Wczytywanie
actus humanus GDAŃSK // 27-31.03.2024
ARTISTS
VÁCLAV LUKS
VÁCLAV
LUKS
VÁCLAV
LUKS
Conductor, harpsichordist, and French-horn player; founder of the Collegium 1704 orchestra and the Collegium Vocale 1704 vocal ensemble. He was educated at the Pilsen Conservatory and the Academy of Performing Arts in Prague. Luks also completed specialised studies in early music at the Schola Cantorum Basiliensis in Switzerland. The ensembles he has led have performed at renowned festivals and famous concert halls, contributing to the revival of interest in the music of Czech composers Jan Dismas Zelenka and Josef Mysliveček. Václav Luks’s activities are not limited to his work with both the Collegium ensembles. Since 2019, he has regularly conducted the Orchestre Nationale de France; since 2021 he has been guest conductor of the Handel and Haydn Society Orchestra in Boston, and since 2022 – the resident conductor of the Kammerakademie Potsdam. He has performed with ensembles as famous in the world of early music lovers as the Orchestra of the Age of Enlightenment, Nederlandse Bachvereniging, Akademie für Alte Musik Berlin, Concerto Köln, and La Cetra Barockorchester Basel. In June 2022, Václav Luks was awarded the Ordre des Arts et des Lettres by the Minister of Culture of the French Republic.
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 COLLEGIUM 1704
COLLEGIUM 1704
COLLEGIUM 1704
The Collegium 1704 Baroque orchestra was founded in 2005 in Prague by Václav Luks; and along with the orchestra, a vocal ensemble was also formed at the time under the name of Collegium Vocale 1704. The group specialises in performing Baroque music, particularly compositions by Jan Dismas Zelenka, Johann Sebastian Bach, Claudio Monteverdi, George Frideric Handel, and Josef Mysliveček. The festivals where Collegium 1704 has performed include the Salzburger Festspiele, Lucerne Festival, Bachfest Leipzig, and the ‘Chopin and His Europe’ International Music Festival, as well as in famous concert halls such as the Berliner Philharmonie, Bozar in Brussels, Wigmore Hall in London, Theater an der Wien, Elbphilharmonie Hamburg, or Opéra Royal de Versailles. In 2021, the Collegium inaugurated the Prague Spring International Music Festival with a performance of Bedřich Smetana’s ‘My Homeland’ cycle of symphonic poems.
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SÉBASTIEN DAUCÉ
SÉBASTIEN
DAUCÉ
SÉBASTIEN
DAUCÉ
Organist and harpsichordist, Daucé is also the founder and leader of the Ensemble Correspondances which he conducts while playing his instrument. With his group, established in 2008, following the completion of his studies at the Conservatoire national supérieur de musique et de danse de Lyon, Daucé explores the French repertoire from the period of the ‘Grand Siècle’ (17th century), performing nationally and throughout Europe, as well as in Asia and both Americas, and recording albums for the label Harmonia Mundi. At the same time, he is engaged in music instruction (he has been teaching at Le Pôle supérieur de Paris since 2012). Alongside his activities as a performing musician, Sébastien Daucé works with the leading scholars of 17th-century music, publishing regular articles and taking part in important performance-practice projects. He can also boast the title of ‘Associate Artist’ of the Royaumont Foundation.
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 ENSEMBLE CORRESPONDANCES
ENSEMBLE CORRESPONDANCES
ENSEMBLE CORRESPONDANCES
A group of vocalists and instrumentalists led by harpsichordist and organist Sébastien Daucé which derives its name from Charles Baudelaire’s poetry and combines music with other fine arts as well. The ensemble both performs the works of composers enjoying a well-deserved reputation – Charpentier, for instance – and brings back to life various compositions which –in spite of having been appreciated and frequently performed in the past – have fallen into obscurity and are little known today, such as the works of Antoine Boësset or Etienne Moulinié, emphasising that they still sound quite novel nowadays. The group also recorded several albums – each of which was enthusiastically received by critics – and some of these records won the most prestigious prizes and awards of the phonographic industry. The ensemble performs at the most important festivals in France and other European countries as well as in Japan and is regularly present in the programmes of leading European radio broadcasting corporations.
