Dear Ladies and Gentlemen,
Nobody expected 2020 to be so strange and difficult for culture. We all suffer from a pandemic that has prevented or delayed our various activities. Culture, as the most delicate area of social life, has also suffered a lot. This year’s ORGANy PLUS + festival was to be held, as usual, in two editions – spring and autumn, unfortunately the situation in the country did not allow artists and you to be invited in June, and the planned concerts had to be postponed to autumn. Until the last minute, it was not certain whether we would be able to host you in person or whether we would meet for the first time only on-line.
However, we managed … Together with all those who put so much heart and time into the preparation of the festival, I am glad that we will be able, as usual, to meet at the autumn edition, during which I have planned nine unique concerts for you. However, it was not only external conditions that changed the shape of this year’s festival. Other changes were consciously planned by us. Recently, two other instruments have appeared in Gdańsk, which, due to their high artistic value, deserve to be included in the exclusive ORGANY PLUS + formula. Therefore, in addition to concerts on the magnificent Baroque organs in the Franciscan church of St. Trinity in Gdańsk, we would like to invite you for the first time to the Center of St. John, where, in cooperation with the Baltic Sea Cultural Center, we will present two concerts on classical organ, and to the Salesian’s church of Saint John Bosco in Orunia for two concerts on late-romantic organ. In this way, with the help of these three outstanding instruments, we will be able to present you a repertoire extended to the works of composers of the second half of the eighteenth, first half of the nineteenth and the turn of the nineteenth and twentieth centuries in accordance with the performance practice of their era.
This year’s sixth ORGANy PLUS + festival gives us a chance to listen to beautiful music resonating not only from the only musical Lectorium (rood loft) in Poland, in the gothic acoustics of the St. Trinity church, but also in the originally preserved 19th-century neo-Gothic church in Orunia and in the carefully reconstructed interiors of the Gothic church of St. John in Gdańsk, in a way that cannot be found anywhere else.
However, many elements of the Festival will remain unchanged … As in previous years, the artists prepared special programs for us, dedicated to these places and instruments. I As in previous years, we guarantee the highest level of performance and an unforgettable time journey to the nineteenth, eighteenth, seventeenth and even sixteenth centuries with the unique sound of historical instruments.
In artistic terms, the ORGANy PLUS+ Festival relates to the idea of reconstruction. The concerts we are inviting you to share nothing but the name with the events we are accustomed to anticipate in concert halls. Actually, they will come down to an artistic experiment, and an attempt at recreating not only the music itself in its shape as close to the original as possible, but also at reviving the specific musical tradition and reality of the early Gdańsk. During the Autumn session organ music will be set in the broad context of the history of our city, instrumentalists, singers, vocal and instrumental ensembles.
We will start nine autumn concerts on Friday, 2nd of October at 7 p.m. in the Franciscan Church of St. Trinity, with a strong clash of local and non-local culture. The outstanding Silesian organist Marek Pilch and the extraordinary male vocal group Stolzer Ensemble have prepared a program of organ works by the Gdańsk organist and composer Daniel Magnus Gronau, who NB. at the beginning of his artistic career he was an organist at the church of St. Anna belonging to the monastery complex of St. Trinity, and sixteenth and seventeenth-century vocal works from the Silesian collections. On Saturday, October the 3rd at 7 p.m., also in the St. Trinity church, for the first time in Poland, we will start a new series of concerts presenting the organ work of Johann Sebastian Bach in chronological order. In this way, together with Andrzej Szadejko – the artistic director of the festival, we will be able to observe step by step how the musical genius of the great composer was born and developed. The next two concerts will take us to epochs, that we have not presented at our festival yet. On Sunday, October the 4th at 4.30 p.m., the young polish organist from Wrocław Marek Fronc will musically cooperate with famous Gdańsk trumpeter – Paweł Hulisz. Both musicians will perform in the Salesians church in Orunia, the late-Romantic music of Francophone composers at the turn of the 19th and 20th centuries. In addition to artists, the program will also be an attraction, in which, in addition to works by recognized composers, such as Cesar Franck, there will also be premiere compositions prepared especially for this concert. We will end the first extended festival weekend on October the 5th at 7 p.m. at Centrum Św. Jan with a monographic concert by Andreas Rothkopf, an outstanding German organist, professor at the Music Academy in Cologne. As an outstanding expert on keyboard music by Robert Schumann, on the 210th anniversary of the composer’s death, this musician will present all his works for organ and pedal piano on a newly reconstructed organ from 1761, the style of which is characteristic of the music of this German romantic.
