Wczytywanie
actus humanus GDAŃSK // 5-9.04.2023
ARTISTS
WILLIAM CHRISTIE
WILLIAM
CHRISTIE
WILLIAM
CHRISTIE
Conductor and harpsichordist, William Christie, is the founder of the group Les Arts Florissants and the most important promoter and interpreter of French Baroque music, as well as an eminent performer of the repertoire ranging from 16th- to 18th-century music. He was born in the United States; then, following his studies at Harvard and Yale he left America in 1971 to settle in Paris, where he entered the local Conservatory. As the leader of the group Les Arts Florissants, established in 1979, he has had a profound and personal impact on the reintroduction and exploration of the repertoire which, by then, had been forgotten or had sunk into obscurity, that is, first of all, of virtually all French Baroque music. Thus, he has become an emblematic figure of the resurgence of interest in such genres as tragedie lyrique and opéra-ballet, or the French motet. He has also proposed numerous outstanding creations and recordings of Italian and English works from the same period, from Gesualdo and Monteverdi’s madrigals to operas by Purcell and Handel.
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 LES ARTS FLORISSANTS
LES ARTS FLORISSANTS
LES ARTS FLORISSANTS
The ensemble, whose name is derived from the title of a short opera by Marc-Antoine Charpentier, was founded in 1979 by the American-born French harpsichordist and conductor William Christie, with the intention to perform Baroque music on period instruments. The group pioneered in rekindling an interest in French Baroque repertoire. For almost forty years, it has participated in reintroducing countless musical treasures from the collections of the National Library of France, especially from the 17th-century French repertoire, or 17th-, and 18th-century European music – to audiences. Starting with the production of Lully’s ‘Atys’ for the Opéra-Comique in Paris in 1987, the group has achieved its greatest triumphs in the field of opera. The ensemble has recorded nearly one hundred records for labels such as Harmonia Mundi, Warner Classics/Erato, and Virgin Classics. Their catalogue of DVD opera recordings is equally impressive.
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RINALDO ALESSANDRINI
RINALDO
ALESSANDRINI
RINALDO
ALESSANDRINI
Founder and the leader of the Concerto Italiano ensemble, likewise harpsichordist, organist and pianist ready to play historical instruments. According to ‘The Times’, Alessandrini is the man who made Italian music sound Italian again, because by focusing mainly on the Italian Mannerist and Baroque repertoire, Alessandrini tries to fill his interpretations with the melodiousness and expressions characteristic of 17th- and 18th-century style. Apart from running Concerto Italiano, Rinaldo Alessandrini performs intensively as a soloist, appearing at festivals around the world, starting from Japan, through Europe and across the United States. He is often engaged as a visiting conductor, and also performs in numerous opera projects. His recordings received many awards and distinctions from international music critics, including ‘Grand Prix du Disque’ and ‘Preis der deutschen Schallplattenkritik’ award.
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 CONCERTO ITALIANO
CONCERTO ITALIANO
CONCERTO ITALIANO