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 AKADEMIE FÜR ALTE MUSIK BERLIN
AKADEMIE FÜR ALTE MUSIK BERLIN
AKADEMIE FÜR ALTE MUSIK BERLIN
Founded in 1982 and also called Akamus, the ensemble is now at the forefront of international orchestras playing period instruments. The band is regularly received in the great musical centres of Europe and is very well-known by the audiences of the most important early music festivals in Poland, too, where it has already achieved several spectacular triumphs. For many twenty years it has collaborated on a regular basis with René Jacobs, which has resulted in numerous oratories and opera productions, enthusiastically received by both critics and audiences. Akamus often performs under the leadership of Marcus Creed, Daniel Reuss, and Hans-Christoph Rademann, and in recent seasons among their conductors there were such personages as Emmanuelle Haïm, Bernarda Labadie, Paula Agnew, and Rinaldo Alessandrini. The list of Akamus’ collaborators also includes renowned soloists, such as Cecilia Bartoli, Andreas Scholl, Sandrine Piau, Isabelle Faust, Andreas Staier, Alexander Melnikov, and Anna Prohaska. The group’s recordings, which have already won all the most prestigious awards, have so far been sold in over one million copies, a testimony to the orchestra’s international success.
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CÉLINE FRISCH
CÉLINE
FRISCH
CÉLINE
FRISCH
A French harpsichordist and co-leader – with Pablo Valetti – of the Café Zimmermann ensemble, Frisch studied the harpsichord at the Conservatoire d’Aix-en-Provence and then at the prestigious Schola Cantorum Basiliensis. She is the winner of numerous prizes and awards and was awarded the title of ‘Chevalier des Arts et des Lettres’ in 2009. From among the vast repertoire of early music, it was her interpretations of Bach’s works that attracted the greatest interest of the international music press. Frisch also enjoys performing French music from the times of King Louis XIV, works of the English virginalists, or 17th-century German music. By no means does she shy away from the 20th-century and present-day compositions. A special place in her discography is occupied by two albums dedicated to J.S. Bach’s ‘The Well-Tempered Clavier’; namely its ‘Book I’ (2016) and ‘Book II’ (2019), both awarded the ‘Diapason d’Or’ and ‘Choc de Classica.’
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PABLO VALETTI
PABLO
VALETTI
PABLO
VALETTI
A violinist born in Argentina, Valetti studied violin in Buenos Aires, and then continued his studies in early music at the Schola Cantorum Basiliensis. As a soloist or concertmaster, he has appeared on stage with bands such as Les Arts Florissants, Le Concert des Nations, Concerto Köln, Les Musiciens du Louvre, Hespèrion XXI, Concerto Vocale, or Les Talens Lyriques. He also collaborates on a regular basis with Orquesta Barroca de Sevilla. Since 1999, with Céline Frisch, he has been leading the Café Zimmermann early music ensemble. Valetti also engages in educational activity, teaching at the Escola Superior de Música de Catalunya in Barcelona and at the Conservatoire à Rayonnement Régional in Nice. He plays a violin made by Giovanni Battista Guadagnini in 1758.
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 CAFÉ ZIMMERMANN
CAFÉ ZIMMERMANN
CAFÉ ZIMMERMANN
This leading French early music ensemble specialising in the performance of baroque music was brought into being in 1999. Led by the violinist Pablo Valetti and harpsichordist Céline Frisch, it rallies soloists eager to revive the musical competition that used to be held in Gottfried Zimmermann’s café in 18th-century Leipzig. Held in high esteem both in France and abroad, the ensemble has already been performing in prestigious concert halls and at international festivals for many years. Not only are their concerts or musical collaborations highly appreciated, with the greatest names from the world of early music such as Gustav Leonhardt,Dominique Visse, Roberta Invernizzi, or Sophie Karthäuser, but also their phonographic achievements, above all their albums with their interpretations of J.S. Bach’s concerto output. Since 2011, the ensemble has been resident at the Grand Théâtre de Provence in Aix-en-Provence.