After these four premiere events, we will give ourselves a three-day break to become more eager and with all the greater enthusiasm to listen to the last five festival concerts this year, closed with the Gdańsk clamp.
On Friday, October the 9th at 7 p.m., we will start the second series of concerts at the St. John’s church. We will stay in the romantic moode. This time, the repertoire axis of the concert will be the work and figure of a Danish composer from the beginning of the 19th century – Niels Gade, who influenced many other Scandinavian and German composers. We will hear the works of himself, dedicated to him and his transcriptions of Johann Sebastian Bach’s compositions, performed by a duo of Krakow organists, a professor of the local Academy of Music – Andrzej Białko and his wife – Jadwiga Kowalska. For the second time we will be able to see how brilliantly ahead of her time and how fantastically successful in early-Romantic music the sound style of the Gdańsk organ built in the second half of the eighteenth century is. On Saturday, October the 10th at 7 p.m., we will return to the Franciscan Church of St. Trinity. For the first time at our festival, the Gdańsk cantatas will be performed. Goldberg Baroque Emsemble and international soloists – Ingrida Gapova – soprano, David Erler – alto, Georg Poplutz – tenor and Thilo Dahlmann – bass will perform for the first time in almost three hundred years the secular cantatas of the Gdańsk maestro di cappella – Johann Christian Balthasar Freislich, including the so called gymnasium cantata, which was performed in this interior around 260 years ago. On Sunday, October the 11th at 4.30 p.m., for the last time this year, we will visit the church in Orunia and follow the late-Romantic path with one of the most outstanding Polish organists – Karol Gołębiowski and his guest, an extraordinary soprano – Agata Wiśniewska. In the program of the premiere concert we will witness a specific musical duel of two artists from the turn of the 19th and 20th centuries – Feliks Nowowiejski, the creator of Rota, who was fond of the future, and Max Reger, who was so much in love with Bach’s works. We will close the second extended festival weekend with a musical accent from our southern neighbors. On Monday, October the 12th at 7 p.m., again in the Franciscan church, two Cracow artists – organist Wacław Golonka and Zbigniew Pilch on the baroque violin will take us to the 18th century Bohemia and Moravia – a land from which many renown European musicians came at that time. However, this is not the end, because, as a kind of dessert, on Wednesday, October the 14th, in the beautiful presbytery of St. Trinity church, Goldberg Baroque Ensemble with, this time, Polish soloists – soprano Anna Zawisza, alto Helena Poczykowska, tenor Sebastian Mach and bass Dawid Biwo will present the premiere monographic concert of Johann Theodor Roemhildt’s cantatas from the collection of the Polish Academy of Sciences Gdańsk Library – a composer who has never been to Gdańsk, but his works were often performed here, as evidenced by the largest corpus of works in Europe preserved in Gdańsk.
The world-famous performers, original early instruments, authentic performance techniques, the acoustics of the Gothic Holy Trinity Church unaltered for centuries, the original arrangement of the musicians on the only rood loft existing in Poland, and finally the music one cannot hear anywhere else in Poland, will take us through time and put in the shoes of a participant in music events from ages ago.
Let us take a brief time travel!
Welcome to Gdańsk! Welcome to the Holy Trinity Church, St. John’s Church and St. John Bosco Church!
