Wczytywanie
actus humanus GDAŃSK // 12-16.12.2018
ARTISTS
FABIO BIONDI
FABIO
BIONDI
FABIO
BIONDI
Violinist and conductor, founder of the Europa Galante ensemble. Born in Palermo, he was already performing Bach’s violin concertos at the Wiener Musikverein at the age of 16. He then started to cooperate as concertmaster with the most famous ensembles playing period instruments such as Cappella Real, Musica Antiqua Wien, Il Seminario Musicale, La Chapelle Royale, Les Musiciens du Louvre (since its beginning). In 1990, he founded his own orchestra, Europa Galante, with which he performs on the most prestigious of world stages. The albums that they recorded together won numerous awards and became reference recordings. Their extensive concert activity and huge phonographic success (almost one million discs sold) made them the best known Italian performers of early music as well as the winners of the most awards.
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 EUROPA GALANTE
EUROPA GALANTE
EUROPA GALANTE
The ensemble was founded in 1990 by the violinist Fabio Biondi who wanted to create an Italian orchestra of period instruments performing works of the great baroque and classical repertoire. It is famous for its virtuosity and energetic, almost aggressive style of performance which, however, perfectly combines with Italian and, at the same time baroque, tunefulness. Its interpretations boast not only rhythmic vigour, but also plasticity and a particular sensitivity to the richness of timbres. Since its first recordings, which are still the highest reference point, the ensemble has remained the indisputable authority on performing Italian music of the 17th and 18th centuries. It appears in the most prestigious concert halls, not only playing well-known masterpieces, but also reviving forgotten works.
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CHRISTINA PLUHAR
CHRISTINA
PLUHAR
CHRISTINA
PLUHAR
Christina Pluhar discovered a passion for early music after graduating from classical guitar at the University of Graz, Austria. Since then, she has devoted her career to period instruments, including the lute, theorbo, baroque guitar and baroque harp. She studied at the Conservatory of The Hague, Schola Cantorum Basiliensis and at master courses. Among her teachers are Toyohiko Satoh, Eugen Dombois, Hopkinson Smith, Paul O’Dette, Pat O’Brian, Jesper Bøje Christensen and Mara Galassi. In 1992, she received the first award of the Malmö Chamber Music Festival, together with the La Fenice ensemble. This has launched her career of a soloist and basso continuo performer appearing on the most prestigious stages. Since 2000, she has been pursuing her live and studio career through working with her own ensemble, L’Arpeggiata. Christina Pluhar both invited leading personalities, including René Jacobs and Marc Minkowski, to collaborate with her and has herself been involved by other ensembles, such as the Australian Brandenburg Orchestra, European Baroque Orchestra and Orquestra Divino Sospiro. She recorded for Alpha, Erato, Virgin Classics and other labels.
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 L'ARPEGGIATA
L'ARPEGGIATA
L'ARPEGGIATA
Established in 2000 by Christina Pluhar the ensemble brings together eminent European musicians devoted to period performance. Focusing on the early Baroque repertoire and authenticity of the interpretations she can combine them with other musical styles (such as jazz and traditional music) and other artistic formats (dance and theatre) in the group’s unmistakable trademark feature. From the very beginning, the ensemble enjoyed worldwide critical success confirmed by numerous prestigious awards for their recordings, collaboration projects with stars of period performance (e.g. Philippe Jaroussky), and invitations to the world’s most important festivals. Their latest album, Francesco Cavalli – L’amore innamorato, includes the Italian composer’s most beautiful operatic arias (Warner Classics/Erato, 2015).
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KONRAD JUNGHÄNEL
KONRAD
JUNGHÄNEL
KONRAD
JUNGHÄNEL
A German lutist and a leading conductor of early music performance. He is particularly valued for his lute interpretations, both live and in studio, of Johann Sebastian Bach and Silvius Leopold Weiss. His collaborations include René Jacobs and Wieland Kuijken, as well as Les Arts Florissants, La Petite Bande, Musica Antiqua Köln and Tafelmusik Baroque Orchestra. In 1987, he founded Cantus Cölln, an group particularly devoted to forgotten vocal Baroque music. He is known to favour the one voice per partperforming practice, which he has been applying in both his ensemble’s activities and in recordings under his leadership. Konrad Junghänel has an impressive publishing record to his name with more than 100 albums released by leading labels, including Deutsche Harmonia Mundi, Harmonia Mundi France, EMI, Accent, Deutsche Grammophon/Archiv Produktion and others.
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 CANTUS CÖLLN
CANTUS CÖLLN
CANTUS CÖLLN
