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.<\/p>\n
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 (\u0110uro De\u017eeli\u0107, in “Dragoljub,” 1862).<\/p>\n
It is highly likely that De\u017eeli\u0107 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 Kuha\u010d provided his account in 1893. In his famous collection “Ilirski glazbenici” (Illyrian Musicians), he included the study “Padovec, kitara\u0161ki virtuoz i glazbotvorac” (Padovec, Guitar Virtuoso and Music Creator). We can say that, alongside Kre\u0161imir Fili\u0107’s work (in “Glazbeni \u017eivot Vara\u017edina,” 1972), this is the most influential biographical study on Ivan Padovec, referred to by numerous future researchers.<\/p>\n
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 Vara\u017edin in 2000, commemorating the 200th anniversary of Padovec’s birth.<\/p>\n
Regenerate response<\/p>\n
Ivan Eugen Padovec was born on July 17, 1800, in Vara\u017edin, 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 Vara\u017edin 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.<\/p>\n
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 Kuha\u010d 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 Vara\u017edin, 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.<\/p>\n
By founding the “Zagreba\u010dki 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 Kuha\u010d’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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
1829 was the same year in which the Vara\u017edin 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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
However, as Zdravko Bla\u017eekovi\u0107 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.”<\/p>\n
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 Vara\u017edin 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. Vukotinovi\u0107, S. Vraz, I. Trnski, P. Preradovi\u0107, I. Kukuljevi\u0107-Sakcinski to music.<\/p>\n
Franjo Kuha\u010d, 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.”<\/p>\n
In 1837, at the height of his career, Padovec cancelled a planned tour of Russia and retired to his hometown of Vara\u017edin, 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.<\/p>\n
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.<\/p>\n
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.)<\/p>\n
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 \u2013 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.<\/p>\n
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 Kuha\u010d in 1863, Padovec lamented that he had difficulty finding guitar students. In his final years, he only taught violin and singing.<\/p>\n
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).<\/p>\n
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.<\/p>\n
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.<\/p>\n
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 Vara\u017edin is still visited by many visitors.<\/p>\n
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 De\u017eeli\u0107 and Kuha\u010d’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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
Regarding the intended audience for the textbook, Alemka Orli\u0107 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.”<\/p>\n
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.<\/p>\n
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 Grlovi\u0107, 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.”<\/p>\n
