Idea
ORGANy PLUS+ 2025 Autumn: Premieres
Dear Ladies and Gentlemen,
We will open the autumn edition of the ORGANy PLUS+® 2025 festival in a different way than usual. The first concert will serve as a kind of introduction – an invitation to attend the subsequent events that, as tradition dictates, will take place at the end of September. This opening concert, tellingly titled + OVERTURE, will take place on Thursday, September 11 at 7:00 PM in the Franciscan Church of the Holy Trinity, and will feature a gala of the most beautiful Baroque arias performed by Latvian artists specializing in early music. Sopranos Elīna Šimkus, Monta Martinsone, Anete Viļuma, Ieva Sumeja, and Rūdis Cebulis (Latvia), along with baritone Artis Muižnieks, will perform with the Baltic Baroque Orchestra under the direction of Māris Kups. The program will include works by Handel, Pergolesi, Delalande, and other renowned composers of the 17th and 18th centuries. It promises to be an evening of exceptional beauty – and an unconventional opening to this year’s festival edition.
The next concert will be dedicated to the music of Gdańsk. Johann Daniel Pucklitz – a name that should already be familiar to everyone interested in the musical culture of historic Gdańsk. Last year we began presenting all of the composer’s remaining works at the St. John’s Centre, and this year we are hosting the second edition – this time in the Franciscan Church of the Holy Trinity in Gdańsk, where these works were also performed over 300 years ago. We have best possible line-up – critically acclaimed and known to Gdańsk music lovers – Siri Karoline Thornhill (Germany/Norway) – soprano, David Erler (Germany) –alto, Virgil Hartinger (Austria) – tenor, Thilo Dahlmann (Germany) – bass, Andrzej Szadejko – conductor, artistic director, and the Gdańsk bands Goldberg Baroque Ensemble and Goldberg Vocal Ensemble. The program of the + PUCKLITZ II concert includes world premieres of subsequent cantatas by the Gdańsk composer. This time, all of this will be presented in the Franciscan church of St. Trinity in Gdańsk on Saturday, September 27 at 7.00 p.m. This will be, as usual, a unique experience not only for the audience, but also for the musicians. The festival time capsule will take us back to the 1850s, a time when Gdańsk still was known as the largest and most diverse cultural center im the Baltic Sea region. The Polish-German Cooperation Foundation will also be a partner of this concert. During the concert, there will also be a small surprise in collaboration with the Gdańsk Library of the Polish Academy of Sciences, which will continue on Monday, September 29 – but let’s not get ahead of ourselves…
The third concert of the autumn edition, called + MUSICA INVICTISSIMA / Invincible Music, is exceptionally important to me. These artists and this repertoire have not been here yet, and I really wanted and have been trying for several years to have them perform in Gdańsk – finally, I succeeded. For centuries, the sacred music of the imperial court in Graz and Vienna was one of the most important and diverse cultural heritages of Europe. The composers who created there were the artistic elite, and the position of court composer, organist, bandmaster of the imperial court was one of the best paid, and therefore most desirable in the world of Central European musicians. Artists from the Cinquecento RENAISSANCE VOKAL – the leader Terry Wey (Germany), Tore Tom Denys (Austria), Tim Scott Whiteley (Austria), Ulfried Staber Fendig (Austria) and Achim Schulz (Spain) together with the organist Stefano Molardi (Italy) invite us not to a concert, but to a peculiar musical mystery built on Renaissance compositions by Annibale Padovano, Jacobus Vaet, Claudio Merulo and improvisations. All of this will resonate beneath the medieval cross and from the only surviving rood screen in Poland, in the Franciscan Church of the Holy Trinity, on Sunday, September 28 at 7.00 p.m. The partner of this concert will be the Foundation for Polish-German Cooperation.
On Monday, September 29 at 6.00 p.m., we invite you to the Special Collections Reading Room of the Gdańsk Library of the Polish Academy of Sciences on Łąkowa Street for a slightly different kind of meeting. The author of the latest music monograph in the Thesaurus Musicae Gedanensis series – Prof. Danuta Popinigis – will share her discoveries in a conversation with Marcin Majchrowski and talk about the newest volume, which presents an extraordinary cantata by Johann Balthasar Christian Freislich – one of Gdańsk’s former Kapellmeisters.