Since their debut in 1987, this singing ensemble has consistently earned a reputation as a leading vocal troupe. Under the leadership of Konrad Junghänel, the group’s founder, an eminent lutist and conductor of early music, they focus primarily on German and Italian composers of the Renaissance and Baroque periods. They combine their hallmark consistency of sound and critically appreciated homogeneity of texture with preserving the vocal identity of each performer. The ensemble has been touring America, Asia, Africa, Australia, as well as the premier early music festivals in Europe with programmes based mostly on rediscovered pieces. Recording exclusively for Harmonia Mundi the group has released 36 albums.
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ANDREW LAWRENCE-KING
ANDREW
LAWRENCE-KING
ANDREW
LAWRENCE-KING
A virtuoso of the harp, conductor and founder of two ensembles, The Harp Consort and Il Corago. Since his debut in the Royal Albert Hall’s BBC Promenade Concerts, he has developed into a leading performer of early music and a basso continuo technique. He conducted performances of the Early Masters at the most prestigious concert halls, including La Scala in Milan, the Sydney Opera House, Casals Hall in Tokyo, Berliner Philharmonie, Konzerthaus in Vienna, the Carnegie Hall in New York city and Palacio de Bellas Artes in Mexico. Winner of the Golden Masque (2012) and, together with Jordi Savall, of the Grammy Award (2011) and Helpmann Award (2013). He records for Harmonia Mundi. Andrew Lawrence-King is a member of multiple international organisations devoted to early music. He teaches at the Guildhall School of Music and Drama in London and at Det Kongelige Danske Musikkonservatorium in Copenhagen.
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 THE HARP CONSORT
THE HARP CONSORT
THE HARP CONSORT
An international early music ensemble established in 1994 by Andrew Lawrence-King. The group specialise in repertoires of the Spanish “Golden Century”, Italian Renaissance and French Baroque. Their trademarks include an exceptional variety and colourfulness of their interpretation. From the very outset, the group won worldwide critical recognition and popular acclaim. Their universally hailed debut album, Luz y Norte(Deutsche Harmonia Mundi), covering 17thcentury Spanish and South-American music, heralded the group’s imminent rise in the world of period performance. Subsequent recordings only confirmed the quality of their music by garnering flattering reviews and prestigious awards, such as The Times Album of the Year (for Missa Mexicana) and the Noah Greenberg Award (for La púrpura de la rosa).
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BENJAMIN BAGBY
BENJAMIN
BAGBY
BENJAMIN
BAGBY
A singer, harpist and researcher. Over the decades, he has built up a reputation as a leading figure on the medieval music performance scene. Since 1977, when he established the Sequentia ensemble, they have been touring Europe, Africa, the Americas, Asia, Australia and the Middle East. He has been recording for leading labels and many of his releases, both audio and video, received critical acclaim and prestigious awards. Benjamin Bagby is known for his painstaking preparation of each recording session. This includes an extensive involvement of sources and drilling into the textual layer of the pieces, often in partnership with invited philologists and musicologists, so as to ensure that the result is in line with the spirit of the relevant performing practice. He has contributed papers to such early music journals as Early Music, Performer’s Guide to Medieval Musicand Performing Medieval Narrative. Bagby has taught at leading early music research institutions in Europe and the USA. Since 2005, he has held a teaching post in medieval music performing practice at the Sorbonne in Paris.
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 SEQUENTIA
SEQUENTIA
SEQUENTIA
One of the most respected medieval music ensembles. An international group of singers and instrumentalists focusing on pre-13thcentury music. Sequentia’s hallmark features include performing authenticity and virtuosity combined with emotional closeness emanating from their interpretations. Established by Benjamin Bagby and Barbara Thornton, the ensemble has performed in Europe, Africa, the Americas, Asia, Australia and the Middle East. Their discography comprises several dozen critically established albums of medieval music. The album Canticles of Ecstasy sold 500 thousand copies and was nominated for the Grammy award. The group also contributed to numerous film soundtracks. With its highly regarded interpretation along the lines of period performance practice the group has been inspirational for generations of early music careers.
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CÉLINE SCHEEN
CÉLINE
SCHEEN
CÉLINE
SCHEEN