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 STILE ANTICO
STILE ANTICO
STILE ANTICO
Stile Antico, based in London, is one of the world's most renowned and innovative vocal groups. Operating without a conductor, the 12-member ensemble thrills audiences on four continents with their fresh, lively, and moving performances of Renaissance polyphony. Stile Antico's best-selling recordings have won both great acclaim and various prizes, including the Gramophone Award, the Diapason d’Or de l’Année, the Edison Award, and the Preis der deutschen Schallplattenkritik. The group received three Grammy Award nominations and performed live at the 60th Grammy Awards ceremony at Madison Square Garden. Stile Antico has appeared at many of the world's most prestigious venues and festivals, including the Wigmore Hall, BBC Proms, Buckingham Palace, Concertgebouw in Amsterdam, Palais des Beaux-Arts, Cité de la Musique, Philharmonie Luxembourg, Gewandhaus in Leipzig, and Auditorio Nacional de Música in Madrid. The group is often invited to perform at leading European festivals: highlights include the Antwerp, Bruges, Utrecht, and York early music festivals, or the Lucerne Festival and the Schleswig-Holstein Musik Festival.
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EVA ZAЇCIK
EVA
ZAЇCIK
EVA
ZAЇCIK
French mezzo-soprano, who studied at the Maîtrise de Notre Dame de Paris and then at the Conservatoire National Supérieur de Musique et de Danse de Paris. Her career then developed at a very fast pace. Especially important for her was the year 2018 when she was awarded the title of ‘most promising lyric artist’ at the prestigious ‘Victoires de la Musique Classique’ gala; in the same year she also won second prize in the ‘Reine Élisabeth’ and ‘Voix Nouvelles’ competitions. Her voice allows her to perform a very diverse repertoire, which includes early music works as well as arias from the greatest 19th-century operas. Among the conductors with whom she has collaborated are: William Christie, Vincent Dumestre, Hervé Niquet, Christophe Rousset, Philippe Herreweghe, Laurence Equilbey, Emmanuelle Haïm, René Jacobs, Cornelius Meister, and Alain Altinoglu. She has very frequently performed together with Justin Taylor and his Le Consort, interpreting Baroque music. In 2022, she released ‘Nisi Dominus,’ an album of Vivaldi’s motets recorded with Le Poème Harmonique and Vincent Dumestre, followed a year later by Zaïcik’s latest album – entitled ‘Mayrig’ – with Armenian lullabies by Komitas Wardapet and Garbis Aprikian.
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MARGHERITA MARIA SALA
MARGHERITA MARIA
SALA
MARGHERITA MARIA
SALA
Contralto, and a graduate of the Accademia Biennale di Formazione per Direttori di Coro in Bellinzona. In 2020 she won the first prize and the audience prize of the Cesti-Wettbewerb International Singing Competition in Innsbruck. There she also received a special prize awarded by the Resonanzen Festival held in Vienna. A year later, she made her debut at the Théâtre des Champs-Elysées Paris in Handel’s opera ‘Oreste’, conducted by Maxim Emelyanychev. In collaboration with conductor Jean-Christophe Spinosi, she took the role of Bradamante in Orlando furioso in the same theatre as well as that of Aristea in Vivaldi’s ‘L'Olimpiade’. Sala has also sung under Riccardo Muti, Giovanni Antonini, and Ottavio Dantone and performed at the Innsbrucker Festwochen der Alten Musik and the Händel-Festspiele in Halle. She sang for audiences at Vienna's Theater an der Wien and Moscow’s Peter Tchaikovsky Concert Hall. In addition to this she took part in performances of Handel’s works in Versailles and Barcelona: ‘Messiah’ – under the direction of Franco Fagioli – and, together with Concerto Copenhagen, ‘La Resurrezione’ at the Wiener Konzertahaus
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KRYSTIAN ADAM KRZESZOWIAK
KRYSTIAN ADAM
KRZESZOWIAK
KRYSTIAN ADAM
KRZESZOWIAK