On Friday, October 3 at 7.30 p.m., we will begin the last concert weekend of the autumn edition of the ORGANy PLUS+® 2025 festival. As usual, in autumn we will visit Orunia and the small Salesian parish church of St. John Bosko, which houses a neo-romantic instrument from the organ company of Eduard Wittek built in 1911. With the help of this organ and… a trombone we will be transported to the world of music from the turn of the nineteenth and twentieth centuries. Even though this wind instrument combines its sound very well with the sound of the organ, it very rarely appears as a soloist. Its repertoire from that period is full of moving and very emotional works. Two masters, who have been performing in Germany for years, Professor Martin Schmeding of the Academy of Music in Leipzig on the organ and Frederic Belli – the first trombonist of the German Radio Orchestra in Stuttgart, will present – for the first time in Poland – a concert called + TROMBONE, which will present works for organ and trombone that will not leave us indifferent.
After a short journey into the late romanticism of central Europe, we will go much further. At the ORGANy PLUS+® 2025 festival there will be presented a form that has never been here before – an opera. Dido and Aeneas by Henry Purcell is one of those works that did not enjoy the fame it deserved during the composer’s lifetime, only to triumphantly return after several hundred years and be claimed as one of the most beautiful English operas. The composer took the libretto from the drama Brutus of Alba, or the Enchanted Lovers by Nahum Tate, which was written ten years earlier. The opera, one of the most English works, could not have sounded anywhere else, but in the Gdańsk Shakespeare Theatre in a semi-stage version. The opera was first performed in England in 1689, and in Gdańsk the work was presented twice, in 1978 on the stage of the Baltic Opera and as a student performance by the Academy of Music in 2011 – but it has never been performed in the style of the period. This time, a historically informed version on period instruments will be performed by the artistic team and soloists of the Warsaw Chamber Opera under the direction of the renowned Flemish conductor Dirk Vermeulen. This will be their debut in Gdańsk, by the way… See you at the Gdańsk Shakespeare Theatre on Saturday, October 4 at 7.30 p.m. This is quite a treat not only for lovers of early music, but also for connoisseurs of opera music. And just like in spring, we will use the Elizabethan stage, so we advise you to book your seats well in advance. Especially since we are preparing a nice surprise during the concert… Those who will be with us will find out.
This year’s ORGANy PLUS+® 2025 festival will end with a concert à rebours called + CORNETTO II. During this event, which will take place in the Franciscan Church of the Holy Trinity in Gdańsk on Sunday, October 5 at 3.30 p.m., we will hear organist Nicola Lamon and David Brutti playing on cornett – they are two pillars of the Italian ensemble Seicento Stravagante specializing in Italian Renaissance and early Baroque music. However, while at the spring concert we heard only Italian music performed by artists from Germany, this time the Italians have specially put together a program for our festival with Baroque and Renaissance works by artists from all over Europe, not only Italians, and for this review entitled – Alla magniera italiana – at our warm request they included an extremely difficult aria by Gdańsk cornetist Marcin Gremboszewski. This will be the first and only contemporary performance of the composition on cornett, which is considered almost impossible and many have already refused to perform this work. We are eagerly awaiting this exciting event.
World-famous performers, original old instruments, old performance techniques, the acoustics of the Gothic Holy Trinity Church and the neo-Gothic Church of St. John Bosco that have not changed for centuries, the inspiring interior of the Gdańsk Shakespeare Theatre, the original location of the musicians on the only rood screen in Poland, and finally music heard nowhere else in Poland will make us enter the situation of participants in musical events from centuries ago, and even we will even become witnesses of completely new musical events.
Let’s embark on this extraordinary journey through time!
We invite you to Gdańsk! We invite you to the Holy Trinity church, St. John Bosco church and the Gdańsk Shakespeare Theatre!
Director
ANDRZEJ MIKOŁAJ SZADEJKO
Born in Gdansk in 1974. Organist, composer, conductor, teacher 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). In the years 1
992-2002 took part in over 30 organ, harpsichord and pianoforte master classes and interpretations courses in Poland, Germany, Switzerland and Netherland. In 2021 become professor of arts. Since 2006 he has been teaching organ and basso continuo in Gdansk Music Academy, Poland. He was visiting professor giving lectures, masterclasses and workshops in Poland, Germany, Finland, Lithuania and USA.
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 over 600 concerts in Poland, most of the European countries, Russia and USA.
Leader, adviser and organ expert in many projects of historical and modern organs, i.e. Merten Friese organ (1618) in Trinity church in Gdańsk/PL, Johann Rhode organ (1761) in St. John’s church in Gdańsk/PL, Eduard Wittek organ (1911) in Orunia/PL, Januszkiewicz & Kalnins organ (2022) in Vilnius/LT.
