Dear Ladies and Gentlemen,
It seems this happened so recently. One year ago we celebrated the completion of the project on the reconstruction of the great Baroque organ at the Holy Trinity Franciscan church in the Old Suburb of Gdańsk.
This year’s, already fifth 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, alongside the unique sound of the forty-five stop organ.
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 and the music performed by singers and vocal ensembles.
The seven autumn concerts are split in two groups. The first three events will be focused on the Italian context in which the Polish music of the late Renaissance and early Baroque was set. We will begin on Friday, 4 October, with a strong opening. Two unparalleled artists: Marcin Szelest, an outstanding organ player from Kraków, and Stephan MacLeod, a world-renown bass from Lausanne, have prepared repertoire made up of chamber sacral compositions written and performed at churches and monasteries of the First Republic of Poland at the turn of the sixteenth and seventeenth centuries. It was the period when the organ at the Holy Trinity church was built, the most magnificent era in the history of Poland, when the Italian domination in the European music was just budding together with the onset of the so-called Seconda Prattica. On the subsequent day, i.e. on Saturday, 5 October, we will explore the phenomenon of Italian influence in organ music, the influence which was shaping the tastes and trends in the European culture throughout the seventeenth and eighteenth centuries. Edoardo Belotti, a Professor at the University of the Arts in Bremen, an unparalleled master of interpretation of that music and a renown researcher and publisher, will play in Poland for the first time. He will perform pieces of his selection, written over the period of a hundred of years, from the beginning of the seventeenth century to the onset of the eighteenth century, by Italian and German-speaking composers drawing heavily from the Italian stylistics. The Italian – Polish triptych will end on Sunday, 6 October, with the concert by Krzysztof Urbaniak who is already known to our audience, and his guests: Anna Zawisza, a soprano, and Agnieszka Świątkowska and Agnieszka Krawczyk, violinists. Their programme will in a way continue the first concert in the series. The artists will play sacral chamber compositions of the second half of the seventeenth and early eighteenth centuries, which were written and performed in Poland. We will have an occasion to listen and see for ourselves that not every composer wanted to follow suit of the omnipresent Italians, and that the musical stage of the Polish Kingdom was strongly divided and certainly not homogenous in style.
Those three opening events will be followed by three days of break so that we can listen to the last four Festival proposals with even greater enthusiasm. This year, the Festival will be closed with a Gdańsk accent.
Theophil Andreas Volckmar came to Gdańsk in 1711 with a single purpose in mind: he wanted to get the position of the organist at St. Mary’s. Instead, he became the organist at the Holy Trinity church. It was the organ of this church that inspired him to write six virtuoso organ sonatas. On Thursday, 10 October, after 302 years’ break, Volckmar’s compositions will fill the interior of the Franciscan church anew. The concert will also inaugurate the new project of recording those compositions. They will be performed for you by Andrzej Szadejko, the Artistic Director of the Festival. The concert on Friday, 11 October, will be given by Austrian artists: Martina Schobersberger, organ player and a graduate of the famous Schola Cantorum Basiliensis, and Michael Oman, one of the most outstanding contemporary musicians playing the recorder, both linked to the leading Austrian early music ensemble called the Austrian Baroque Company. It will be the first time the music typical of the Habsburg Empire will be played in Gdańsk.
The last two concerts are related to the 600th anniversary of the arrival of Franciscans to Gdańsk. The first will refer to the St. Mary’s theme, the second – to Gdańsk tradition.
Gregorian chant was the foundation of sacral music of the Catholic church for centuries. Hence, it is not surprising that composers used to arrange individual chants and did it in very diversified ways. Ireneusz Wyrwa, an organ player from Warsaw, and his colleagues forming the La Tempesta ensemble under the direction of Jakub Burzyński, decided to select Ave Maris Stella from among this vast legacy and build their concert programme on that particular hymn. The concert of 12 October Polish musician will take us on a journey across the entire European continent: from distant Spain, through Italy and Germany, to the land of the Polish Kingdom.
The Festival will close on Sunday, 13 October, with yet another reference to the musical tradition of Gdańsk. Tower trumpeters (‘piszczkowie’) were an inseparable element of the Gdańsk musical landscape. The sound of the trumpet ensemble used to accompany major events in the city’s public life. The Tubicinatores Gedanenses ensemble already known to our audience was started by Paweł Hulisz with the intention of reviving the tradition. The Gdańsk trumpeters will perform to the accompaniment of the organ played by Błażej Musiałczyk, the organist at the Oliwa Cathedral. The artists will present a diversified programme, filled with radiance and joy. The concert will close our musical peregrination, leaving us positively tuned and already looking forward to meeting again next year.
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!
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.
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.
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
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
Kościół OO. Franciszkanów p.w. Św. Trójcy w Gdańsku, ul. Św. Trójcy 4
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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