema aus der Oper „Die Kreuzritter“
A:25 (lost) Concertino sur des motifs de l’opera Martha
A:26 The guitar concerto with string orchestra accompaniment
A:27 Second concertino pour la Guitarre avec accompagnement de deux violons, alto & violoncelle
A:28 (lost) Varijacije za gitaru i orkestar
A:29 (lost) Veliki divertissement za dvije gitare
A:30 (lost) Varijacije na pjesmu „Nek se hrusti šaka mala
A:31 (lost) Varijacije na pjesmu „Nosim zdravu mišicu“
A:32 (lost) Fantasie sur un motif de l’opera Maritana
A:33 (lost) Solo za violinu
A:34 (lost) Velika fantazija na hrvatske pjesme i talijanske operne motive za desetstrunu gitaru
A:35 (lost) Fantazija za gitaru solo
- b) Songs with German lyrics
B:1 Wir seh’n uns wieder!
B:2 An den Abendstern
B:3 Nächtlicher Ritt
B:4 Der Heimatlose
B:5 In die Ferne (uz gitaru)
B:6 In die Ferne (uz klavir)
B:7 Veilchen
B:8 Erstes Abendlied
B:9 Ein Traum
B:10 Ein Traum
B:11 Einsam
B:12 An…
B:13 Botschaft
B:14/ 1-3 3 Lieder (Die Edensblume, Der Rose Klage, Der Rose Gebet)
B:15 Heimat
B:16 (izgubljeno) Sie gab mir eine Rose
B:17 (izgubljeno) Die Abendglocke
B:18 (izgubljeno) Frage
B:19 (izgubljeno) Zweites Abendlied
B:20 (izgubljeno) Vorwurf
B:21 (izgubljeno) Am Grundelsee
- c) Songs with Croatian lyrics
C:1 Slava mladosti
C:2 Kad!
C:3 Moja ladja
C:4 Proljetna pjesma
C:5 Gde je priedel slavna mira
C:6 Molba/ „Ko najljepši alem“
- d) Arrangements
D:1 Romanze aus der Oper „Pilgerhaus“ ( Auber )
D:2 Lied aus dem „Zauberschleier“ ( Auber )
D:3/ 1-10 Lieblings-Walzer von Johann Strauss
D:4/ 1-3 ( izgubljeno ) Obrade koračnica ( J. Strauss, F. Erkel, B. Egressy )
D:5 Haimondskinder Quadrille ( J. Strauss )
D:6 Letzte Rose
D:7(a) Bliedi mjesec/ varoška popievka ( verzija za glas i gitaru )
D:7(b) Tužba/ varoška popievka ( verzija za glas i klavir )
D:8 Poputnica Ilirska „Šeto sam se gore dole“
D:9 Romanca „Seht ihn auf steilen Höh’n“ iz Auberove opere „Fra Diavolo“
D:10 Kavatina „O komm mit mir du Arme“ iz Bellinijeve opere „La straniera“
D:11 Kavatina „Sieh o Norma, hab Erbarmen“ iz Bellinijeve opere „Norma“
D:12 Završna kavatina „Ach die Welt wird meinen Namen“ iz Bellinijeve opere „Il pirata“
D:13 Završna pjesma „Ich seh wieder euch theure Fluren“ iz Bellinijeve opere „La sonnambula“
D:14 Aschenlied „So mancher steigt herum“ iz singspiela Josepha Drechslera „Der Bauer als Millionär“
D:15 Pjesma „Sonst spielt ich mit Scepter und mit Kronen“ iz Lortzingerove opere „Czar und Zimmermann“
D:16 Arija „Treibt der Champagner“ iz Mozartove opere „Don Giovanni“
D:17 Večernja fantazija „Gute Nacht, wieder ist ein Tag vollbracht“ iz Pacinijeve opere „L’ultimo giorno di Pompei“
D:18 Kavatina „O lass mich die Hand an meinem Busen drűcken“ iz Pacinijeve opere „L’ultimo giorno di Pompei“
D:19 Pjesma Heinricha Procha „Das Alpenhorn: Von der Alpe tönt das Horn“
D:20 Pjesma Heinricha Procha „Der Jűngling am Bache: An der Quelle saß der Knabe“
D:21 Kavatina „Ja ich liebe mit heissen Sehen“
D:22 Pjesma „Wenn die Schwalben heimwärts zieh’n“, nepoznatog autora
D:23 Der Sänger und sein Liebchen: „Kommt des Nachts“, nepoznatog autora
D:24 Der Zauberkreis: „Was zieht in deinem Zauberkreis“, nepoznatog autora
D:25 Die Trennung: „Du nun kennst dieses Feuer“, nepoznatog autora
D:26 Letzter Kuss: „Sie sprach und eine himmlich sanfte Thräne“, nepoznatog autora
Sources:
Franjo Kuhač: Ilirski glazbenici, Matica hrvatska, Zagreb 1893.
Đuro Deželić: Ivan Padovec, skladatelj, Dragoljub. Hrvatski kolendar za godinu 1862.
Krešimir Filić: Glazbeni život Varaždina, Muzička škola Varaždin, 1972.
Mirko Orlić: Ivan Padovec, hrvatski gitarist europskog ugleda, Gitara, 2000.
Darko Petrinjak: Gitarski opus Ivana Padovca, zbornik radova „Ivan Padovec i njegovo doba“, Hrvatsko muzikološko društvo, 2006.
Alemka Orlić: Padovčeva Theoretisch-practische Guitar-Schule, zbornik radova „Ivan Padovec i njegovo doba“, Hrvatsko muzikološko društvo, 2006.
Sanja Majer-Bobetko: Hrvatska glazbena historiografija o Ivanu Padovcu, zbornik radova „Ivan Padovec i njegovo doba“, Hrvatsko muzikološko društvo, 2006.
Vjera Katalinić: Ivan Padovec i njegova djelatnost u Beču, zbornik radova „Ivan Padovec i njegovo doba“, Hrvatsko muzikološko društvo, 2006.
Snježana Miklaušić-Ćeran: Ivan Padovec u svjetlu glazbene kritike 19. i prve polovice 20. stoljeća. Prilog primalaštvu gitarističke glazbe u Zagrebu (Hrvatskoj), zbornik radova „Ivan Padovec i njegovo doba“, Hrvatsko muzikološko društvo, 2006.
Zdravko Blažeković: Popis skladbi Ivana Padovca, zbornik radova „Ivan Padovec i njegovo doba “, Hrvatsko muzikološko društvo, 2006.
Josip Bažant: Ivan Padovec (1800. – 1873.) – životopis i djelovanje u svjetlu sudbine opusa, Referat izložen na Međunarodnom muzikološkom skupu u Zagrebu i Varaždinu, 28. – 30.09. 2000.