Born in Gdansk in 1974. Organist, composer, conductor, academical lecturer and organologist. Studied at the Music Academy in Gdańsk (1994-96). Graduated in 1998 from Academy of Music in Warsaw by Joachim Grubich and in 2002 in Schola Cantorum Basiliensis in Basel by Jean-Claude Zehnder where he recived diplomas with honour in organ music. He also graduated with honours in singing by Richard Lewitt and composition by Rudolf Lutz. Other important teachers were Andrea Marcon (harpsichord) and Gottfried Bach (basso continuo).
Took part in over 30 organ, harpsichord and pianoforte master classes and interpretations courses in Poland, Germany, Switzerland and Netherland.
In 2002 defended doctor thesis at the Music Academy in Lodz, and in 2010 has made habilitation at the Music Academy in Posnan/Poland.
He is the finalist and prizewinner of many International Organ Competitions (Rumia/PL, Gdansk/PL, Warsaw/PL, Odense/DK, Brugge/B).
Stipendist/scholar of many institutions: Mayor of City Gdansk/PL, Marshal of Pomerania voivodship/PL, Polish Culture Foundation/PL, City of Basel/CH, Doms-Stiftung/CH, Organ Summer Academy in Harlem/NL, Polish Institut of Music and Dance IMiT/PL, Adam Mickiewicz Institut/PL
Since 1994 Szadejko plays regular concerts in Poland, Germany, Netherland, Italy, Denmark, Sweden, Finland, Czech, Norway, USA and Switzerland.
Since 2006 he has been teaching organ and basso continuo in Gdansk Music Academy, Poland. In 2006 guest professor for organ in Oulu/Finland.
Leader of a reconstruction project of historical Merten Friese organ in Trinity church in Gdańsk (www.organy.gda.pl)
Since 2008 artistic director of the Project at the Polish Science Academy Bibliotheque of Gdansk – Musical Heritage of City Gdansk - reediting and recording of musical historical manuscripts from bibliotheques of Gdansk.
Leader of Goldberg Baroque Ensemble- vocal and instrumental baroque players (www.goldbergensemble.eu).
Recordings (12 CDs) by polish labels DUX and SARTON and german label MOTTETE.
Publications in polish scientific and music editions. His thesis about organ music by two pupils of Bach – Mohrheim und Muethel has got a prize at the Fair of Scientific Books in Wroclaw/Poland in 2011. At the same year his composition for 8-voice choir a’cappella – Missa Brevis was published in Poland at Polihymnia Edition.
The Franciscan monastery complex is located in the Lower City, in the direct vicinity of the major tourist attractions of the Old Town of Gdańsk.
The complex stands out to view when entering Gdańsk from the south. Its flèche-topped timber roof truss is the dominating element in the southern panorama of the Old Town.
The history of the complex dates back to the 14. century and the beginnings of the Franciscans’ presence in Gdańsk. In the 16. century the post-monastery buildings used to house the famous gymnasium and the first public library. In the 19. century the complex was turned to the natural history museum. After World War II the Franciscans returned to occupy a part of the complex despite oppositions from the communist state authorities, thus closing a certain stage in the history of the site.
The Holy Trinity church is one of the three authentic shrines in Gdańsk which have survived war destruction. This Gothic hall church is made up of two sections: the triple-nave main body and the single-nave presbytery. Both sections are crossed with the choir screen dating back to 1488, which is the only one authentic structure of the type preserved in Poland. The church owes its specific acoustic properties to the Gothic vault over the main body of the church, spanning at the height of 22.65 meters and supported by 10 massive pillars set in two rows every 5 meters. The three naves are 29.1 m wide, while in length the main body of the church (50.7 m) and the presbytery add up to 82 m. The characteristic feature in the church structure is the asymmetric angle of the presbytery axis with respect to the axis of the main body of the church. The organ is installed on two adjacent balconies in the transept, i.e. the crossing of the main church body and the presbytery, on the southern side of the choir screen. There is no other architectural solution of the type in Poland, with just several similar solutions found worldwide.