Tenor, and a graduate of the Karol Lipiński Academy of Music in Wrocław, he continued his studies at the Conservatorio di Musica ‘Giuseppe Verdi’ in Milan. He made his stage debut playing the role of Count Almaviva in Rossin’s ‘The Barber of Seville’. His next roles were the title character in Mozart’s ‘The Clemency of Titus’ and Paolino in Cimarosa’s ‘Il Matrimono Segreto’. In 2007, he made his debut at the Teatro alla Scala in Milan, performing in the world premiere of Fabio Vacchi’s ‘Teneke’ conducted by Roberto Abbado. The artist has collaborated with the world’s leading conductors and top musical ensembles, such as John Eliot Gardiner, the Monteverdi Choir and English Baroque Soloists, the La Risonanza ensemble, Teodor Currentzis and Musica Aeterna, Alan Curtis and Il Complesso Barocco, Accademia Bizantina led by Ottavio Dantone, Václav Luks’s Collegium 1704, and Modo Antiquo. He has recorded for labels such as Alpha Classics, Deutsche Grammophon, Carus, Sony, Deutsche Harmonia Mundi, Passacaille Records, Dynamic, Archiv Produktion, and EMI Classics.
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TOMÁŠ ŠELC
TOMÁŠ
ŠELC
TOMÁŠ
ŠELC
Bass-baritone specialising in the concert repertoire, Šelc is a graduate of the Academy of Performing Arts in Bratislava – in the opera singing class –  and of the Bratislava Conservatory in the singing and choral conducting classes. He has received prestigious awards, including the Fric Kafenda Prize and prizes at the Imrich Godin International Vocal Competition, the Mikuláš Schneider-Trnavský International Vocal Competition, and the ‘Ad Honorem Mozart’ competition in Prague. As a soloist, he has appeared on stage with ensembles such as the Johannesburg Philharmonic Orchestra, Südwestdeutsche Philharmonie Konstanz, Bamberger Symphoniker, Clemencic Consort, Elbipolis Barockorchester Hamburg, Orchestre National des Pays de la Loire (ONPL), Musica Florea, Solamente Naturali, the Leoš Janáček Philharmonic Orchestra in Ostrava, the Symphony Orchestra of the Bohuslav Martinů Philharmonic in Zlín, or Hungary’s Budafoki Dohnányi Zenekar and Savaria Barokk Zenekar. Since 2018, Šelc has been a member of the choir and one of the soloists of Collegium 1704 founded by Václav Luks. He also performs with Vojtěch Semerád’s Capella Mariana and Collegium Vocale Gent.
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LILIANA STAWARZ
LILIANA
STAWARZ
LILIANA
STAWARZ
Harpsichordist and teacher, Professor at the Chopin University of Music. Graduate of the Warsaw Academy of Music and Conservatoire National de Region de Rueil-Malmaison. Laureate of harpsichord competitions in Poland and abroad. For 20 years, she was a member of the early music ensemble Il Tempo specialised in instrumental as well as instrumental and vocal music, from Early Baroque to Classicism, with which she appeared at numerous concerts and prestigious early music festivals, i.a. in Bruges, Brussels, Utrecht, Moscow, New York, New Brunswick, Rome and Berlin. Since 1991, she has worked with the Warsaw Chamber Opera as a harpsichordist and chamber musician as well as conductor. She has conducted works by Bach, Purcell and Handel, as well as providing basso continuo. Her interest in early music in Poland manifests itself in her recordings and concerts of the repertoire of Marcin Mielczewski, Damian Stachowicz, Marcin Żebrowski, Antoni Milwid. In 2015–2017, she was the artistic director of Baroque Opera at the Warsaw Chamber Opera. She is also a cofounder of the Baroque Opera Festival Dramma per Musica.
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EWA MROWCA
EWA
MROWCA
EWA
MROWCA
Ewa started her harpsichord classes at the age of twelve having become fascinated with the records of Wanda Landowska. She is a graduate of the Academy of Music in Krakow and of the Accademia Musicale Chigiana of Siena and also studied at the Guildhall School of Music & Drama and Schola Cantorum Basiliensis. In her career, Ewa Mrowca has focussed on performing on historic instruments, specialising in the continuo according to the original performance practice. She has found the music for the harpsichord of the French baroque her undying inspiration. Ewa Mrowca performs solo or in early-music ensembles and has been admired on concert stages in Poland, France, Germany, the USA and China. Among her collaborators are the ensembles of Jordi Savall, Simon Standage, Katherine McGillivray, Lilianna Stawarz, Olivia Centurioni, Jörg-Andreas Bötticher, Peter van Heyghen and Joshua Rifkin. She has also established, together with Jakub Kościukiewicz, her own Altberg Ensemble, a group performing the baroque which is based in Łódź. She teaches at the Academy of Music in Łódź and at the Academy of Music in Krakow.
