MONIUSZKO_150. On the 150th anniversary of the composer's death.
In 2022, we remember the 150th anniversary of the death of the Polish composer, author of national operas - Stanisław Moniuszko (1819-1872). This is an excellent opportunity to present and promote in Gdańsk what, apart from operas, turned out to have the greatest potential, i.e. the composer's sacred music, bearing in mind the experience of the Moniuszko Year three years ago. Therefore, on 27-30 May, as part of the spring edition of the ORGANy PLUS + © Festival under the slogan MONIUSZKO_150, we will present you four monographic concerts devoted to the work of this outstanding artist.
The composer's family came from Ubiel near Minsk, where he gained his first skills in music education. In the years 1837-1840 Moniuszko studied in Berlin. His first works were written and published there. Before he was invited to Warsaw, he lived and worked in Vilnius for eighteen years (1840-1858). His activity (excluding travels) covered the territories of today's Germany, Lithuania, Belarus and Poland, and the composer, knowing many languages, moved freely in the culture of his time, drawing from it for himself and his work, and cooperating in these places with artists of various nationalities.
The world today is changing dynamically before our eyes. The indescribable cruelty of the war in Ukraine started and waged by Russia is aimed at, inter alia, re-introducing long-standing divisions not only in our region, but also throughout Europe. That is why it is so important to show that our differences do not distance us from each other, but can be mutual inspiration and support for us. Therefore, during the spring edition of the ORGANy PLUS + © festival, artists from Poland, Lithuania and Germany will look together at Moniuszko's work, looking for values resulting from the cultural roots that we all share. When planning this event, we did not think that this international cultural cooperation of Poles, Lithuanians and Germans would become a clear and strong message that also in this way we can act together on the international arena in our region and oppose those who want to divide us another to introduce chaos, fear, terror and distrust in our mutual relations.
Moniuszko's sacred oeuvre has so far been completely overshadowed by the composer's other works and has been the margin of concert presentations, while in my opinion, this is the composer's fullest original statement, arising not from mercantile but internal needs, and touches the deepest and most important areas of life. So far, four Litanies of the Gate of Dawn have enjoyed little reception and performance tradition from this work, while religious works include over ninety compositions of various sizes and genres for a diverse executive apparatus. There are many reasons for the poor knowledge of this fragment of the composer's work. Shortly after the composer's death, when the great symphonic music and neo-romantic stylistics came to the fore in European music, the artist was completely reevaluated, but also his works were simply re-adapted to the requirements of the new style, to the obvious detriment of them. Some of them were not re-issued. The performance practice of Moniuszko's works has been and is dominated by contemporary aesthetic achievements, which is why it does not fully reflect, and sometimes even distorts the musical values of the composer's work, weakening their expression. The works of the Polish artist en bloc were perceived on the one hand as an important element of our culture with a strong patriotic and national overtone, and on the other - as not very original, coarse, even parochial, which gave the impression that for artists and audiences looking for aesthetic values, the repertoire was not interesting enough and artistically significant for performers and organizers. This opinion, very unfair to Moniuszko, resulted from an inappropriate perceptual perspective that influenced the aesthetic evaluation of the work through the prism of the achievements of artists active in later times. Fortunately, its perception is now changing due to the HIP trend, which returns to the performance practice from centuries ago and returns the songs to their original shape and splendor. After the events of the Moniuszko Year, we already know that historically informed performances of Moniuszko's sacred compositions, in various aspects, not only regarding the instruments, but also the location and size of the singing groups, the use of revised sheet music, restores the compositions' remarkable expression and depth, testifying to a great and often excellent an almost innovative compositional workshop in the context of the time in which they were created and the creators of his generation. And above all, it is a deeply emotional work.
The Moniuszko Year sped up work on revising the source music also in the context of religious works. We are very happy that thanks to the cooperation with PWM, many of them will sound during our concerts for the first time in a new, but as close to the original as possible, form. We will present an overview of the various musical forms that Moniuszko practiced, from great symphonic compositions to small and intimate arrangements for a choir with organ accompaniment.