A Belgian soprano singer. She began her vocal education with Annie Frantz and continued in the class of Marcel Vanaud at the Conservatoire royal de Mons, where she received a distinction in 1996. She then went on to graduate from singing and singing methodology at the Conservatoire royal de Bruxelles. Céline Scheen performed at the largest festivals and most prestigious concert halls, and has recorded for Europe’s premier labels, including Deutsche Grammophon. Her operatic oeuvre is truly impressive and comprises roles in pieces by Monteverdi, Cavalli, Gluck, Haydn and Mozart, as well as more recent composers, such as Menotti and Poulenc. She has also performed Bach’s passions, Mozart’s masses (Coronation mass, Great mass in C minor), Fauré’sRequiem, as well as Petite messe solennelleby Rossini and Carmina Buranaby Orff. In these projects she collaborated with numerous ensembles, including Il Fondamento, Ricercar Consort, Café Zimmermann, La Fenice, La Cetra d’Orfeo and Musica Antiqua Köln.
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MONICA PICCININI
MONICA
PICCININI
MONICA
PICCININI
She learned singing under the supervision of Franca Mattiucci and Elena Kriatchko. She studied the vocal Baroque repertoire thoroughly during the master classes run by Claudio Cavina and Rossana Bertini, and she deepened her knowledge of 20th-century music with Erik Werba and Dorothy Dorow. She made her debut at the Madrid Teatro Real in Monteverdi’s Orpheus conducted by Jordi Savall. Since then Piccinini has collaborated with leading performers of early music, such as Fabio Biondi, Rinaldo Alessandrini, Christophe Rousset, or Ottavio Dantone; as well as with various ensembles and orchestras including Concerto Italiano, Europa Galante, Al Ayre Español, and Hespèrion XXI. With them, she has appeared in Europe’s finest music capitals. She also took part in recordings of the works of Monteverdi and Porpora for the Naïve label.
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BENEDETTA MAZZUCATO
BENEDETTA
MAZZUCATO
BENEDETTA
MAZZUCATO
Italian contralto. Her first step in the world of the opera was a performance at Hans Krás' Brundibárat the age of 13. As a valued and versatile artist, she participates in renowned festivals and performs in prestigious opera houses in Europe. She performs with outstanding orchestras and bands, including Orquesta Barroca de Sevilla, Royal Concertgebouw Orchestra, Le Banquet Celeste; participated in the world tour with William Christie's Le Jardin des Voix. She regularly collaborates with Christina Pluhar and the ensemble L'Arpeggiata. He freely performs the Early Music and contemporary repertoire. She performed the music of Sances and Bertali, took part in the interpretation of Misa Tangoand in the world premiere of Salmo 23by Luis Bacalov. On the ground of the opera, she interpreted the roles in the works of Verdi, Cavalli, Salieri, Handel and Monteverdi.
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MARTINA BELLI
MARTINA
BELLI
MARTINA
BELLI
An Italian mezzosoprano singer. Her musical adventure started with the cello only to switch to singing, from which she graduated at Accademia Nazionale di Santa Cecilia in Rome. She was only 18 when she was selected for the Voices of Europe, an ensemble headed by such greats as Arvo Pärt. She made her operatic debut in the role of Alisa in Donizetti’s Lucia di Lammermoor, in 2003. She then moved on to perform in pieces by Richard Strauss, Mozart, Donizetti, Verdi, Caldara, Monteverdi and Vivaldi. Martina Belli feels equally at home in a range of repertoires, including early, classical and contemporary (the latter includes Fadwaby Dimitri Scarlato). Her festival appearances included Tage Alter Musik Regensburg, Festival Stuttgart Barock, Bologna Festival and MITO SettembreMusica, to name but a few. Martina Belli has been a regular feature at the premier opera houses and concert halls in Italy, Spain, England, Norway and the Netherlands. She collaborated with Fabio Biondi, Juraj Valčuh, Daniel Rustioni and ensembles such as Europa Galante, La Venexiana and Stavanger Symphony Orchestra.
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LILIANNA STAWARZ
LILIANNA
STAWARZ
LILIANNA
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. Since 2015, she has been 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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MARTYNA PASTUSZKA
MARTYNA
PASTUSZKA
MARTYNA
PASTUSZKA
Violinist, concertmaster and member of numerous international early music ensembles, she is also, since 2012, the leader and artistic director of {oh!} Orkiestra Historyczna, which quickly gained the trust and support of the biggest Polish musical institutions and international festivals. She serves as a guest concertmaster for such ensembles as Le Parlement de Musique or Capella Cracoviensis. As a chamber musician, she works with NeoBarock from Cologne, Le Cercle de l’Harmonie from Paris, Le Concert de la Loge, Hofkapelle München from Munich and Arte dei Suonatori from Poznań. Artistic encounters with such musicians as Rachel Podger, Giuliano Carmignola, Andrew Parrott, Julien Chauvin, Andreas Staier, Hidemi Suzuki, Barthold Kuijken, Dan Laurin and René Jacobs are for her a constant source of inspiration.
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ANNA KASPRZYCKA
ANNA
KASPRZYCKA
ANNA
KASPRZYCKA
