The Aulos Association is proud to present a new CD with the compositions by the prominent guitar player Ivan Padovac from Varaždin. This is already Padovac´s third sound recording medium that was edited and produced by Vladimir Gotal, the first two being Ivan Padovec – Vijenac pjesama released in 1997 and Ivan Padovec – 2000.
The official promotion of the album was held on the 3rd of December 2011 in the Europe Media Club in the Croatian National Theatre in Varaždin. It was promoted by Vladimir Gotal, the producer and editor of the album, and Zdenka Weber, a musicologist. The event was additionally accompanied by the professor Lea Šantek from the Varaždin Music School, who performed Padovac´s composition Gallop on the piano. That was the first time that the composition, being part of the album, had been publically performed.
The report from the promotion:
Ivan Padovec is the only Croatian guitar virtuoso who left a trail in European music of the 19th century. He was born in Varaždin on 17 July 1800. He is credited with founding the Croatian Music Society, currently Croatian Music Institute. His students were part of the Zagreb Sextet, which made up the core of the 1827-founded Philharmonic Society. The music school began within that society in 1829; it did not feature a guitar course, but the Varaždin Music School did.
Padovec learned to play the guitar on his own; music theory basis was taught to him by Wisnera Morgenstern in Zagreb, where Padovec went to a teacher school. In 1829 he held a concert which began his 8-year stint in Vienna. Influenced by Mauro Giulliani, he began to compose guitar music, for chamber bands and solo outings. Through his friendship with Diabelli and other guitar players, he became a well regarded figure in artistic circles. His compositions are printed by prominent European houses like Haslinger, Diabelli, Werner, etc. His concert tours covered Prague, Budapest, Frankfurt, Hannover, Hamburg, London and Polish cities. Last decades of his life Padovec lived in Varaždin. He passed away on 4 November 1873.
His popularity in the 1830′s filled newspaper articles. Unfortunately, even though 138 years passed from his death, we still do not have a precise, detailed list of his compositions. Many of his works have been lost or exist in seclusion as rarities, while various European collections allowed us to identify some of his earlier opuses.
In order to do our part in bringing to the forefront the life work of Ivan Padovec, we asked various other well regarded musicians to attempt interpretation of Padovec’s compositions – which they all accepted without reserve. This issue also contains some earlier made compositions, and the entire contents of the album should contribute to better acceptance and familiarization with the heritage of Ivan Padovec.
The album in your hands contains conceptually varied pieces of music, sometimes reworked or transcribed for another instrument. The song Gallop, written for the piano for the Varaždin carnival in 1839, was recorded as originally intended, but also as an orchestral version. Three songs written for the guitar: Ländler, Polka and Rondolet in A–flat major were performed on organ and piano. Guitar instrumentals are represented by the following: Allegro moderato and Andante from the Premier Concertino for the terzo-guitar and the string quartet, Poloneza in A-flat major, Variations of Schubert’s ‘Longing Waltz’ op. 4 (Variationen über den beliebten Trauer-Walzer) and Theme with Variations op. 14 (Introduction und Variationen über die Tirolienne ‘Jäger oder Hirt’ aus der Oper ‘Die Braut’ von Auber).
From the selection of his vocal miniatures created in the tradition of Romantic Classicism, we included the following songs in the Croatian language: Poziv i Slava mladosti (The Call and Ode to Youth), transformed from a guitar-driven to a tamburitza song; Na crnooku (The Black Eyed Woman), Moje jutro (My Morning), Laku noć (Good Night), Pobratimstvo (Blood Brothers), Gdje je predjel slavna mira (Where is the Glory of Peace); songs translated from the German language: Tuga tajne ljubavi (Geheimer Liebe Gram, i.e. Sadness of Secret Love) and Čežnja (Die Sehnsucht, i.e. The Longing), as well as several songs that remain in the German language: Die Einsame, Frühlingsgruss and Lebensbild. The above numbers have been recorded with the guitar or piano accompaniment.