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MONIKA KAŹMIERCZAK
MONIKA
KAŹMIERCZAK
MONIKA
KAŹMIERCZAK
Graduate of the Academy of Music in Gdańsk and the Netherlands Carillon School in Amersfoort, Kaźmierczak, and the bursary of the City of Gdańsk and of the Government of The Netherlands. She started to learn the carillon in 2000 during courses run by Gert Oldenbeuving organised by the Historical Museum of the City of Gdańsk. In 2005, she participated in master classes run by Geert D’hollander in Belgium. Since 2001, she has played the Gdańsk carillons; and since 2018 she has held the official position of Municipal Carillonist. She is a prize-winner of international carillon competitions and gives numerous concerts in Poland and worldwide. In 2011–2015 she was the chairwoman of the Polish Carillon Society, and in 2006–2017 – the director of the Gdańsk Burghers Choir. Currently, she holds the position of Assistant Professor at the Academy of Music in Gdańsk. Kaźmierczak has been the promoter of numerous cultural events, including several of the programmes of the annual Gdansk Musical Festival, Summer Carillon Concerts, or the Gdańsk Carillon Festival. In 2021 she recorded – for the Anaklasis label – an album called ‘Contemporary Carillon’ that was shortlisted for the Fryderyk Award. She won the ‘Splendor Gedanensis’ Award of the City of Gdańsk in the Field of Culture for the year 2020, and also received the Decoration of Honour – Meritorious for Polish Culture.
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MARTA GAWLAS
MARTA
GAWLAS
MARTA
GAWLAS
Flautist born in Cieszyn, Poland, and specialising in playing historical instruments. Gawlas studied in Katowice, Verona, Brussels, Amsterdam, and Geneva. She has participated in many master classes in early music and took lessons from outstanding flute virtuosos. As a soloist and performer of chamber music she has appeared on stage throughout Europe and been invited to collaborate with many renowned orchestras. She is a member of several ensembles that are acclaimed by both critics and audiences, such as Capella Cracoviensis, Orchestre de l'Opéra Royal in Versailles, and the Cohaere Ensemble. At the age of nineteen, she joined the Arte dei Suonatori, becoming the youngest musician in that orchestra at the time. She has collaborated with, among others, Sophie Junker, Marcin Świątkiewicz, Louis Creac’h, and Alexis Kossenko. Marta Gawlas has won several awards in early music competitions in Poland and abroad, both as a soloist and as a member of chamber ensembles.
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KRZYSZTOF GARSTKA
KRZYSZTOF
GARSTKA
KRZYSZTOF
GARSTKA
A harpsichordist and educator, he graduated from the Fryderyk Chopin University of Music in Warsaw and completed postgraduate studies at the Schola Cantorum Basiliensis in Switzerland. He also studied at the Universität für Musik und Darstellende Kunst Graz. In 2018, he received his doctoral degree from the Fryderyk Chopin University of Music, where he currently works as an assistant professor in the Department of Organ and Harpsichord. He is primarily interested in 17th- and 18th-century vocal and instrumental music and early opera. He took his first steps in conducting ensembles with the Gradus ad Parnassum orchestra of historical instruments, which he had founded. This ensemble has participated in such opera productions as Pergolesi’s ‘La serva padrona’, Monteverdi’s ‘Coronation of Poppea’ and Handel’s ‘Aci, Galatea e Polifemo’. Since 2018, he has been the musical director of the Capella Regia Polona Ensemble of Early Instruments of the Polish Royal Opera. He has conducted a number of opera performances with it, including Handel’s ‘Rodelinda’, Monteverdi’s ‘L’Orfeo’, Purcell’s ‘Dido and Aeneas’, and Scarlatti’s ‘Scene Buffe’.
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PROGRAMME
27.03godz. 17:30
JOHANN ADOLPH HASSE: SONATE PER CEMBALO OP. 7
LILIANNA STAWARZ
Johann Adolph Hasse
Sonate per cembalo op. 7