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 (30 CDs) by polish labels DUX, SARTON, ARS SONORA, Acte Prealable and german labels MOTTETE and MDG (leader of the seria MUSICA BALTICA and GDANSK ORGAN LANDSCAPE). 2022 has got the OPUS KLASSIK AWARD.
Composer of organ, choir and chamber music. 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.
Manager and artistic director of many musical events in Poland: festival ORGANy PLUS+ (www.organyplus.com), Koncerty dla Gdańszczan, ORUŃSKIE KONCERTY, festival Moniuszko in Churches of Warsaw. MONIUSZKO_150 – VILNIUS/BERLIN
Program
Artists
Baltic Baroque Orchestra
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Elīna Šimkus
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Monta Martinsone
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Anete Viļuma
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Ieva Sumeja
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Rūdis Cebulis
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Artis Muižnieks
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Māris Kupčs
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Siri Karoline Thornhill
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David Erler
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Virgil Hartinger
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Thilo Dahlmann
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ANDRZEJ SZADEJKO
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GOLDBERG BAROQUE ENSEMBLE
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GOLDBERG VOCAL ENSEMBLE
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Stefano Molardi +
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Cinquecento RENAISSANCE VOKAL
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Martin Schmeding
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Frederic Belli
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MACV – Musicae Antiquae Collegium Varsoviense
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Zespół Wokalny Warszawskiej Opery Kameralnej
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Dirk Vermeulen
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Dorota Szczepańska
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Artur Janda
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Teresa Marut
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Magdalena Stefaniak
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Joanna Motulewicz
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Anna Koehlet
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Anna Górska
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Zbigniew Malak
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Prof. Krzysztof Kusiel-Moroz
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Seicento Stravagante
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Alina Mądry
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Marcin Majchrowski
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Our media
Places
The Gdansk Shakespeare Theatre
The Gdansk Shakespeare Theatre was built on the site where the School of Fencing, modeled after London’s Fortune Theatre, operated in the 17th century. It was the first public theater in the Polish-Lithuanian Commonwealth. Equipped with an Elizabethan-style stage and similar to numerous English theaters of the Elizabethan era, it served both for fencing exercises and competitions, as well as for staging performances. English itinerant actors regularly came to the Gdansk theater to perform plays by English playwrights, including Shakespeare. The current theater building stands in the place of the 17th century original. The interior of the Main Hall of the theater is a reconstruction of the former Gdansk Elizabethan theater. Thanks to modern technology, the interior is adaptable, allowing for different types of stages: classical Italian, Elizabethan (protruding towards the audience, where the ground floor audience stands around the stage), arena stages, and others. The retractable roof is another technological marvel that enables performances to be staged in natural daylight, following the Renaissance tradition. The project was designed by Italian architect Renato Rizzi, who placed the wooden interior of the building within a heavy brick structure. The theater was opened in September 2014. The retractable roof, which opens in just 3 minutes, allows performances to take place in natural daylight under the open sky (in „Elizabethan” conditions). The theater has a volume of over 53,000 m³, a total area of over 12,000 m², and a usable area of nearly 8,000 m². The building incorporates technical solutions such as a movable stage and seating system. The interior is adaptable, depending on the stage and seating arrangement, and the theater can accommodate up to 600 people (in a theatrical setup) or up to 1,000 people (in a concert setup).
Church of Saint John Bosco in Orunia
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 13th, 1764, the western and northern parts of the temple were expanded. On September 3th, 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 5th, 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 15th, 1994, the church became a parish church, separating from the nearby parish in Old Scottland.
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.
Church of Saint John Bosco in Orunia
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.
Corpus Christi parish church
Corpus Christi parish church – is a two-storey temple, including the lower church, with approx. 1,200 m2 and the upper, with approx. 2,000 m2. The modern block in the shape of a segment of a circle, which converges towards the presbytery, is covered with a roof consisting of four independent parts, covered with Swedish metal tiles. Above the presbytery there is a tower topped with an 18-metre-high cross illuminated at night, with a façade lined with aluminum panels, and granite from the base to the height of three meters, and clinker from the front. The other façades are plastered with white acrylic, and the lower part is clad with clinker bricks. Two huge window areas in the side walls of the upper church with a total area of 260 m2 are framed by aluminum frames, and one of them has stained glass windows already installed.