Carillonist and sound engineer. Graduate of the Akademia Muzyczna in Gdansk and of the Koninklijke Beiaardschool of Mechelen. A laureate of international carillon competitions. Active on the international concert scene, including France, Belgium, the Netherlands, the UK, Switzerland, Ireland, Denmark, Germany, Russia, Israel, the USA and the Ukraine, as well as in Poland. She took part in world premiere performances of contemporary composers and in recordings of carillon music. She has written arrangements and transcriptions of piano, vocal and carillon orchestra music. An active contributor of carillon-themed papers, she has held, since 2013, the post of Chief Editor at Carillon Review, a journal of the Polskie Stowarzyszenie Carillonowe. Anna Kasprzycka has initiated several projects to promote carillon music. She works as a sound engineer at the recording studio of the Akademia Muzyczna in Gdansk.
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MARCIN ŚWIĄTKIEWICZ
MARCIN
ŚWIĄTKIEWICZ
MARCIN
ŚWIĄTKIEWICZ
One of the most recognisable harpsichordists of the young generation. He plays various types of harpsichords and clavichords, as well as historic pianos and organs, with a distinct passion for improvisation. As a soloist, conductor and chamber musician he has regularly collaborated with leading international and Polish orchestras and ensembles, including Brecon Baroque, Arte dei Suonatori, {oh!} Orkiestra Historyczna and AUKSO. He received a Diapason d’Or for his solo album of late-Baroque concertos for the harpsichordby Müthel (2015), and numerous accolades for a subsequent release, Cromatica (2017). He received the Gramophone Award for Biber’s Sonaty różańcowerecorded with Rachel Podger, David Miller and Jonathan Manson. In 2016, Marcin Świątkiewicz was given wider recognition when he was given the Paszport award of the leading Polish opinion magazinePolityka. He teaches at the Akademia Muzyczna in Katowice where he focuses on solo performance, as well as improvisation courses based on the partimento method.
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GRZEGORZ LALEK
GRZEGORZ
LALEK
GRZEGORZ
LALEK
Born in 1975. Violinist, graduate of the Warsaw University of Music, has received awards both as a soloist and chamber musician. He improved his early music skills on master's courses run by Simon Standage and Anton Steck. He works with ensembles specialised in stylish performance of early music. Since 2007, he has been the concertmaster of the period instruments ensemble of the Warsaw Chamber Opera where he also performs as a soloist.   He uses period instruments to perform a repertoire ranging from Early Baroque to Early Romanticism, putting particular stress on virtuosity. He founded Ensemble Hyacinthus which made its debut at the Gstaad New Year Music Festival in 2009.
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MARCIN SZELEST
MARCIN
SZELEST
MARCIN
SZELEST
Graduate of the organ class at the Akademia Muzyczna in Krakow, Poland (with distinction) and at the Boston Conservatory. He received several accolades and awards, including the 1stPrize at the J.P. Sweelinck International Organ Competition in Gdansk. His live performances on the national and international scenes include both solo organ recitals and the leading of his own early music ensemble Harmonia Sacra. Marcin Szelesthas collaborated with numerous soloists, choirs, orchestras and period performance ensembles, including Concerto Palatino, The Bach Ensemble, Vox Luminis, Weser-Renaissance Bremen and Wrocławska Orkiestra Barokowa. He is a professor at the Akademia Muzyczna in Krakow where he combines teaching activities with active research focusing on studying sources and editing early Polish music. He holds the position of organ player at the Church of the Holy Cross in Krakow, is a member of the Research Board for the Fontes musicae in Poloniapublishing series and is artistic director of the Stary Sącz Early Music Festival.
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KRZYSZTOF FIRLUS
KRZYSZTOF
FIRLUS
KRZYSZTOF
FIRLUS
A player of double bass and the viola da Gamba. Graduate of Akademia Muzyczna of Katowice, Poland, and of Universität Mozarteum in Salzburg. A laureate of the Młoda Polska scholarship from the Polish Ministry of Culture and National Heritage and of Polish and international bass competitions. He is active on both the Polish and the international concert scene as a soloist and as a member of chamber groups and orchestras. Involved with the Polish National Radio Symphony Orchestra in Katowice, and a member of numerous chamber and early music ensembles, including: {oh!} Orkiestra Historyczna, Extempore, Gambasada, Ensemble Reversio and Ensemble Chimérique, of which he is the founder. His past involvements included Kwartet Śląski, Capella Cracoviensis and the AUKSO Orchestra. Krzysztof Firlus teaches a viola da Gamba class at the Akademia Muzyczna in Katowice and a bass class at Akademia Muzyczna in Krakow, Poland.
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PROGRAMME
12.12godz. 20:00
I SALVE REGINA NEGLI OSPEDALI VENEZIANI
FABIO BIONDI / EUROPA GALANTE
Baldassare Galuppi
Sinfonia G-dur
Regina coeli per soprano ed archi F-dur