Sonata I B-dur
Sonata II G-dur
Sonata III B-dur
Sonata IV Es-dur
Sonata V d-moll
Sonata VI c-moll

Lilianna Stawarz – harpsichord
Main Town Hall, ul. Długa 46
27.03godz. 20:00
JAN DISMAS ZELENKA: LAMENTATIONES HIEREMAE PROPHETAE PRO HEBDOMADA SANCTA ZWV 53 & 54
VÁCLAV LUKS / MARGHERITA MARIA SALA / KRYSTIAN ADAM KRZESZOWIAK / TOMÁŠ ŠELC / COLLEGIUM 1704
Jan Dismas Zelenka
Lamentationes Hieremæ Prophetæ pro hebdomada sancta ZWV 53

I Lamentatio pro die Mercurii Sancto ZWV 53:1
II Lamentatio pro die Mercurii Sancto ZWV 53:2
I Lamentatio pro die Jovis Sancto ZWV 53:3
II Lamentatio pro die Jovis Sancto ZWV 53:4
I Lamentatio pro die Veneris Sancto ZWV 53:5
II Lamentatio pro die Veneris Sancto ZWV 53:6

Lamentationes Hieremæ Prophetæ pro hebdomada sancta ZWV 54

I Lamentatio pro die Veneris Sancto ZWV 54:1
II Lamentatio pro die Veneris Sancto ZWV 54:2
III Lamentatio pro die Veneris Sancto ZWV 54:3

Margherita Maria Sala – alto
Krystian Adam Krzeszowiak – tenore
Tomáš Šelc – basso

Collegium 1704
Václav Luks – conductor

Collegium 1704 received support from Ministry of Culture Czech Republic, Czech Recovery Plan, Funded by the European Union / NextGenerationEU.
St. John's Centre, ul. Świętojańska 50
28.03godz. 17:30
GEORG PHILIPP TELEMANN: XII FANTASIEN FÜR QUERFLÖTE SOLO TWV 40:2–13
MARTA GAWLAS
Georg Philipp Telemann
XII Fantasien für Querflöte solo TWV 40:2–13

Fantasia I A-dur TWV 40:2
Fantasia II a-moll TWV 40:3
Fantasia III h-moll TWV 40:4
Fantasia IV B-dur TWV 40:5
Fantasia V C-dur TWV 40:6
Fantasia VI d-moll TWV 40:7
Fantasia VII D-dur TWV 40:8
Fantasia VIII e-moll TWV 40:9
Fantasia IX E-dur TWV 40:10
Fantasia X fis-moll TWV 40:11
Fantasia XI G-dur TWV 40:12
Fantasia XII g-moll TWV 40:13

Marta Gawlas – flute
Main Town Hall, ul. Długa 46
28.03godz. 20:00
IN A STRANGE LAND
STILE ANTICO
William Byrd
Quomodo cantabimus
Tristitia et anxietas
Haec dies

John Dowland
Flow my tears
In this trembling shadow

Richard Dering
Sancta et immaculata viginitas
Factum est silentium

Peter Philips
Regina caeli, laetare
Gaude Maria / Virgo prudentissima

Philippe de Monte
Super flumina Babylonis

Thomas Tallis
In ieunio et fletu

Robert White
Lamentations á 5

Stile Antico
Artus Court, ul. Długi Targ 43-44
29.03godz. 17:30
JEAN-HENRI D’ANGLEBERT: PIÈCES DE CLAVECIN
EWA MROWCA
Jean-Henri d’Anglebert
Pièces de clavecin

Pieces in d-moll
Pieces in g-moll
Pieces in a-moll

Ewa Mrowca – harpsichord
Old Town Hall, ul. Korzenna 33/35
29.03godz. 20:00
MARC-ANTOINE CHARPENTIER: LEÇONS DE TÉNÈBRES H 135–137
SÉBASTIEN DAUCÉ / ENSEMBLE CORRESPONDANCES
Marc-Antoine Charpentier
Troisième leçon de ténèbres du Mercredi Saint H 135
Troisième leçon de ténèbres du Jeudi Saint H 136
Troisième leçon de ténèbres du Vendredi Saint H 137