On April 2, 1873, seven months before his death, Padovec organized his last concert in the old theatre in Vara\u017edin. 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.<\/p>\n
Ivan Padovec passed away on November 4, 1873, in Vara\u017edin. His final resting place at the Vara\u017edin cemetery is still visited by many visitors.<\/p>\n
Ivan Padovec passed away on November 4, 1873, in Vara\u017edin. His final resting place at the Vara\u017edin cemetery continues to be visited by many visitors to this day.<\/p>\n
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.<\/p>\n
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.<\/p>\n
Performing and publishing his works, as well as uncovering new facts, are evident ways to keep the memory of Ivan Padovec alive.<\/p>\n
Here are the original titles of Ivan Padovec`s compositions catalogued by PhD. Zdravko Bla\u017eekovi\u0107:<\/strong><\/p>\n Op. 1 \u2013 Variationen f\u0171r die Guitarre \u0171ber ein beliebtes Thema<\/p>\n Op. 2 \u2013 Variations brillantes pour la Guitare<\/p>\n Op.3 \u2013 Deux polonaises pour deux guitares<\/p>\n Op. 4 \u2013 Variationen \u0171ber den beliebten Trauer-Walzer\u00a0 von Fr. Schubert<\/p>\n Op. 5 \u2013 Introduction und Variationen \u0171ber die Barcarole ( Adele lieblich bl\u0171hend.) aus der Oper: Fra Diavolo<\/p>\n Op. 6 \u2013 Unterhaltungen f\u0171r die Guitarre. Eine Reihe leichter und angenehmer Original-st\u0171cke vorz\u0171glich zum Unterrichte geeignet<\/p>\n Op. 7 \u2013 Variazioni per la Chitarra sopra la Cavatina favorita: Tu vedrai la sventurata ( Siehst du sie, die ich verlassen ) del Opera: il Pirata di Bellini<\/p>\n Op. 8 \u2013 Introduction et variations pour la Guitare sur un air de l’Opera \u201eLa muette de Portici\u201c<\/p>\n Op. 9 \u2013 Introduction und Variationen \u0171ber ein ungarisches National-Thema von Bihary<\/p>\n Op. 10 \u2013 Premier grand rondeau pour deux Guitares<\/p>\n Op. 12 \u2013 Narodne Horvatzke Poputnice. Kroatische-National-M\u00e4rsche f\u0171r das Piano-Forte componirt<\/p>\n Op. 13 \u2013 Introduction und Variationen f\u0171r die Guitare \u0171ber die beliebte Cavatine: (L’amo ah l’amo e m’e piu cara) aus der Oper: Montechi u. Capuleti, von V. Bellini<\/p>\n Op. 14 \u2013 Introduction und Variationen f\u0171r die Guitare verfasst \u0171ber die Tirolienne: J\u00e4ger oder Hirt<\/p>\n (Op. 15) \u2013 Variation\/ \u0171ber\/ ein Beliebtes (Tirol Lied)\/ Componirt f\u0171r Solo Guitarre<\/p>\n Op. 16 \u2013 Variations pour la Guitare sur un Th\u00eame favori de l’Opera Norma de V. Bellini<\/p>\n Op. 17 \u2013 Fantasie sur des motifs de l’opera Montechi e Capuleti de Bellini<\/p>\n Op. 18 \u2013 Premi\u00e8re grande polonaise pour deux guitares<\/p>\n Op. 19 \u2013 Grandes Variations pour la guitare seule, sur un theme favorit de l’opera La Straniera<\/p>\n Op. 20 \u2013 Fantaisie sur des motifs de l’opera Norma de Bellini<\/p>\n Op. 21 \u2013 Fantaisie sur des motifs de l’opera: Robert le Diable de Meyerbeer<\/p>\n Op. 22 \u2013 Fantaisie sur des motifs de l’opera: La Straniera (Die Unbekannte) de Bellini<\/p>\n Op. 23 \u2013 Fantaisie sur des motifs de l’opera: Anna Bolena de Donizetti<\/p>\n Op. 24 \u2013 Fantaisie sur des motifs de l’opera: La Sonnambula de V. Bellini<\/p>\n Op. 25 \u2013 Variations pour la guitare sur l’air \u201eQuand je quittai la Normandie\u201c (Eh’ich die Normandie verla\u00dfen ) de l’opera: Robert le Diable de Meyerbeer<\/p>\n Op. 26 \u2013 Introduction und Variationen \u0171ber die Cavatine: \u201eMit dem Schwert wird Romeo r\u00e4chen\u201c<\/p>\n (La tremenda ultrice Spada ) aus der Oper: Montechi u. Capuletti von V. Bellini<\/p>\n Op. 40 \u2013 Trois th\u00e8mes, tir\u00e9s des Op\u00e9ras: I Montecchi e Capuleti, Norma, et Robert le Diable vari\u00e9s<\/p>\n Op. 41 \u2013 Introduction et variations sur le Choeur d’Introduction de Norma<\/p>\n Op. 43\/1-3 \u2013 Tri pesme od Ljudevita Vukotinovi\u0107a pod naslovom: Na Cernooku, Moje Jutro i Moje Drago za jedan Glas uz Gitaru ali Klavir<\/p>\n Op. 46\/1-3 \u2013 Bouquet sehr leichte und angenehme St\u0171cke f\u0171r die ersten Anf\u00e4nger der Guitarre<\/p>\n Op. 49 \u2013 Geheimer liebe Gram, f\u0171r eine Singstimme mit Begleitung des Piano-Forte oder der Guitare<\/p>\n Op. 50 \u2013 Poziv. Pesma od Ljudevita Vukotinovi\u0107a za jedan glas uz piano-forte ali gitaru<\/p>\n Op. 51 \u2013 Fantasie \u0171ber beliebte Motive aus der Oper: Puritani von Bellini<\/p>\n Op. 52 \u2013 Introduction und Variationen f\u0171r die Guitare \u0171ber ein Thema aus der Oper: Sonnambula von Bellini<\/p>\n Op. 53(a) \u2013 Lyra. Zusammenstellung des sch\u00f6nsten und Anmuthigsten aus den neusten Opern und andern Werken<\/p>\n Op. 53(b) \u2013 Rondolet<\/p>\n Op. 57 \u2013 Die Sehnsuscht von Alexander Patuzzi f\u0171r eine Singstimme mit Pianoforte oder Guitare Begleitung<\/p>\n Op. 58 \u2013 Gedenke mein<\/p>\n Op. 59 \u2013 Lebensbild<\/p>\n Op. 60(a) \u2013 Die Einsame<\/p>\n Op. 60(b) \u2013 Die Einsame<\/p>\n Op. 61 \u2013 Introduction et variations pour la guitare sur un th\u00eame favoris de l’Op\u00e9ra: Lucrezia Borgia de Donizetti<\/p>\n Op. 62 \u2013 Der Carneval von Venedig mit concertanten Variationen f\u0171r zwei Guitaren<\/p>\n Op. 69 \u2013 Fr\u0171hlingsgruss<\/p>\n Op. 70 \u2013 Die Perle<\/p>\n Op. 71-73 \u2013 Vilini glasi. Vienac pjesamah najobljubljenijih pjesnikah hrvatskih za na\u0161u mlade\u017e, da se izobrazi u pjevanju<\/p>\n Op. 71 \u2013 Pobratimstvo<\/em><\/p>\n Op. 72 \u2013 Veselje mladosti<\/em><\/p>\n Op. 73 \u2013 Junakovanje<\/em><\/p>\n Op. 74-75 – Vilini glasi. Vienac pjesamah najobljubljenijih pjesnikah hrvatskih za na\u0161u mlade\u017e, da se izobrazi u pjevanju<\/p>\n Op. 74 \u2013 Lahku no\u0107!<\/em><\/p>\n Op. 75 \u2013 Hajd na gore<\/em><\/p>\n <\/p>\n Compositions without opus numbers<\/u><\/p>\n A:1 Variationen f\u0171r die Guitarre<\/p>\n A:2 Introduction und Variationen<\/p>\n A:3 Variationen f\u0171r die Guittare<\/p>\n A:4 Introduction und Variationen f\u0171r die Guitarre \u0171ber ein Thema aus dem Balett Ninna<\/p>\n A:5 Introduction und Variationen f\u0171r die Guitarre \u0171ber ein beliebtes Thema aus der Oper Korradin von Rossini<\/p>\n A:6 Variationen \u0171ber Schuberts beliebten Trauerwalzer<\/p>\n A:7\/1-4 Deutsche=T\u00e4nze<\/p>\n A:8 Potpourri f\u0171r die Guitarre<\/p>\n A:9 Grand Polonais<\/p>\n A:10 Polonaise (for ten-string guitar)<\/p>\n A:11 Polonaise u a \u2013 molu<\/p>\n A:12 Mazurka Polka<\/p>\n A:13 Mazur Polka f\u0171r die Guitarre<\/p>\n A:14 Monferin<\/p>\n A:15 Mar\u0161<\/p>\n A:16 Marsch \u0171ber das Serwische Lied (Lepa Maca)<\/p>\n A:17 Phantasie \u0171ber Steyerische National T\u00e4nze<\/p>\n A:18\/ 1-4 Four pieces for Guitar (Philomela Polka, Polka u A-duru, Allegretto u a-molu, Steyrische T\u00e4nze)<\/p>\n A:19 Leichte Musikst\u0171cke f\u0171r ein Guitare\/ f\u0171r die ersten Anf\u00e4nger<\/p>\n A:20 St\u00e4ndchen<\/p>\n A:21\/ 1-6 Angenehme Ton-St\u0171cke zur \u0170bung im Guitar-Spiele<\/p>\n A:22 Koncert za Rusa<\/p>\n A:23 Gallop f\u0171r den Varasdiner Carneval<\/p>\n A:24 (lost) Introduction und Variationen \u0171ber ein Thema aus der Oper \u201eDie Kreuzritter\u201c<\/p>\n A:25 (lost) Concertino sur des motifs de l’opera