Johann Adolph Hasse
Salve Regina per soprano G-dur

Nicola Antonio Porpora
Salve Regina per contralto d-moll
Regina coeli per contralto C-dur

Antonio Vivaldi
Concerto per violino g-moll RV 319
Salve Regina per soprano violino ed archi RV 617

Monica Piccinini – soprano
Martina Belli – contralto

Europa Galante

Fabio Biondi – conductor
St. John's Centre, ul. Świętojańska 50
12.12godz. 17:30
ARCANGELO CORELLI: SONATE À VIOLINO E VIOLONE O CIMBALO OP. 5 NO. 1–6
GRZEGORZ LALEK / LILIANNA STAWARZ
Arcangelo Corelli
Sonate à violino e violone o cimbalo op. 5 No. 1–6 

Sonata I D-dur
Sonata II B-dur
Sonata III C-dur
Sonata IV F-dur
Sonata V g-moll
Sonata VI A-dur

Grzegorz Lalek – violin
Lilianna Stawarz – harpsichord
Old Market Town Hall, ul. Korzenna 33/35
13.12godz. 17:30
GEORG PHILIPP TELEMANN: 12 FANTASIEN FÜR VIOLA DA GAMBA SOLO TWV 40:26–37
KRZYSZTOF FIRLUS
Georg Philipp Telemann
12 Fantasien für viola da gamba solo TWV 40:26–37

Fantasia I c-moll TWV 40:26
Fantasia II D-dur TWV 40:27
Fantasia III e-moll TWV 40:28
Fantasia IV F-dur TWV 40:29
Fantasia V B-dur TWV 40:30
Fantasia VI G-dur TWV 40:31
Fantasia VII g-moll TWV 40:32
Fantasia VIII A-dur TWV 40:33
Fantasia IX C-dur TWV 40:34
Fantasia X E-dur TWV 40:35
Fantasia XI d-moll TWV 40:36
Fantasia XII Es-dur TWV 40:37

