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July 24th, Saturday 12:05 pm / the tower of the Main Town Hall /

Opening ceremony of St. Dominic’s Fair

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

Vivat Gdańsk! Music from Gdańsk

Paweł Hulisz, Emil Miszk /trumpets – Gdańsk/
Monika Kaźmierczak /carillon – Gdańsk/


Christoph Werner (1617?-1650)
Pieśń biesiadna (opr. P. Hulisz) 

Friedrich Christian Samuel Mohrheim (1719-1780)
Trio g 

Johann Valentin Meder (1649-1719)
Chaconne (opr. M. Kaźmierczak)

 Johann Graumann (1487-1541)
Nun lob, mein Seel, den Herren (Chwal, duszo moja, Pana, opr. E. Miszk) 

Christoph Werner
Pieśń weselna (opr. P. Hulisz)

Paweł Hulisz (*1975)
Ringing Out

Johann Gottlieb Goldberg (1727-1756)
Dwa polonezy (ze zbioru 24 Polonezów we wszystkich tonacjach, opr. M. Kaźmierczak)

Johann Balthasar Christian Freisslich (1687-1764)
Możne Miasto – finał Kantaty na uroczysty dzień urodzin Najjaśniejszego i Wielmożnego Księcia i Pana Augusta III (opr. P. Hulisz) 


“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. 


Trumpeter, arranger, composer. He is a graduate of the Academy of Music in Gdańsk and Bydgoszcz. He permanently cooperates with Cappella Gedanensis and the Musical Theater in Gdynia.

He is a co-founder of the Keepin` Tradition Jazz Quartet, Krystyna Durys Band, and as a session musician he collaborated with with polish pos stars like: Sylwia Grzeszczak, Ewelina Lisowska, Kamil Bednarek, Behemoth band, Deer Project, NPWM, Sound’n’Grease, Lady Pank, Coma, L.U.C. With Sinfonietta Consonus recorded the album Symphonic Theater of Dreams tribute to the Dream Theater and the album Exploration, with Jordan Rudes, keyboardist of the legendary Dream Theater.

In 2012, he received the Cultural Scholarship of the President of the City of Gdańsk, which contributed to the recording of the first solo album entitled: SANACJA – Już taki jestem zimny drań, with highlights of Polish music from the 20s and 30s of the 20th century.

He performs baroque and classical music on a historical instrument. He is the originator and founder of the Tubicinatores Gedanenses, with which he performs on the towers of churches and town halls, continuing the old Gdańsk practice of playing from the towers (Turmmusik). Thanks to the patronage of the President of the City of Gdańsk, the group has produced two albums so far. He is the organizer of the “Muzyka z Gdańskich wież” festival. Cooperation with the organist Andrzej Szadejko led to the creation of two albums solo character: Rückpositiv with arias by A. Scarlatti (soprano-Sylwia Olszyńska), as well as Rückpositiv e la bella tromba with works by Italian composers of the 17th and 18th centuries. (G.B. Viviani, P. Franceschini, D. Gabrieli, G. Fantini)

He deals with the development of old music prints from the 17th and 18th centuries, located in the library of the Polish Academy of Sciences in Gdańsk – occasional cantatas by Gdańsk composers, incl. J. B. C. Freisslich, J. V. Meder, F. Ch. Mohrheim, J. T. Roemhildt,
J. D. Pucklitz, as well as the collection of the Hosianum library in Olsztyn – 18th century liturgical music. Founder of the band Capella Warmiensis Restituta presenting restored Warmian music.

He is the composer of the signal performed since 2017 at the beginning and the end of the Dominican Fair in Gdańsk, as well as the composed signal in 2020 for the Bydgoska Scena Barokowa festival.

He has over 50 recordings in his artistic output, as a session musician, chamber musician and soloist, he also participates in many music festivals.


He began his musical education in 1998 by taking trumpet lessons at the Mieczysław Michalski State Elementary Music School in Lębork 

Emil Miszk is the founder of the Jazz Quintet Algorhythm, which has performed at many prestigious festivals including Warsaw Summer Jazz Days, Sopot Jazz Festival, Jazz nad Odrą Festival, So What’s Next, European Jazz Contest. The band has released three albums: Segments (2015), Mandala (2017), Termomix (2019). In 2017, Miszk founded the octet Emil Miszk & The Sonic Syndicate, with whom he recorded two albums: Don’t Hesitate! (2018) and Artificial Stupidity (2020). All these releases were met with great acclaim by audience and critics alike.  

Emil Miszk leads a very concert-rich life and finds himself well in many musical spheres. His style is based on the clash of two opposite energies- on the one hand, traditional identity, on the other, total freedom. This is the result of cooperation with such artists as: Markus Stockhausen, John Medeski, John Scofield, Andreas Staier, Leszek Kułakowski, Marcin Masecki, Mitch & Mitch, Nikola Kołodziejczyk and Aleksandra Tomaszewska.  

In 2019 he won the most prestigious award of the music industry in Poland – the prize of the Fryderyk Phonographic Academy in the category Jazz Debut of the Year for the album „Don’t Hesitate!”