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Idea

It is done.  This year, seventy years after the end of World War II and following fifteen years of persistent efforts and ten years of hard restoration and organ-building works we will have the first occasion to admire the full sound power of the instrument rebuilt at the Franciscan Holy Trinity church in the Old Suburb of Gdańsk to the full.

Coincidently, the year 2018 also marks 400 years since this unique instrument was built.

The already fourth edition of the ORGANy PLUS+  festival will be an occasion to celebrate and listen to exquisite music played from the musical rood loft, the only one in Poland, reverberating in the Gothic interior untouched for 500 years, its acoustics unattainable anywhere else.  Just like last year, the music written in different parts of Europe will fill the church naves in Spring and Autumn.  Just like last year, the artists have prepared for us special repertoire dedicated for the place and the instrument.  Just like last year, we guarantee top quality renditions and invite our audience to join us in a specific time travel to the eighteenth, seventeenth, or even sixteenth centuries.  This time, however, will be the first time the sound power of the organ will be used to the full, with all its forty five stops… and more.

In artistic terms, the ORGANy PLUS+ Festival relates to the idea of reconstruction.  The concerts I am 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 old Gdańsk.  The organ will sound set against a broad context of other instruments, instrumental and vocal ensembles, in all its glory, at its best.

The autumn edition of the festival will start on an unusual day: on Thursday, 27 September, but the opening will send shocking waves through the Earth with the grand Mass in b Minor by Johann Sebastian Bach.  The masterpiece of unique status in the culture of Europe will be played in Gdańsk for the first time thanks to international cooperation between the Goldberg Baroque Ensemble from Gdańsk and the renowned Internationale Chorakademie Lübeck choir conducted by Rolf Beck.  The solo parts are entrusted to outstanding young artists from the Slovakai, Brasil and Germany: Tereza Malickayova – soprano, Lucia Duchonova – mezzosoprano, Ian Spinetti – tenor, and Yannick Debus – bass baritone.  The solo part of the natural horn will be played by Wilhelm Bruns, and Maros Klatik will accompany him on the positive.  This is an event of historic proportions in the Polish-German cooperation, under the patronage of Ms Cornelia Pieper, Consul General of the Federal Republic of Germany.  We will certainly need a few days to digest it afterwards.

               Just as one can expect of a good thriller, the tension must grow following an earthquake, and so, after a three day break, on Monday, 1 October, at the following concert we will offer you a premiere by artists from Kraków Ensemble Hildebrandt 1719 conducted by an exquisite organ player of the young generation – Krzysztof Urbaniak.  The performers have dedicated their programme especially to our festival and will present Polish liturgical music of the second half of the seventeenth century under the common title: ‘Between Warsaw and Gdańsk’

               The concert of 2 October is entitled: ‘+ Oboe’.  Elżbieta Karolak, an acclaimed organ player and professor at the Academy of Music in Poznań, and her daughter, Madgalena Karolak, an oboe player working with such ensembles as Il Giardino Armonico, Ensemble Matheus, Accademia Bizantina, Il Complesso Barocco, Il Pomo d’Oro, Capella Cracoviensis, Concerto Copenhagen, or Capella Reial de Catalunya, have compiled a programme they themselves entitled ‘Beautiful and unknown’ made up of barely known organ and chamber music pieces of the 17th and 18th centuries by Ch. Schaffrath, C.Ph.E. Bach, Princess Amalia, and J.W. Hertel.  The pieces will be framed with the opening cycle of variations by J.U. Steigleder: ‘Daβ Vatter unser’, extremely rarely played, and here intended as a historic tribute to the epoch in which the M. Friese instrument was built, and the closing very well-known Prelude in g-Minor by D. Buxtehude, BuxWV 148, and one of the cycle of 18 ‘Leipzig Chorales’ by J.S. Bach, BWV 667. 

               On the following day, Wednesday, 3 October, we will hear two artists from Dresden: Holger Gehring – the organ, and Elisabeth Holmer – mezzosoprano.  Of course, not by coincidence the concert will feast us on masterpieces of composers linked to Dresden in the Saxon times, though that output will be counterpointed by music devoted to the plight of the woman.  Therefore, the concert is given the title of ‘Madonna (im)maculata – (im)maculate woman. 

               On Thursday, 4 October, we will meet one of the most acclaimed researchers of Bach’s organ output and an outstanding organ player, composer, carillon player, and improviser, Ms Pamela Ruiter-Feenstra, who compiled her programme dedicated to our festival of the works by Franz Tunder whose music scripts can be found in the collections of the cathedral library in Peplin.  It will surely be a thrilling evening with the original music which was perhaps also played in Gdańsk in the seventeenth century. 