We are inaugurating the festival with a strong Gdańsk-Vilnius accent referring to the close cooperation between Gdańsk and its partner city - Vilnius. During the concert on Friday, May 27 at 7.00 p.m. traditionally at the Franciscan Church of the Holy Trinity in Gdańsk, artist Maciej Jachimowicz on organs, conductors Beata Śnieg and Michał Kozorys, as well as choirs of the Academy of Music. St. Moniuszko in Gdańsk: The female choir "Gaudium per Canto" and Mixed Choir of the Faculty of Choral Conducting, Church Music, Artistic Education, Rhythmics and Jazz will present works from the Vilnius era, incl. two masses for the female choir and organ that Gdańsk students have been performing for many years with great care for the artistic shape.
Moniuszko is also known as the author of the Home Songbook - a collection of small songs for home use, but there is rarely an opportunity to listen to sacred songs that evoke great emotions with their melodies. Such an opportunity will come during the second concert, on Saturday, May 28 at. 19.30 in the church of oo Salesians of St. John Bosco in Gdańsk Orunia. Young singers Nikolina Gąsior - soprano, Karolina Borowczyk - alto, Adam Brusznicki - tenor and Dominik Mazan - bass will be accompanied by an outstanding and experienced organist from Silesia, rector of the Academy of Music in Katowice - Władysław Szymański, who will embellish the vocal program with organ compositions from Moniuszko's times.
Thanks to the cooperation with the Baltic Sea Cultural Center, the next two concerts will be held at the St. John Centre in Gdańsk. First, on Sunday, May 29 at At 7.00 p.m. in an international cast we will hear the composer's great works. These will be the Litanies of the Gate of Dawn, hymns, Requiem Aeternam and the Funeral March in a completely new arrangement based on source materials prepared by PWN. The performers include Slovak soprano Ingrida Gapova, German alto Marion Eckstein, Polish tenor Sebastian Mach and German bass baritone Tobias Berndt. The soloists will be accompanied by the Goldberg Baroque Ensemble from Gdańsk, expanded to include instrumentalists from Lithuania and Germany playing romantic instruments, and a chamber choir from Leipzig, Gellert Ensemble. The concert will be hosted by Andrzej Szadejko.
The last accent, a bit on the severity of the Sunday climax, will be a monographic concert devoted to the sacred chamber works of Stanisław Moniuszko. The composer wrote religious works out of the need of his heart. Therefore, they are the deepest expression of his artistic soul. In addition to the choir and organ, he often had a single string quintet in them. We will hear such an original set of performers on Monday, May 30 at 19.00. The performance of the Lithuanian organist Vidas Pinkevicius, who will also improvise in the composer's style, and two ensembles: the Polish Goldberg String Quintet and the German Gellert Ensemble under the direction of Andreas Mitschke from Leipzig, will include a beautiful extended Latin Mass in D flat major, one of the composer's last works.
At this point, I would like to express my gratitude to all institutions whose support has resulted in the festival having such a unique program and artistic shape. These are the Ministry of Culture and National Heritage, the Foundation for Polish-German Cooperation, the City of Gdańsk, the Self-government of the Pomeranian Voivodeship, the Franciscan monastery in Gdańsk, the Baltic Sea Cultural Center and the parish of St. John Bosco in Orunia.
We hope, that the fundamentally new approach to the composition of the great Pole, based on historical performance practice, will allow us to get closer to the prototype and verify some aural and aesthetic habits regarding his work, and that monographic concerts devoted to sacred music will allow you to penetrate the romantic world and inner thoughts, experiences of an extraordinary artist that was Stanisław Moniuszko at least for a moment. To which I cordially invite you.
prof. dr hab. Andrzej Szadejko
artistic director of the ORGANy PLUS + © Festival
Composer, conductor, organist, organizer of musical life.
A graduate of the Academy of Music in Warsaw and Hochschule für Alte Musik Schola Cantorum Basiliensis in Basel / Switzerland. He participated in 30 master classes for organ, harpsichord and pianoforte in Poland, Germany, the Netherlands and Switzerland. Finalist and winner of many organ competitions in Poland and abroad. Professor of the Academy of Music in Gdańsk. Visiting professor at universities in Germany, Finland and the USA. Laureate and scholarship holder of many Polish and foreign institutions. Since 1994, he has been giving regular concerts in Poland, Europe and the USA as a soloist, chamber musician and conductor. Apart from performing organ concerts, he also composes.