Krzysztof Firlus – viola da gamba
Main Town Hall, ul. Długa 46
13.12godz. 20:00
SPRÜCHE VON LEBEN UND TOD
KONRAD JUNGHÄNEL / CANTUS CÖLLN
Heinrich Schütz
Wann unsre Augen schlafen ein SWV 316
Meister, wir haben die ganze Nacht gearbeitet SWV 317
Ich hab mein Sach Gott heimgestellt SWV 94
Die mit Tränen säen SWV 378
Bone Jesu, verbum Patris SWV 313
Also hat Gott die Welt geliebt SWV 380

Johann Hermann Schein
Was betrübst Du dich, meine Seele
Ist nicht Ephraim mein teurer Sohn
Unser Leben währet siebnzig Jahr
Da Jakob vollendet hatte

Johann Rosenmüller
Ego te laudo
Benedicam Dominum

Leonhard Lechner
O Tod, du bist ein bittre Gallen

Heinrich Albert
Eine musikalische Kürbishütte

Adam Drese
Nun ist alles überwunden

Cantus Cölln
Konrad Junghänel – artistic direction, lute
Artus Court, ul. Długi Targ 43-44
14.12godz. 17:30
POLISH ORGAN TABLATURES
MARCIN SZELEST
Gdańsk Tablature
Alia toni tertii phanthasia

Łowicz Tablature
Nos autem gloriari oportet

Braniewo Tablature
Fuga [in a]
Dulcis memoria

Johannes Fischer Tablature
Melodia
Vestiva i colli

Samogitian Tablature
Incepta 4. Toni
Ricercata 4. toni [sopra la sol fa re mi]
Ricercata tertii toni

Pelplin Tablature
Canzona à 4 La Novella
Canzon [terza] à 4
Canzon à 4
Canzona à 4 La Livia

Oliwa Tablature
Bon jour mon coeur
Galliarda
Paduana
Galliarda
Tantz
Surrexit pastor bonus

Warsaw Tablature
Canzona primi toni

Przemyśl Tablature
Cromatica
Toccata [in a]

Marcin Szelest – organ
Main Town Hall, ul. Długa 46
14.12godz. 20:00
MONKS SINGING PAGANS
BENJAMIN BAGBY / SEQUENTIA
Medieval songs of heroes, gods and strong women
 
Forsahhistu unholdun?
Gang uz, nesso, mid niun nessinchilinon
Eiris sazun Idisi / Phol ende Wodan (Zaklęcia Merseburskie)
Wyrm com snican, toslat he man (Nine Herbs Charm)
Wenne, wenne, wen-chichenne
O varium Fortune lubricum
Tha waes ricra sum on Rome-byrig
Carmina qui quondam studio florente peregi (Cambridge Songs)
Cum Phoebi radiis grave (Cambridge Songs)
Nubibus atris (Cambridge Songs)
Felix qui potuit boni (Cambridge Songs)
Bella bis quinis (Cambridge Songs)
Olim sudor Herculis (The Later Cambridge Songs)
Nunc est Bibendum
Vaga (Troparium winchesterskie)
O decus, o lybie regnum (Carmina Burana)
Stans a longe (Notker Balbulus)
O fons Bandusie
Collis erat collemque (Metamorfozy Owidiusza)
Prima Olenei tolerata (Carmina Burana)
 
Sequentia
Benjamin Bagby – artistic direction, voice, harp
St. Jacob's Church, ul. Łagiewniki 63
15.12godz. 20:00
PEDRO MARTÍNEZ DE ORGAMBIDE: ORATORIO SACRO AL NACIMIENTO DE CRISTO SEÑOR NOSTRO
ANDREW LAWRENCE-KING / THE HARP CONSORT
Pedro Martínez de Orgambide
Oratorio sacro al Nacimiento de Cristo Señor Nostro

Diego Ortiz
Recercata sopra canto piano
Recercata Prima sopra tenore

Lucas Ruiz de Ribayaz
Xacaras
Pabanas
Gallardas
Espanoletas
Tarantelas

Gaspar Fernandes
No haya más dulce alegríá
Toquen los rabeles
Negrinho: De Los Reyes

Santiago de Murcia
Cumbees

Anonimous
Folias Portuguesas (Cancioneiro de Paris)