Founded in 1984 Concerto Italiano starting with the madrigal repertoire, particularly Monteverdi and Marenzio, and moving to the 18th-century orchestral works and operas, Concerto Italiano revolutionised the criteria of early music performance. The ensemble makes regular appearances in major musical centres, boasting numerous tokens of recognition from the musical critics, including five ‘Gramophone Awards’, two ‘Grand Prix du Disque’, three ‘Preis der deutschen Schallplattenkritik’ awards and others. Over the course of nearly four decades of activity, the band has released over forty albums and carried out fascinating music projects, such as a trilogy of Monteverdi operas in La Scala, European tour with A. Scarlatti’s z ‘Cain overo il primo omicidi’ and interpretation of a programme of Roman polyphonies from the late 17th century (together with RIAS Kammerchor). In collaboration with the National University Library in Turin, the Concerto Italiano has recorded most of Vivaldi's operas and concertos known to date, some of which had not been performed for over 300 years.
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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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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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 LA COMPAGNIA DEL MADRIGALE
LA COMPAGNIA DEL MADRIGALE
LA COMPAGNIA DEL MADRIGALE
The group was founded in 2008, when several singers with considerable experience in the repertoire of madrigals resolved to launch such a project on their own account, that is, without a conductor. Their self-dependent debut album – anthology of madrigals with lyrics derived from Ariosto’s ‘Orlando Furioso’, edited by the label Arcana – came out in 2011. Two years later the ensemble initiated a collaboration with the Glossa recording company, issuing madrigals and responsories by Gesualdo, Marenzio, Monteverdi, and many others, their successive albums winning a number of the most important international awards of the phonographic industry. The group regularly performs at the most prestigious festivals including MITO SettembreMusica, Unione Musicale in Turin, Schwetzingen Festival, RheinVokal, as well as in the most famous concert halls such as the Cologne Philharmonic, Victoria Hall in Geneva, Musée d’Orsay in Paris, the Sala Accademica of the Pontifical Institute of Sacred Music in Rome, and Wigmore Hall in London.
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MARIE-CLAUDE CHAPPUIS
MARIE-CLAUDE
CHAPPUIS
MARIE-CLAUDE
CHAPPUIS
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MAGDALENA KAROLAK
MAGDALENA
KAROLAK
MAGDALENA
KAROLAK
A graduate of Hochschule für Musik in Freiburg and Conservatoire de musique in Geneva, Magdalena Karolak developed her historical performance skills at, inter alia, Universität Mozarteum in Salzburg. She specialises in early music and historically informed performance and regularly plays with ensembles such as ll Giardino Armonico, Il Pomo d'Oro, Accademia Bizantina, Capella Cracoviensis, Akademie für Alte Musik Berlin, I Barocchisti, Arte dei Suonatori, Orchestre des Champs-Élysées and La Capella Reial de Catalunya. As a soloist, she has performed alongside such distinguished artists as Philippe Jaroussky, Franco Fagioli, Joyce Didonato and Sandrine Piau and under numerous conductors like Jerzy Semkow, Marc Minkowski, Nello Santi, Adam Fischer and Jordi Savall. The artist has recorded albums for such labels as: Decca, Naïve, Sony, Harmonia Mundi, Ricercar and Virgin Classics/EMI, as well as radio and television recordings for NDR and Mezzo. Since 2017, Magdalena Karolak has been teaching baroque oboe classes at the Karol Lipiński Academy of Music in Wroclaw.
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MARIA POMIANOWSKA
MARIA
POMIANOWSKA
MARIA
POMIANOWSKA