The first mention of a small chapel dedicated to St. John appeared in 1358. From around 1360 to around 1546, the construction of a three-nave Gothic hall-type temple was carried out, but until the end of the eighteenth century, the structure of the church was reinforced from the outside due to unstable statics. In the years 1463-1465 the church received stellar vaults, and in 1612 one of the largest European stone altars by Abraham van den Blocke, preserved to this day, appeared there. In the years 1680-1690, the library of the Zachariasz Zappio foundation was established at the northern side of the transept. In March 1945 the church burned down. The roof truss, roof, windows and floor were destroyed, the structure was damaged, as well as twin baroque houses at the southern wall of the chancel. After the war, the burnt church building was covered with a roof and its valuable vaults were secured. The temple itself was designated as a lapidarium and was not included in the planned reconstruction of the Main Town, and most of its equipment was transferred to St. Mary's Church in Gdańsk. The church was not taken over for the purposes of religious worship after the war, it fell into disrepair for many years, it was also a scenery for war movies, as a result of which it fell into further ruin. In 1960, the Evangelical community resigned from the ownership of the temple, but it was not until 1991 that the church was formally transferred to the Gdańsk diocese.
The Baltic Sea Cultural Center in Gdańsk on the basis of an agreement with the Archdiocese of Gdańsk as a user of the Church of St. Jana has been managing its reconstruction, conservation and adaptation to the St John’s Cultural Center - Centrum św. Jana since 1995. The reconstruction of Johann Rhode's organ is the largest element of the second stage of the project of restoration and adaptation of the church, and was co-financed under the project "Revalorization and adaptation of St. John’s church in Gdańsk - stage II ”, as part of the Regional Operational Program of the Pomeranian Voivodeship for 2014-2020, co-financed by the European Regional Development Fund.
The first wooden chapel was built by the Teutonic Knights in Orunia, probably in the first half of the 15th century. In 1571 it was expanded and converted into a Lutheran church, which burned down in 1577. It was not until 1608 that the construction of a new church was started, and in 1684 a tower was added. As a result of another reconstruction, completed on June 13, 1764, the western and northern parts of the temple were expanded.
On September 3, 1813, the church was set on fire by the Russian army besieging Gdańsk. It was not until 1820, thanks to the personal and financial commitment of Hoene the trade counselor, who was the owner of large areas in Orunia, that the construction of today's temple was started according to the design of the imperial court architect - Karl Friedrich Schinkel from Berlin. A brick neo-Gothic body of the church was created with a slender tower, topped with a sharp dome with rarely seen, "gothic" vaults made of wood and covered with a layer of plaster forming ribs and consoles supported on 8 wooden pillars supporting also a gallery running along the side walls, connecting above the entrance the main one, where the organ was later placed. The new Orunia’s church was consecrated on October 5, 1823. the owner of the area founded also the main altar, two side altars and the organ.
The church was in good shape until 1945, when the advancing Soviet army destroyed it again. However, despite the damage to the roof, tower and windows, from which traceries and stained glass fell out, the temple did not suffer as much devastation as most of the religious buildings in the city itself.
After the war, the church in Orunia was assigned to the Salesians by the bishop of Gdańsk, Karol Maria Splett, as the rector's church, and on July 15, 1994, the church became a parish church, separating from the nearby parish in Old Scottland.
Organ of St. Trinity Church in Gdansk are unique in design, architecture and music on a global scale. It is one of the most important instruments in Europe, now influencing the whole musical culture of the region. It is the only instrument of this type in Poland and in Europe.
The reconstruction of the organ at the Holy Trinity church is fundamental for the cultural development of the monastery complex.
The purpose of reconstruction of the Merten Friese’s instrument is to bring it back to its shape and style gained after the most recent modifications carried out in Baroque, i.e. in mid-18. century, by Friedrich Dalitz, an organ builder from Gdańsk.
The instrument is being recreated using organbuilding techniques and materials typical for the epoch in which it was originally built. In order to be as close to the original as possible, the recreating team used all preserved authentic elements of the organ casing. The works are based on information and documentation drawn when dismantling the instrument in the times of the Second World War. The physical form and musical potential of the recreated instrument is unmatched in Poland. Its Baroque shape refers to the tradition of organ-building characteristic for the Baltic states. The instrument become an important link in the process of reviving the craft culture of the Hanseatic circle in such cities as Hamburg, Stralsund, Copenhagen, Goeteborg, Stockholm, or Riga.