The place of daily common prayer is the lower church. On the altar wall there is a bas-relief of the Lord Jesus. In the presbytery there is a statue of the Mother of God designed and made by Krystyna Kręcicka, also the author of the Stations of the Cross. There are side altars on the right; from the back: first – with images of St. Padre Pio and the relics of St. Maximilian M. Kolbe and the figure of St. Francis of Assisi; Faustina, the fourth – Our Lady of Perpetual Help with the titular image and the figure of St. Joseph and the last one, by the presbytery – with images of Bl. Fr. Jerzy Popiełuszko and Bl. John Paul II. In the lower storey there are also: the chapel of St. Adalbert with the papal altar and the so-called side chapel.
Sunday Masses are held in the upper church, which can be entered through five doors and further through vestibules, over which the choir balcony with an area of 610 m2 dominates. Through one side door you can also enter the side chapel of the upper church, where there will be a chapel of adoration of the Blessed Sacrament. The upper church captivates with its noble elegance, harmony and peace. The special character of the presbytery, raised by several steps, is emphasized by the white marble on the floor and the marble altar, pulpits, baptismal font and candlesticks. It is perfectly complemented by a light, granite floor (Cashmir gold and Cashmir white) – with a discreet mosaic pattern in the nave. The main ornament of the spacious and bright interior are huge stained glass windows, previously installed in the presbytery and the left wall of the church. Corpus Christi Church in Morena is the second largest church in the Archdiocese of Gdańsk. In addition to liturgical functions, it is an excellent venue for concerts.
St. John’s Centre in Gdańsk
The first mention of the existence of a small chapel dedicated to St. John dates back to 1358. From around 1360 to around 1546, construction of a three-aisle Gothic church in the hall style was ongoing. However, the church’s structure was externally reinforced up until the end of the eighteenth century due to unstable statics. Between 1463-1465, the church received starry vaults, and in 1612, one of the largest European stone altars, created by Abraham van den Blocke, was installed and remains to this day. Between 1680-1690, a library funded by Zachariasz Zappio was established on the northern side of the transept. In March 1945, the church burned down. The roof structure, roof, windows, and floor were destroyed, the structure was damaged, and the twin Baroque townhouses on the south wall of the chancel were also affected. After the war, the burned church building was roofed and its valuable vaults were secured. The church itself was designated as a lapidarium and was not included in the planned reconstruction of the Main Town. Most of its equipment was transferred to St. Mary’s Church in Gdańsk. The church was not taken over for religious purposes after the war and deteriorated over the years. It also served as a set for war movies, which further contributed to its decay. In 1960, the evangelical community relinquished ownership of the church, but it wasn’t until 1991 that the church was formally handed over to the Gdańsk diocese.
The Baltic Cultural Centre in Gdańsk, based on an agreement with the Archdiocese of Gdańsk, has managed the reconstruction, conservation, and adaptation of St. John’s Church into a Cultural Centre – St. John’s Centre, since 1995. The reconstruction of the Johann Rohde organs is the most significant element of the second stage of the church’s revalorization and adaptation project. It was co-financed as part of the project „Revalorization and adaptation of St. John’s Church in Gdańsk into St. John’s Centre – stage II”, within the Regional Operational Program of the Pomeranian Voivodeship for 2014-2020, co-financed by the European Regional Development Fund.
Organ
Organ of St. Trinity Church in Gdansk
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
| 1616-1618 | – 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 |
About the organ at the John Bosco church in Orunia
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 Prof. 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 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 |
| 2000s | – 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 |
About the organ of Johann Friedrich Rhode
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. |
| 1760-1761 | – 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 |
| 1943-1944 | – 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 |
About the organ at the St. John Bosco church in Orunia
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 |
| 2017-2018 | – renovation and partial reconstruction of the Wittek organ by Szymon Januszkiewicz from Pruszcz Gdański |
Project of the disposition of organs for the Body of Christ Church in Gdańsk-Morena
The organs were built in 2023 by the organ-making workshop of Zdzisław Mollin in Odra according to the concept of Professor Dr. hab. Bogusław Grabowski.
Gallery
Organization
Tickets are available one hour before each concert (cash only) or online via Bilety24.
Ticket prices:
11.09 – free entry
27.09 – 60 / 90 PLN
28.09 – 40 / 60 PLN
3.10 – free entry
4.10 – 50 / 70 · 70 / 100 · 100 / 130 PLN
5.10 – 30 / 50 PLN
Pass: 190 / 290 PLN
Contact
Stowarzyszenie Przyjaciół Kościoła Św. Trójcy „Dziedziniec” w Gdańsku
ul. Św. Trójcy 4
80-822 Gdańsk
General and Artistic Director
prof. dr hab. Andrzej Szadejko
info@organyplus.com
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biuro@organyplus.com
mobile phone: +48 728 376 237
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