María Sanctíssima: Mercedes Hernández - soprano
Angel: Nicole Jordan - soprano
San Joseph: Victor Sordo - tenore
Luzbel: Marco Scavazza - baritone
Pastor I: David Sagastume - countertenor
Pastor II: Mikael Maasalo - basso

The Harp Consort

Andrew Lawrence King - artistic direction, harp
Artus Court, ul. Długi Targ 43-44
15.12godz. 17:30
SILVIUS LEOPOLD WEISS: LAUTENWERKE
ANNA KASPRZYCKA
Silvius Leopold Weiss

Preludium & fuga d-moll (ed. Anna Kasprzycka)
Tombeau sur la mort de M. Comte de Logy (ed. Arie Abbenes)
Passacaglia D-dur WeissSW 18.6 (ed. Anna Kasprzycka)
Sonata XXXIV d-moll WeissSW 34 (ed. Anna Kasprzycka)
Ciaconna g-moll WeissSW 14.6 (ed. Anna Kasprzycka)
Sonata XXXIX C-dur WeissSW 39 (ed. Anna Kasprzycka)

Anna Kasprzycka – carillon
St. Catherine's Church, ul. Profesorska 3
16.12godz. 17:30
JOHANN SEBASTIAN BACH: SONATEN FÜR VIOLINE UND CEMBALO BWV 1017–1019
MARTYA PASTUSZKA / MARCIN ŚWIĄTKIEWICZ
Johann Sebastian Bach
Sonaten für Violine und Cembalo BWV 1017–1019

Sonata IV c-moll BWV 1017
Sonata V f-moll BWV 1018
Sonata VI G-dur BWV 1019

Martyna Pastuszka – violin
Marcin Świątkiewicz – harpsichord
Old Market Town Hall, ul. Korzenna 33/35
16.12godz. 20:00
LA LYRA D'ORFEO
CHRISTINA PLUHAR / L'ARPEGGIATA
Luigi Rossi
Sol per breve momento (Il Palazzo incantato)
Dove mi spingi, amor (Il Palazzo incantato)
A l’imperio d’amore (Orfeo)
Lasciate Averno (Orfeo)
Dormite, begl’occhi (Orfeo)
Mio ben (Orfeo)
Questo picciolo rio
Begl’occhi, che dite
La bella piu bella il cor mi ferì
Al soave spirar
Se dolente
Gelosia

Maurizio Cazzati
Ciaccona

Lorenzo Allegri
Canario

Anonim
Ninna nanna al bambino Gesù

Céline Scheen – soprano
Benedetta Mazzucato – mezzo-soprano

L’Arpeggiata

Christina Pluhar – artistic direction, theorba
St. John's Centre, ul. Świętojańska 50
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.
ST. JAMES'S CHURCH
ST. JAMES'S CHURCH
The history of the church dates back to 1414, when local sailors erected a chapel for sick and impoverished sea captains. It was then rebuilt to its current form in 1432–1437, with the only modifcation being made in 1639, when a tower was added during a reconstruction after a fire. During the Reformation, the church was taken over by Protestants and in 1807 the Napoleon’s army converted it into a camp for Prussian and Russian POWs. Eight years later, an explosion in a nearby gunpowder magazine damaged the church putting an end to its role for the ministry. The remaining structure was converted into a municipal library and a navigation school. It was only after the Second World War that the damaged church was given to the Capuchin Friars who rebuilt the Protestant church in 1948 and reconsecrated it. During the period 1952–1960, the Friars installed new side-altars, a pulpit and a stained glass window with the figure of St. James and had frescos painted in the main aisle (painted-over in 2008) to replace the interior decoration completely destroyed during the war. Between 2007 and 2010, the church went through a restoration of its exterior and interior walls. The late-Gothic St. James’s Church is an example of hospital church architecture. It is the only temple in Gdansk to have a Renaissance beam ceiling and its tower is covered with an early-Baroque dome transferred from St. James’s Tower. A new presbytery was designed by Romuald Sołtys in the early 1970s. Notable pieces of interior decoration include the main altar of white sandstone, a late-Gothic figure of the Madonna and Child to the left of the altar and the stained glass window entitled the Martyrdom of St. James’s Apostle and Patron made by Zofia Baudouin de Courtenay.
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.
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