Ensemble Correspondances
Sébastien Daucé – artistic direction, organ
Artus Court, ul. Długi Targ 43-44
30.03godz. 17:30
JOHANN JACOB FROBERGER: KLAVIERWERKE
MONIKA KAŹMIERCZAK
Johann Jacob Froberger

Toccata II FbWV 102
Suite XV FbWV 610
Suite XX FbWV 620
Tombeau fait à Paris sur la mort de Monsieur Blancheroche FbWV 632
Partite auff die Maÿerin FbWV 606
Partita FbWV 612

Monika Kaźmierczak – carillon
Main Town Hall, ul. Długa 46
30.03godz. 20:00
ANTONIO VIVALDI: STABAT MATER / NISI DOMINUS
CÉLINE FRISCH / PABLO VALETTI / EVA ZAÏCIK / CAFÉ ZIMMERMANN
Antonio Vivaldi
Stabat Mater RV 621
Nisi Dominus RV 608
Sei concerti per violino principale, archi e basso continuo op. 6

Concerto I g-moll RV 324
Concerto II Es-dur RV 259
Concerto III g-moll RV 318
Concerto IV D-dur RV 216
Concerto V e-moll RV 280
Concerto VI d-moll RV 239

Eva Zaïcik – mezzo-soprano

Café Zimmermann
Pablo Valetti – artistic direction, violin
Céline Frisch – artistic direction, harpsichord
Artus Court, ul. Długi Targ 43-44
31.03godz. 17:30
JOHANN SEBASTIAN BACH: GOLDBERG-VARIATIONEN BWV 988
KRZYSZTOF GARSTKA
Johann Sebastian Bach
Aria mit verschiedenen Veränderungen ’Goldberg-Variationen’ BWV 988

Krzysztof Garstka – harpsichord
Main Town Hall, ul. Długa 46
31.03godz. 20:00
GEORGE FRIDERIC HANDEL: CONCERTI GROSSI OP. 3 HWV 312–317
AKADEMIE FÜR ALTE MUSIK BERLIN
George Frideric Handel
Concerti grossi op. 3 HWV 312–317

Concerto grosso I B-dur HWV 312
Concerto grosso II B-dur HWV 313
Concerto grosso III G-dur HWV 314
Concerto grosso IV F-dur HWV 315
Concerto grosso V d-moll HWV 316
Concerto grosso VI D-dur HWV 317