Reconstruction of the instrument so large and so important for the musical culture of the region and all Poland is unique in many respects. The uniqueness of the project, in view of the organ-building tradition in former Hanseatic cities, stems from the fact that the project concept assumes following of the process of transformations which occurred in organ building in the region over the period of 150 years.
The organ was being put back in its original place, on the railing on the southern side of the presbytery, by the choir screen. This is the only structural solution of the type found in Poland, echoing the style, rare as it is, found in the organ-building art of the Netherlands, Belgium, and northern Germany.
Thanks to the positioning of the organ in the direct vicinity of the choir screen the qualities of the interior similar to those offered by concert halls enable holding musical events for which no other church interior in Poland is suitable, at the same time giving those musical productions an additional value of following the historic musical practice.
There is no other church in Poland with a choir screen so large, able to accommodate both the choir, and orchestra and an organ nearby. Thanks to it, the potential of using the intertior of the Holy Trinity church for artistic purposes is almost unlimited.
The organ is just finished in May 2018 and already serves to liturgy and cultural events as well as educational and scientific purposes.
A brief history of the instrument
|1616-18||- probably Merten Friese built the organ|
|1697||- adding Cimbelstern by Georg Nitrowski|
|1703||- Tobias Lehmann rebuilt the old instrument and built a new pedal case|
|1757||- barock reconstruction by Rudolph Dalitz|
|1914||- Total rebuilding and pneumatization by Otto Heinrichsdorf|
|1943||- dismantling of organ durin WWII|
|1960||- part reconstruction of pedal balcony and prospect with pneumatic organ behind by Ryszard Plenikowski|
|2008||- Begin of reconstruction of the historical barock organ by Kristian Wegscheider from Dresden with cooperation with Szymon Januszkiewicz from Niedalino|
|2013||- Reconstruction of the first section - Rückpositiv|
|2015||– the end of reconstruction of all preserved historical elements of organ cases|
|2017||- reconstruction of further divisions – Gross Pedal, Klein Pedal, Brustwerk|
|2018||- reconstruction of Hauptwerk – the end of the reconstruction project|
Disposition of the organ
In 2019, 77 years later, one of the most splendid instruments of 18th-century Europe returned to its former place in a reconstructed form, whose modern technological solutions were at that time set by experts as a model for other instruments. The 30-voice instrument was originally created together with the choir in 1760-61 as the second auxiliary instrument for the great main organ, the prospect of which is now in St. Mary's Basilica. The builder of this most modern instrument in Europe at that time was Johann Friedrich Rhode, probably a student of Andreas Hildebrandt from Gdańsk, an associate of Christian Obuch in Pomerania and Warmia, and Jonas Grena and Peter Strahl in Sweden. The beautiful carving and sculptural setting of the organ prospectus were made by Johann Heinrich Meissner, one of the most outstanding sculptors working on the Baltic Sea. Fortunately, this richly carved and gilded organ case was preserved in its entirety during the evacuation in 1943-44. However, the instrument had to be recreated. The main idea behind this realization was maximum fidelity to the original, which was achieved in almost 100% thanks to the professional work of the conservation company, Mr. Jacek Dyżewski Dart from Gdańsk and the Polish-Belgian consortium of organ-building companies Guido Schumacher from Eupen in Belgium and Szymon Januszkiewicz from Pruszcz Gdański. Intonation and tuning were entrusted to an outstanding organ builder from Latvia - Janis Kalnins. The entire project was conducted by Iwona Berent - the curator of the Church of St. John, who has been consistently managing the revitalization of the entire church for many years, and dr hab. Andrzej Szadejko - the author of research and the concept of organ reconstruction, who supervised the project and is currently the curator of the instrument.