               Thanks to cooperation with the Academy of Music and the History Museum of the City of Gdańsk, students will have an opportunity to work with an American musicologist, and the residents of Gdańsk will hear her in the concerts she will give on the Gdańsk carillons.

               On Friday, 5 October, music by Bach will prevail.  Still, the title of the concert: ‘Bach vs. Pergolesi’ gives a hint that it will be far from a typical concert of his music.  We will present pieces signed with Bach’s name even though Bach himself copied then after other composers adding a pinch from himself here and there.  The subtitle: ‘Masterly Transcriptions’ suggests that even a genius of the Cantor of Leipzig format would sometimes reach for the output of other composers.  The Tilge, Höchster, meine Sünden, BWV 1083, cantata will be presented by the musicians of the Scepus Baroque group and soloists: Katarzyna Wiwer and Helena Poczykowska.

               The one but last concert will take us to the regions we have never visited to date – the Netherlands.  We will hear two performers from Groningen, Peter Westerbrink and Jankees Braaksma, who will play two instruments closely associated with the Dutch culture – the organ and the recorder, obviously presenting Dutch repertoire.  I hope the concert will give the entire audience the idea of the special role of the two instruments in the culture of the Netherlands.

               The final concert, on Sunday, 7 October, will immerse us once more in premiere music performance.  Jan from Lublin, presumably the author of many pieces and most certainly a copyist too, gave his posterity the second largest set of music written for keyboard instruments of the sixteenth century (after the Vatican Tablature).  Dances of the set are best known and played, however most of the pieces in the repertoire represent liturgical music testifying to high sophistication of sacral music in the Poland of the Jagiellon dynasty.  Together with Agnieszka Budzińska-Bennett who lives in Switzerland and lectures at Schola Cantorum Basiliensis, and Schola Cantorum of the Chair of Church Music of the Academy of Music in Gdańsk, we will take an attempt to recreate for you extensive fragments of the liturgy of the Polish churches of the times.  This will be the first attempt I know of to revive that heritage of the Polish music. 

               We are surely heading for lots of emotion and surprises.  And should anyone wish to broaden his/her knowledge and perfect the skills, he/she will have an opportunity to do so during the International Organological Conference – Musica Sacra – Ars Organisandi and the workshops devoted to playing the organ and the carillon, improvisation, and Gregorian chant we have managed to organise in cooperation with the Gdańsk Academy of Music.

 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.   Commentary and a word of introduction given at the concerts by Piotr Matwiejczuk, a Polish musicologist and Polish Radio editor, will accompany the audience in this unique experience.

 

Let us take a brief time travel!

Welcome to Gdańsk! Welcome to the Holy Trinity Church!

 Andrzej Szadejko

Director

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 finaliandrzejst 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.

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Trinity of art

The Holy Trinity Church

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.

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Join the project!

DEAR SIRS!

Please feel invited to participate in the great project of reconstructing the historic Merten Friese organ at the Franciscan Holy Trinity Church in Gdańsk.
The project is based on the noble assumption of co-operation with the people of good will, wishing to contribute to our cultural heritage and leave a lasting mark to be remembered by the generations to come. The Franciscan Friars and the Gdańsk ‘Churchyard’ Association are currently pursuing the project of reconstructing the great historic organ in Gdańsk. This is an exceptional instrument, in many ways unique from the European perspective. However, it requires an immense input of work, knowledge and funds. We aim at using the original techniques and materials of the period in which the instrument was built to reconstruct the organ. It was our goal to create an instrument whose sound and appearance would testify to the great organ culture of Gdańsk, Pomerania, and Poland. The instrument already sounds great, but we need to collect the fee for organbuilders. Therefore, we turn to you to invite you to participate in the patronage initiative. It will help us to complete the organ reconstruction and create a chance for the instrument to have its sound heard again after sixty years of silence. By financing and assuming personal sponsorship over a single pipe or a set of organ pipes you can contribute to the successful completion of the great project of recreating the old and creating the new tangible culture. At the same time you would also become Patrons of Art. In the European culture the organ was always perceived as a mirror reflection of the fineness and well-being of its community. The organs were often built not only to testify to the wealth and affluence of the local society, but also to show the love of beauty, good, and art through the craft of wood-carvers, carpenters, painters, goldsmiths, maintenance providers and organ builders. An individual or a company, everyone can become a Patron of the Great Organ at the Holy Trinity Church in Gdańsk.
YOU ARE MOST HEARTILY INVITED!

