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July 23rd, Friday  8:30 pm / the tower of St. Catherine’s Church /

Musica festiva  opening concert

Tubicinatores Gedanenses /Gdańsk/
Monika Kaźmierczak /carillon – Gdańsk/

Krzysztof Falkowski (*1996)
Fanfara gdańska (2021) 

Reinhard Keiser (1674-1739)
Intrada á 9 avanti l’opera „Ulysses” 

Franz Ignaz Anton Tuma (1704-1774)
Sonata cum Tubis et Tympanis in C major (No. 2) 

Franz Ignaz Anton Tuma (1704-1774)
Sonata cum Tubis et Tympanis in C major (No. 3) 

Matthias Vanden Gheyn (1721-1785)
VI Preludium

Ferdinand Tobias Richter (1651-1711)
Sonata in C major zür Oper “Le promesse degli Dei” 

Mathias Öttl (1675-1725)
Sonata in C major á 4 Clarinis concertatis 

ok. godz. 21:15 

Jakub Nikiel (*1990)
Echa Gdańska (2016) na carillon, elektronikę i Fontannę Heweliusza 


“Whoever gives himself to music gains a heavenly gift, for it is born of heaven. 
For if in the end times all the arts were to pass away, yet music would last, as all angels are themselves musicians… „

Quotation from an appendix to the statute of the guild of musicians approved by the  
City Council of Gdańsk in 1628. 

Early music, especially baroque music is admirable by many. However, instrumentalists and musicologists seem to be very much concerned about its performance which is never easy. Nevertheless, musicians often perform this kind of music and overcome their barriers. We also witness today the revival of natural trumpets, reconstruction of historic instruments. 

Extensive music collection from the XVII and XVIII century Gdansk allow us to continue the amazing tradition of performing this kind of art. The Artus Court is a great source of knowledge about Gdansk musicians. The Rule Book from 1421 says there were four of them divided into two pairs: Pfeiffer and Trompeter. Apart from urban Pfeiffer there were also Tower Pfeiffer. The latter were “urban wardens” associated in Turmpfeiferdienst  (City council for urban Pfeiffer). They would play from church towers (Holy Virgin Mary and St Catherine). At the end of the XVI century, the third one joined them – the church of St. John. Their duty was to warn the town dwellers against intruders, welcoming guests with fanfare and announcing the closing of city gates. St. Catharine Pfeiffer players would play short bugle calls every half an hour, every hour a longer piece (possibly a religious anthem or choral). On holidays and sunny Sundays they would play one or two pieces using more than one trumpet.   

Their simple pieces (Turmblasen) soon transformed into more sophisticated music (Turmmusik). At the beginning of the XVI century we hear of the first information concerning hiring four musicians previously performing at the Artus Court: Henryk Hyl, Wolfgang Bottener, Hans Hyrssacker and Adam Koning were rewarded and wore liveries. Their task was to act as a herald, accompanying envoys but also announcing edicts and the resolutions of City Council. They would also participate in war expeditions as battlefield trumpeters (Feldtrompetern). From the second half of XVI century they were obliged to take part in the mass at Holy Virgin Mary Church and play from the town hall twice a day except for Fridays from spring till the day of St. Martin (11th November). They also participated in the activities of church choir (supporting at least two voices) to make it sound stronger and louder. 

The combination of historical trumpets and percussion is unusually rare in these times. In times gone by it was fairly commonplace at the courts of rulers, over the din of battle, or from the towers of wealthy cities’ churches and town halls. 

Tubicinatores Gedanenses is the only systematically functioning group of its kind in Poland. Continuing the tradition of Turmmusik (performing concerts from towers), playing during battle reconstructions (Feld-trompetter) and during city celebrations (including St. Dominic’s Fair in Gdańsk), the band brings history closer, underscoring the extraordinary weight and utility of the trumpet corps. At the same time, the musicians exploit modern means of composing and production to show the timelessness of this type of ensemble.

Paweł Hulisz


is a city carillonist of Gdańsk (Poland). She is a graduate of the Academy of Music in Gdańsk (Theory of Music, Church Music, Choir Conducting) and the Netherlands Carillon School in Amersfoort (studies with Arie Abbenes and Bernard Winsemius). During her studies, she received number of scholarships, including the Mayor of Gdansk’s scholarship for the best student in the department (2002) and the Huyghens scholarship from the Dutch government (2003/2004). In 2007, thanks to a cultural scholarship from the City of Gdańsk, she took masterclasses from Geert D’hollander in Belgium. She teaches carillon and other subjects at the Music Academy in Gdansk.

Monika is a laureate of several international carillon competitions and a finalist of the 2008 Queen Fabiola competition.

As a performer, she is internationally in demand, playing concerts across Lithuania, the Netherlands, Belgium, USA, France, Denmark, and Ireland, and collaborating on creative projects such as performing solo recitals for the acclaimed early music festival Actus Humanus in Gdańsk, premiering and recording pieces by leading Polish composers for Polish Music Editions, performing regularly with tower trumpeters, top Gdańsk jazz players, and more. 

Monika is the founder and director of ongoing musical initiatives such as the Gdańsk Carillon Festival. Since 2012, Monika has held a doctor of arts degree, specialized in carillon playing. She also conducted the Gdansk Burgers’ Choir (Chór Mieszczan Gdańskich) for 11 years and was a president of the Polish Carillon Society. In 2021, Monika was awarded the highest cultural prize in her city: Splendor Gedanensis.