Multiinstrumentalist, singer, composer, and educator, Pomianowska is among leading Polish performers of folk and ethnic music (world music). Since the beginning of her activities in the field of music and musical research, she has focussed on unique performance practices of various European, Asian, and Middle-Eastern cultures. As a soloist, she has been concerting all over the world. Pomianowska collaborates with musicians from the Arab world, from Pakistan, Senegal, Iran, Korea, China, Japan, and India. She was the ambassadress of Polish classical and folk music in Japan during her stay in that country in 1997–2002. She took part in the reconstruction of extinct Polish string instruments: the Biłgoraj Suka and Płock fiddle, as well as of the Mielec Suka. She initiated the formation of such ensembles as Zespół Polski, San-Nin Trio, and Arcus Poloniae; besides, she established the Raga Sangit, the first Polish group performing Indian music. Maria Pomianowska is also a Ph.D. of Musical Arts and professor of the Academy of Music in Kraków.
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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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MAŁGORZATA FIEBIG
MAŁGORZATA
FIEBIG
MAŁGORZATA
FIEBIG
Organist and carillonist, she graduated from the Academy of Music in Gdańsk, where she had studied at the Faulty of Instrumental Music and Faculty of Choral Conducting. She also received her master’s degree in the class of Frans Haagen at the Nederlandse Beiaardschool at Amersfoort. Fiebig is the winner of numerous prizes in carillon competitions in Holland, Belgium, and Germany. She has given concerts in many European countries, as well as in Curaçao and the United States. In 1999 she assumed the post of municipal carillonist in Gdańsk, and in 2011 she became the first foreign – and female – carillonist in Utrecht. Her repertoire comprises carillon adaptations of not only early, but also contemporary, and even pop, music. Since 2012 she has co-organised the Early Music Carillon Festival that is held within the framework of Festival Oude Muziek in Utrecht.
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KRZYSZTOF FIRLUS
KRZYSZTOF
FIRLUS
KRZYSZTOF
FIRLUS
A player of double bass and the viola da Gamba. Graduate of the Academy of Music 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, Extempore, Gambasada, Ensemble Reversio and Ensemble Chimérique, of which he is the founder. His past involvements included Kwartet Śląski, Capella Cracoviensis and the AUKSO Chamber Orchestra of the City of Tychy. Krzysztof Firlus teaches a viola da Gamba class at the Academy of Music in Katowice and a bass class at the Academy of Music in Krakow, Poland.
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MARCIN ŚWIĄTKIEWICZ
MARCIN
ŚWIĄTKIEWICZ
MARCIN
ŚWIĄTKIEWICZ
One of the most recognisable polish harpsichordists, Świątkiewicz plays various types of harpsichords and clavichords, as well as period pianos and organs. He is particularly passionate about improvisation. As a soloist, conductor, and chamber musician he collaborates regularly with the forefront of Polish and international orchestras and ensembles, including Brecon Baroque, Capella Cracoviensis, Arte dei Suonatori, {oh!} Orkiestra, and AUKSO. In 2015, he recorded a solo album with Müthel’s late-Baroque harpsichord concertos, which was awarded the ‘Diapason d’Or’. Two years later he issued another solo recording entitled ‘Cromatica’, which won a series of awards. For the ‘Rosary Sonatas’ by Biber, recorded with Rachel Podger, David Miller, and Jonathan Manson, Świątkiewicz received the ‘Gramophone Award’. In 2016 he was also awarded the prestigious ‘Polityka’ weekly’s Passport Award. The latest achievements of the harpsichordist include the album with harpsichord concertos by J.S. Bach (2018) and the album with the ‘Goldberg Variations’ (2020). The artist is also a lecturer at the Karol Szymanowski Academy of Music in Katowice. He pays particular attention to the teaching of solo playing and to courses of partimento-based improvisation.
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PROGRAMME
05.04godz. 17:30
GEORGE FRIDERIC HANDEL: SUITES DE PIÈCES POUR LE CLAVECIN HWV 430-433
MARCIN ŚWIĄTKIEWICZ
George Frideric Handel
Suites de Pièces pour le Clavecin HWV 430-433