Akademie für Alte Musik Berlin
Georg Kallweit – concertmaster, violin
Artus Court, ul. Długi Targ 43-44
VENUES
St. John’s Centre
St. John’s Centre
The first written mention of a small chapel dedicated to St. John comes from 1358. The church’s style is typical for late-Gothic architecture of the 14th and 15th centuries, with its heavy, buttressed structure, triple nave interior and flat-ended presbytery. The church took on its current form in the second half of the 15th century. In 1543, the church tower was destroyed by fire to be rebuilt 24 years later. In March 1945, the church burned down but its overall structure survived. After the war, the gutted building was roofed and its valuable vaults secured, but the church was designated a lapidarium. The Gdansk Diocese has been using it for services on Sundays and holidays since the 1990s. In 1995, the church was transferred to the management of the Baltic Sea Culture Centre (BSCC), which is reconstructing it with a view to converting it into a professional centre of culture.
Artus Court
Artus Court
In its day, Artus Court was home to the Brotherhood of St. George, providing a meeting place for nobles, merchants and courts. Currently, Artus Court is a branch of the Gdansk History Museum and is regarded as one of the city’s main tourist attractions. The history of Artus Court goes back to the middle of the 14th century - the building was erected in 1348–1350 and named after King Arthur, reflecting aspirations to the ideals of knightly virtue perfectly embodied by the legendary Celtic leader, and of equality and partnership symbolised by the Round Table at which Arthur sat with his knights. The building’s name, curia regis Artus (Royal Artus Court), was first mentioned in 1357. Artus Court is part of a route known as the Royal Way in the historic Main Town. Its interior is organised as one vast Gothic-style hall. In 1530, this seat of various brotherhoods, a meeting point and festival venue, took on another important role as a chamber for open court hearings. The Grand Hall’s acoustic properties were recognised in the late 17th century and regular concerts were held.
St. Catharine’s Church
St. Catharine’s Church
The Old Town’s oldest parish church. Founded by the Gdańsk Pomeranian Dukes it was dedicated to St. Catharine in 1236. The church is a hall-type edifice with pitched roof, a broad presbytery whose current three-nave structure was formed during a 15th century expansion, and a dominant tower. For nearly 400 years, it belonged to Protestants and was only transferred to the care of the Carmelite Order after the Second World War. In 2011, the world’s first pulsar clock was installed on the tower to celebrate the 400th birthday of Johann Hevelius, one of the city’s all-time greatest citizens. This is also where one finds the astronomer’s tombstone of 1659 and a piece of his coffin plaque with monogram J.H. and date of death 28 January 1687. In the 18th century, the church received its first carillon, subsequently modified and extended several times. The instrument survived a fire in 1905 and Nazi confiscation in 1942. Currently, the carillon consists of 50 bells spanning together four octaves making it Central Europe’s largest concert carillon.
Main Town Hall
Main Town Hall
The Great Wety Hall (the White Hall) is located in the eastern wing of the first and most elegant storey of the building. When the Polish kings visited Gdansk, the hall served as a throne room and a place where the royal burgrave received oaths and issued court judgments. The Great Wety Hall hosted commemorations of Polish citizenship and, until the middle of the 16th century, was the venue of City Council meetings. Starting from 1526, the Hall was used for sittings of the common folk chamber (the Third Ordynek) and the Wety Court. Between 1817 and 1921, the Great Wety Hall was mostly referred to as the City Council Hall (Stadtverordnetensaal) as it hosted the meetings of City Representatives. In 1840-1841, its interiors were rebuilt in a neo-gothic style based on the summer refectory from the Grand Master’s Palace in Malbork Castle. In 1909, a 16th century Renaissance portal, that was originally located in the merchant’s house at Chlebnicka 11, was placed over the entry to the Main Hallway. In 1945, the destroyed hall was reconstructed following the design Stanisław Bobiński and brought back to its pre-1941 condition.
Old Market Town Hall
Old Market Town Hall
Created by Anthonis van Obberghen, the Old Market Town Hall was erected in late 16th century in the Dutch Mannerist style. Built for the Old Town authorities, the building was a centre of the political, economic, scientific and social life of this part of Gdansk for many centuries. It was there that city debates were held, that the Grand Hall hosted official ceremonies, while balls and parties were organised there in the evenings. A famous Gdansk-based scholar and astronomer Johannes Hevelius resided in the Old Market Town Hall as an assessor and the first councillor, storing his home-made beer in the town hall cellars. With its landmark silhouette, the town hall is a major urban highlight of the Old Town. Regardless of many reconstructions, the town hall envelope has remained unchanged until now. Multiple modifications of its interior have enriched the building with exceptional objects. The first floor features an elegant hallway and an imposing Grand Hall, now known as the Bourgeoisie Hall, with an original wooden ceiling.
ARCHE DWÓR UPHAGENA – THE FESTIVAL HOTEL
ARCHE DWÓR UPHAGENA – THE FESTIVAL HOTEL
The Uphagen Manor, offering 256 rooms, is one of the Arche Group venues that meet four-star hotel standards. It is located in the centre of Gdańsk, in the Dolne Miasto (Lower Town) district, a historic part of the city centre by an arm of the River Motława and adjoining the Wyspa Spichrzów (Granary Island) and Stare Przedmieście (Old Suburb) districts. The history of the edifice dates back to 1800, when the Uphagen family from Gdańsk decided to move to what was then the suburbs and build a summer residence in classical style. The Uphagens lived in the two-storey manor house until 1852. Then Johan Ernest Uphagen’s widow sold the house to the timber merchant J. G. Kuhn who turned it into a hospital where the Borromeo Sisters from Trier took care of the patients. Due to its growing needs, the hospital was gradually expanded in the 19th and 20thcenturies. Currently, the quarters include the restored manor, outbuildings, a factory, a boiler house and a tenement house.
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