Martha<\/p>\n A:26 The guitar concerto with string orchestra accompaniment<\/p>\n A:27 Second concertino pour la Guitarre avec accompagnement de deux violons, alto & violoncelle<\/p>\n A:28 (lost) Varijacije za gitaru i orkestar<\/p>\n A:29 (lost) Veliki divertissement za dvije gitare<\/p>\n A:30 (lost) Varijacije na pjesmu \u201eNek se hrusti \u0161aka mala<\/p>\n A:31 (lost) Varijacije na pjesmu \u201eNosim zdravu mi\u0161icu\u201c<\/p>\n A:32 (lost) Fantasie sur un motif de l’opera Maritana<\/p>\n A:33 (lost) Solo za violinu<\/p>\n A:34 (lost) Velika fantazija na hrvatske pjesme i talijanske operne motive za desetstrunu gitaru<\/p>\n A:35 (lost) Fantazija za gitaru solo<\/p>\n <\/p>\n B:1 Wir seh’n uns wieder!<\/p>\n B:2 An den Abendstern<\/p>\n B:3 N\u00e4chtlicher Ritt<\/p>\n B:4 Der Heimatlose<\/p>\n B:5 In die Ferne (uz gitaru)<\/p>\n B:6 In die Ferne (uz klavir)<\/p>\n B:7 Veilchen<\/p>\n B:8 Erstes Abendlied<\/p>\n B:9 Ein Traum<\/p>\n B:10 Ein Traum<\/p>\n B:11 Einsam<\/p>\n B:12 An\u2026<\/p>\n B:13 Botschaft<\/p>\n B:14\/ 1-3 3 Lieder (Die Edensblume, Der Rose Klage, Der Rose Gebet)<\/p>\n B:15 Heimat<\/p>\n B:16 (izgubljeno) Sie gab mir eine Rose<\/p>\n B:17 (izgubljeno) Die Abendglocke<\/p>\n B:18 (izgubljeno) Frage<\/p>\n B:19 (izgubljeno) Zweites Abendlied<\/p>\n B:20 (izgubljeno) Vorwurf<\/p>\n B:21 (izgubljeno) Am Grundelsee<\/p>\n C:1 Slava mladosti<\/p>\n C:2 Kad!<\/p>\n C:3 Moja ladja<\/p>\n C:4 Proljetna pjesma<\/p>\n C:5 Gde je priedel slavna mira<\/p>\n C:6 Molba\/ \u201eKo najljep\u0161i alem\u201c<\/p>\n D:1 Romanze aus der Oper \u201ePilgerhaus\u201c ( Auber )<\/p>\n D:2 Lied aus dem \u201eZauberschleier\u201c ( Auber )<\/p>\n D:3\/ 1-10 Lieblings-Walzer von Johann Strauss<\/p>\n D:4\/ 1-3 ( izgubljeno ) Obrade kora\u010dnica ( J. Strauss, F. Erkel, B. Egressy )<\/p>\n D:5 Haimondskinder Quadrille ( J. Strauss )<\/p>\n D:6 Letzte Rose<\/p>\n D:7(a) Bliedi mjesec\/ varo\u0161ka popievka ( verzija za glas i gitaru )<\/p>\n D:7(b) Tu\u017eba\/ varo\u0161ka popievka ( verzija za glas i klavir )<\/p>\n D:8 Poputnica Ilirska \u201e\u0160eto sam se gore dole\u201c<\/p>\n D:9 Romanca \u201eSeht ihn auf steilen H\u00f6h’n\u201c iz Auberove opere \u201eFra Diavolo\u201c<\/p>\n D:10 Kavatina \u201eO komm mit mir du Arme\u201c iz Bellinijeve opere \u201eLa straniera\u201c<\/p>\n D:11 Kavatina \u201eSieh o Norma, hab Erbarmen\u201c iz Bellinijeve opere \u201eNorma\u201c<\/p>\n D:12 Zavr\u0161na kavatina \u201eAch die Welt wird meinen Namen\u201c iz Bellinijeve opere \u201eIl pirata\u201c<\/p>\n D:13 Zavr\u0161na pjesma \u201eIch seh wieder euch theure Fluren\u201c iz Bellinijeve opere \u201eLa sonnambula\u201c<\/p>\n D:14 Aschenlied \u201eSo mancher steigt herum\u201c iz singspiela Josepha Drechslera \u201eDer Bauer als Million\u00e4r\u201c<\/p>\n D:15 Pjesma \u201eSonst spielt ich mit Scepter und mit Kronen\u201c iz Lortzingerove opere \u201eCzar und Zimmermann\u201c<\/p>\n D:16 Arija \u201eTreibt der Champagner\u201c iz Mozartove opere \u201eDon Giovanni\u201c<\/p>\n D:17 Ve\u010dernja fantazija \u201eGute Nacht, wieder ist ein Tag vollbracht\u201c iz Pacinijeve opere \u201eL’ultimo giorno di Pompei\u201c<\/p>\n D:18 Kavatina \u201eO lass mich die Hand an meinem Busen dr\u0171cken\u201c iz Pacinijeve opere \u201eL’ultimo giorno di Pompei\u201c<\/p>\n D:19 Pjesma Heinricha Procha \u201eDas Alpenhorn: Von der Alpe t\u00f6nt das Horn\u201c<\/p>\n D:20 Pjesma Heinricha Procha \u201eDer J\u0171ngling am Bache: An der Quelle sa\u00df der Knabe\u201c<\/p>\n D:21 Kavatina \u201eJa ich liebe mit heissen Sehen\u201c<\/p>\n