A brief history of the lateral organs at the St. John’s church in Gdańsk
|1560-64||– first known side organ built in the south aisle by Hans Behrendt
|1642||– Another instrument built by Michael Fischer.
|1688||– side organ is moved to the northern aisle.|
|1760-61||– new Johann Friedrich Rhode organ with a new choir built to replace the previous instrument.
|1912||– Eduard WIttek's new 17-voice pneumatic organ built inside the historical case
|1943-44||– disassembly of the baroque case and organ gallery
|1945||– destruction of the church and pneumatic organs
|2017-2019||– reconstruction of the baroque-classical organ by the consortium of Guido Schumacher and Szymon Januszkiewicz
Disposition of the organ
The history of the smallest festival instrument is very complicated. For a long time the original authorship of the instrument was attributed in the literature to Johann Hellwig from 1611. However, during a recent renovation, it was discovered that the mechanical 20-voice instrument was originally created in 1749 in the workshop of the famous Gdańsk organ builder - Andreas Hildebrandt for the now defunct hospital church, which was rebuilt in 1734 just outside the walls of Gdańsk. On this occasion, on June 8, 1749, during the consecration of the newly built organ, the ceremonial cantata, which has been preserved in the collection of the Gdańsk Library - Saget dank allezeit - by Johann Daniel Pucklitz, a Gdańsk composer, was performed. The church was destroyed again in 1807 by the French army, and the devastated instrument and the case were dismantled and stored by the Gdańsk organ builder, Christian Ephraim Ahrendt. In 1824, using the original elements of Hildebrandt's organ, Ahrendt built a new instrument in the choir of the Orunia temple, visually adapting it to the neo-Gothic interior design. In the twentieth century, the instrument was rebuilt many times. First, in 1911, Eduard Wittek built a new 17-voice pneumatic organ in a baroque case, and then in 1986 Wawrzyniec Rychert, and in the 2000s, other unauthorized people partially changed the instrument's disposition and technical parameters, leading to its devastation.
Thanks to the initiative of Father Mariusz Słomiński, the parish priest of St. John Bosco in Orunia, in 2017-18, a project was carried out to renovate and partially reconstruct the neo-romantic pneumatic organs of the Elbląg company by Eduard Wittek, funded in 1911 for the local church by the Hoene family. The program of two-year works included the renovation and conservation of the organ case and the restoration of the original, neo-romantic disposition of the instrument from over a hundred years ago. The works under the supervision of dr hab. Andrzej Szadejko were done by the organ-building company of Szymon Januszkiewicz from Pruszcz Gdański and the conservation studio of Mrs. Jolanta Pabiś-Ptak and their associates. The preservation of the organs was financially supported by the donations of parishioners and by the Ministry of Culture and National Heritage and the City of Gdańsk. Currently, it is the only stylistically homogeneous neo-romantic instrument in the whole Pomerania.
A brief history of the instrument
|1749||– new Andreas Hildebrandt organ in the rebuilt Lazaretkirche outside the walls of the city of Gdańsk
|1807||– dismantling of the remains of the organ builder by the Gdańsk organist Christian Ephraim Ahrendt
|1824||– construction of a new instrument with the use of old elements in the church in Orunia
|1911||– Eduard Wittek put a new pneumatic organ in a baroque case.
|1986||– Wawrzyniec Rychert rebuilds the instrument in the spirit of Orgelbewegung
|Lata 2000||– devastation of the instrument by self-proclaimed organ builders
|2017-18||– renovation and partial reconstruction of the Wittek organ by Szymon Januszkiewicz from Pruszcz Gdański
Disposition of the organ
Kościół OO. Franciszkanów p.w. Św. Trójcy w Gdańsku, ul. Św. Trójcy 4
Centrum Św. Jana w Gdańsku ul. Świętojańska 50
Kościół rzymskokatolicki pw. Św. Jana Bosko ul. Gościnna 15
Tickets sold on the day at the box office on the courtyard of the church opened one hour before.
Kościoła pw. Św. Trójcy
ul. Św. Trójcy 4
Online booking for the concerts firstname.lastname@example.org
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