An expert in the field of historical organ building. He is a consultant or supervises many organ projects in Poland, as well as in Lithuania and Belgium. Founder and head of the Goldberg Baroque Ensemble, with which he records premiere performances of cantatas by composers from Pomerania. As a soloist and conductor, he recorded 25 albums for Polish and German labels, nominated for the FRYDERYK and OPUS KLASSIK awards many times. Currently, he is the artistic director of the MUSICA BALTICA and GDAŃSK ORGAN LANDSCAPE series at the renowned German label MDG. Author of monographic publications, as well as scientific studies and articles printed in Polish and foreign periodicals.
Author of the program "Organy Nieograne" in Program 2 of Polish Radio. Organizer and author of many artistic formats and festivals in Gdańsk and Warsaw: ORGANy PLUS + ® Festival, Koncerty dla Gdańszczan, Popiszczmy Razem happenings for children, art competition "... and the organs played", ISO Conference - Pomerania 2008, GdO Tagung - Gdańsk 2018, festival "Moniuszko in the Churches of Warsaw".
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.
The origins of the Abbots' Palace date back to the fifteenth century, as evidenced by the fragments of the outer wall and the Gothic vaults of the palace cellars. However, the present rococo shape of the building was given during the reconstruction in 1754-1756, funded by the last abbot of the Oliwa monastery, Jacek Rybicki. In 1945, the palace was set on fire by the Germans, and twenty years later it was rebuilt by the then Pomeranian Museum in Gdańsk. Currently, it is one of the branches of the National Museum in Gdańsk. In the palace interiors there is a high Rococo music hall, which at its vault is connected by three large windows with a room for musicians. This architectural concept enables period music to be presented in the way it was performed in the eighteenth century.
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
Renovation of the organ in the church of St. Anna (1710/1911) - Invitation to participate in the Patronage
In the years 2008-2018, the great Mannerist and Baroque organ from the Holy Trinity Church in Gdańsk was renovated and rebuilt with great success. Thus, we brought back to life one of the greatest and most valuable instruments in Pomerania. The effort to rebuild it was huge, also in financial terms. However, the enthusiasm and kindness of many people and institutions showed us that it was worth taking up this challenge. Over the years in which we have conducted the reconstruction, the great organs have gained over 600 institutional and individual patrons involved in the work of reconstruction. Today, therefore, at least as many people (including entire families) can proudly say: these are OUR organs.
The instrument from the St. Anne's Chapel is certainly a different class object from the organ from the Holy Trinity Church - it is definitely smaller and its outer garment is not that impressive. However, these organs are an extremely valuable monument of musical culture in Gdańsk. The facade made by Hildebrandt in 1710 has been preserved in situ, and inside the organ case many original elements of the instrument made at the beginning of the 20th century have been preserved. It is also significant that the organ in the St. Anne's chapel was founded in the 18th century by citizens of Gdańsk, who met here for the liturgy celebrated in Polish. Today, the organs that have successfully survived the hostilities require immediate maintenance and repair. We hope that in the work of their renovation we will be accompanied by the same enthusiasm and commitment with which we met when we rebuilt the great organ of the Holy Trinity Church.
Father Tomasz Jank
guardian of the monastery and rector
of the Holy Trinity Church in Gdańsk
Contact: Rector of the Holy Trinity church, Fr. Tomasz Jank OFMConv., Phone: +48 606 231 933, email@example.com
Address: Franciscan Monastery in Gdańsk, ul. Świętej Trójcy 4, 80-822 Gdańsk
A separate account for the restoration of organs from St. Anne's Church:
(EURO): PL07 1240 5400 1978 0010 4884 9565
Account owner: FRANCISCAN MONASTERY IN GDAŃSK
Address of the account owner: ŚWIĘTEJ TRÓJCY 4, 80-822 GDAŃSK
Branch keeping the accounts: Bank Pekao, Branch in Gdańsk ul. Ogarna 116
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 available for purchase one hour before the concert. Reserved tickets at firstname.lastname@example.org to be collected half an hour before the concert at the latest. For the concert on 27.05.2022 admission is free, tickets required.
Regular price 30/60 PLN
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