D:22 Pjesma \u201eWenn die Schwalben heimw\u00e4rts zieh’n\u201c, nepoznatog autora<\/p>\n D:23 Der S\u00e4nger und sein Liebchen: \u201eKommt des Nachts\u201c, nepoznatog autora<\/p>\n D:24 Der Zauberkreis: \u201eWas zieht in deinem Zauberkreis\u201c, nepoznatog autora<\/p>\n D:25 Die Trennung: \u201eDu nun kennst dieses Feuer\u201c, nepoznatog autora<\/p>\n D:26 Letzter Kuss: \u201eSie sprach und eine himmlich sanfte Thr\u00e4ne\u201c, nepoznatog autora<\/p>\n <\/p>\n Sources:<\/p>\n Franjo Kuha\u010d: Ilirski glazbenici<\/em>, Matica hrvatska, Zagreb 1893.<\/p>\n \u0110uro De\u017eeli\u0107: Ivan Padovec, skladatelj<\/em>, Dragoljub. Hrvatski kolendar za godinu 1862.<\/p>\n Kre\u0161imir Fili\u0107: Glazbeni \u017eivot Vara\u017edina<\/em>, Muzi\u010dka \u0161kola Vara\u017edin, 1972.<\/p>\n Mirko Orli\u0107: Ivan Padovec, hrvatski gitarist europskog ugleda, <\/em>Gitara, 2000.<\/p>\n Darko Petrinjak: Gitarski opus Ivana Padovca<\/em>, zbornik radova \u201eIvan Padovec i njegovo doba\u201c, Hrvatsko muzikolo\u0161ko dru\u0161tvo, 2006.<\/p>\n Alemka Orli\u0107: Padov\u010deva Theoretisch-practische Guitar-Schule<\/em>, zbornik radova \u201eIvan Padovec i njegovo doba\u201c, Hrvatsko muzikolo\u0161ko dru\u0161tvo, 2006.<\/p>\n Sanja Majer-Bobetko: Hrvatska glazbena historiografija o Ivanu Padovcu<\/em>, zbornik radova \u201eIvan Padovec i njegovo doba\u201c, Hrvatsko muzikolo\u0161ko dru\u0161tvo, 2006.<\/p>\n Vjera Katalini\u0107: Ivan Padovec i njegova djelatnost u Be\u010du<\/em>, zbornik radova \u201eIvan Padovec i njegovo doba\u201c, Hrvatsko muzikolo\u0161ko dru\u0161tvo, 2006.<\/p>\n Snje\u017eana Miklau\u0161i\u0107-\u0106eran: Ivan Padovec u svjetlu glazbene kritike 19. i prve polovice 20. stolje\u0107a. Prilog primala\u0161tvu gitaristi\u010dke glazbe u Zagrebu (Hrvatskoj)<\/em>, zbornik radova \u201eIvan Padovec i njegovo doba\u201c, Hrvatsko muzikolo\u0161ko dru\u0161tvo, 2006.<\/p>\n Zdravko Bla\u017eekovi\u0107: Popis skladbi Ivana Padovca<\/em>, zbornik radova \u201eIvan Padovec i njegovo doba \u201c, Hrvatsko muzikolo\u0161ko dru\u0161tvo, 2006.<\/p>\n Josip Ba\u017eant: Ivan Padovec (1800. \u2013 1873.) \u2013 \u017eivotopis i djelovanje u svjetlu sudbine opusa<\/em>, Referat izlo\u017een na Me\u0111unarodnom muzikolo\u0161kom skupu u Zagrebu i Vara\u017edinu, 28. \u2013 30.09. 2000.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" 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, […]<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[81],"tags":[],"class_list":["post-24591","post","type-post","status-publish","format-standard","hentry","category-activity"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"gb","enabled_languages":["hr","gb"],"languages":{"hr":{"title":true,"content":true,"excerpt":false},"gb":{"title":true,"content":true,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/posts\/24591","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/comments?post=24591"}],"version-history":[{"count":4,"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/posts\/24591\/revisions"}],"predecessor-version":[{"id":30025,"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/posts\/24591\/revisions\/30025"}],"wp:attachment":[{"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/media?parent=24591"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/categories?post=24591"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/glazbena.hr\/gb\/wp-json\/wp\/v2\/tags?post=24591"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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