Organ

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.
Torgany9_06_09_gm_427x-550x450he 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.

Short history of the organ

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

Hauptwerk CDE-c’”
PRINCIPAL 16 FUSZ
QUINTADÖNA 16 FUSZ
OCTAVA 8 FUSZ
SPIELFLÖT 8 FUSZ
VIOL DI GAMBA 8 FUSZ
OCTAVA 4 FUSZ
HOLLFLÖT 4 FUSZ
QUINTA 3 FUSZ
OCTAVA 2 FUSZ
MIXTUR 6 FACH
VOX HUMANE 8 FUSZ
FAGOT 16 FUSZ
Rückpositiv CDE – c’”
PRINCIPAL 8 FUSZ
SALICINAL 8 FUSZ
HOLLFLÖT 8 FUSZ
QUINTADÖNA 8 FUSZ
OCTAVA 4 FUSZ
WALDFLÖT 2 FUSZ
OCTAVA 2 FUSZ
SESQUIALTER 2 FACH
SEDECIMA 1 FUSZ
MIXTUR 5 FACH
TROMPET 8 FUSZ
HAUTBOIS 8 FUSZ
Brustwerk CDE – c’”
FLÖT 4 FUSZ
QUINTA 1 1/3 FUSZ
SCHWIGEL 1 FUSZ
FLÖT 8 FUSZ
PRINCIPAL 4 FUSZ
OCTAVA 2 FUSZ
REGAL 8 FUSZ

 

Klein-Pedal CD – c”
SUBBASS 16 FUSZ
OCTAVA 8 FUSZ
FLÖT 8 FUSZ
OCTAVA 4 FUSZ
QUINTA BASS 2 FACH
MIXTUR 6 FACH
KRUMHORN 8 FUSZ
SCHALLMAΫ 4 FUSZ
CORNET / BASS / 2 FUSZ
Gross-Pedal CD – c”
UNTER BASS 32 FUSZ
VIOLON 16 FUSZ
SALICINAL 8 FUSZ
POSAUNE 16 FUSZ
TROMPET 8 FUSZ
SPERR VENTIL HW
SPERR VENTIL RP
SPERR VENTIL PED GROSS
SPERR VENTIL PED KLEIN
TREMULANT GROSS
TREMULANT RP
CIMBELSTERN KLEIN
CIMBELSTERN GROSS
CALCANT
HERRPAUKE

Gallery

ORGANy PLUS+ ENSEMBLE 27.05.2016

ORGANy PLUS+ CORNETTO 28.05.2016

ORGANy PLUS+ ALTERNATIM 29.05.2016

ORGANy PLUS+ BUXTEHUDE 30.05.2016

ORGANy PLUS+ KLAWESYN 31.05.2016

ORGANy PLUS+ Choral 9.06.2017

ORGANy PLUS+ Bach 10.06.2017

ORGANy PLUS+ Haendel 11.06.2017

ORGANy PLUS+ Klawesyn 11.10.2017

ORGANy PLUS+ Flet 12.10.2017

ORGANy PLUS+ Traverso 13.10.2017

ORGANy PLUS+ Skrzypce 14.10.2017

ORGANy PLUS+ Ensemble 15.10.2017

ORGANy PLUS+ Inauguracja 03.06.2018

ORGANy PLUS+ Trąbka 04.06.2018

ORGANy PLUS+ Buxtehude 05.06.2018

ORGANy PLUS+ Saksofon 06.06.2018

ORGANy PLUS+ BaRock 07.06.2018

ORGANy PLUS+ Bach 27.09.2018

ORGANy PLUS+ Premiera 1.10.2018

ORGANy PLUS+ Obój 2.10.2018

ORGANy PLUS+ Drezno 3.10.2018

ORGANy PLUS+ Tunder 4.10.2018

ORGANy PLUS+ Pergolesi vs Bach 5.10.2018

ORGANy PLUS+ Holandia 6.10.2018

ORGANy PLUS+ Jan z Lublina 7.10.2018

Organization

How to find us

Kościół OO. Franciszkanów p.w. Św. Trójcy w Gdańsku, ul. Św. Trójcy 4

Tickets

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
80-822 Gdańsk
Online booking for the concerts bilety@organyplus.com

Regular price 20 PLN

Contact

Stowarzyszenie Przyjaciół Kościoła Św. Trójcy „Dziedziniec” w Gdańsku
ul. Św. Trójcy 4
80-822 Gdańsk

General and Artistic Director
Dr hab. Andrzej Szadejko
info@organyplus.com

Office
biuro@organyplus.com
mobile phone: +48 728 376 237

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