Suite V E-dur HWV 430
Suite VI fis-moll HWV 431
Suite VII g-moll HWV 432
Suite VIII f-moll HWV 433

Marcin Świątkiewicz – harpsichord
Main Town Hall, ul. Długa 46
05.04godz. 20:00
DIETRICH BUXTEHUDE: MEMBRA JESU NOSTRI / JOHANN SEBASTIAN BACH: ACTUS TRAGICUS BWV 106
SÉBASTIEN DAUCÉ / ENSEMBLE CORRESPONDANCES
Dietrich Buxtehude
Membra Jesu Nostri BuxWV 75
Mit Fried und Freud BuxWV 76

Johann Sebastian Bach
Gottes Zeit ist die allerbeste Zeit (Actus Tragicus) BWV 106

Ensemble Correspondances
Sébastien Daucé – artistic direction
St. John's Centre, ul. Świętojańska 50
06.04godz. 17:30
CARL FRIEDRICH ABEL: DREXEL MANUSCRIPT
KRZYSZTOF FIRLUS
Carl Friedrich Abel
Drexel Manuscript

Krzysztof Firlus – viola da gamba
Main Town Hall, ul. Długa 46
06.04godz. 20:00
TOMÁS LUIS DE VICTORIA: OFFICIUM DEFUNCTORUM
LA COMPAGNIA DEL MADRIGALE
Tomás Luis de Victoria
Officium defunctorum

Claudio Monteverdi
Stabat Virgo Maria (kontrafaktura Era l'anima mia)
Adoramus
Iam moriar mi fili (Pianto della Madonna)

La Compagnia del Madrigale
Giuseppe Maletto – artistic direction
Artus Court, ul. Długi Targ 43-44
07.04godz. 17:30
STWÓRCO ŁASKAWY
MARIA POMIANOWSKA
Lament Matki Bolesnej 
Służyłem ja Tobie
Rozmyślajmy dziś wierni chrześcijanie
Presulis eminenciam (Piotr z Grudziądza)
Stała Matka boleściwa (Jacopone da Todi, 13c.)
Wysłuchaj Stwórco łaskawy
Płacz, płacz kto żyw
Zawitaj ukrzyżowany
Lamento

Maria Pomianowska – voice, suka
Mingjie Yu – guzheng
Old Town Hall, ul. Korzenna 33/35
07.04godz. 20:00
MARC-ANTOINE CHARPENTIER: LEÇONS DE TÉNÈBRES
WILLIAM CHRISTIE / LES ARTS FLORISSANTS
Marc-Antoine Charpentier
Leçons de Ténèbres

Troisième leçon de ténèbres du Jeudi Saint H 124
Deuxième répons après la deuxième leçon du deuxième nocturne du Jeudi Saint H 129
Troisième leçon de ténèbres du Vendredi Saint H 137
Méditations pour le Carême H 380–389

Les Arts Florissants
William Christie – artistic direction
Artus Court, ul. Długi Targ 43-44
08.04godz. 17:30
DOMENICO SCARLATTI: SONATE PER TASTIERA
MAŁGORZATA FIEBIG
Domenico Scarlatti
Sonata K 52 in d
Sonata K 61 in a
Sonata K 77 in d
Sonata K 78 in F
Sonata K 81 in e
Sonata K 88 in g
Sonata K 149 in a
Sonata K 165 in C
Sonata K 200 in C

Małgorzata Fiebig – carillon
Main Town Hall, ul. Długa 46
08.04godz. 20:00
EMILIO DE’ CAVALIERI: LAMENTATIONES HIEREMIAE PROPHETAE CUM RESPONORIIS
RINALDO ALESSANDRINI / CONCERTO ITALIANO
Emilio de’ Cavalieri
Lamentationes Hieremiae Prophetae cum Responoriis

Prima die. Lectio prima
Prima die. Lectio secunda
Prima die. Lectio tertia

Girolamo Frescobaldi
Toccata cromaticha per l'elevatione

Gregorio Allegri
Miserere mei, Deus

Concerto Italiano
Rinaldo Alessandrini – artistic direction
Artus Court, ul. Długi Targ 43-44
09.04godz. 17:30
LOUIS MARCHAND: PIÈCES DE CLAVECIN
EWA MROWCA
Louis Marchand
Pièces de Clavecin

Suite d-moll
Suite g-moll
La Venitienne

Ewa Mrowca – harpsichord
Main Town Hall, ul. Długa 46
09.04godz. 20:00
JOHANN SEBASTIAN BACH: KANTATEN UND KONZERTE
PABLO VALETTI / CÉLINE FRISCH / MARIE-CLAUDE CHAPPUIS / MAGDALENA KAROLAK / CAFÉ ZIMMERMANN
Johann Sebastian Bach
Vergnügte Ruh, beliebte Seelenlust BWV 170
Geist und Seele wird verwirrett BWV 35
Cembalokonzert d-moll BWV 1052
Konzert für Violine und Oboe c-moll BWV 1060R

Marie-Claude Chappuis – mezzo-soprano
Magdalena Karolak – oboe

Café Zimmermann
Pablo Valetti – artistic direction, violin
Céline Frisch – artistic direction, harpsichord
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.
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