06 - 08 - 2021 (Friday) H. 20:15

 

Will perform:

Ewa Rytel – organ /Gdańsk/

Tubicinatores Gedanenses:

Paweł Hulisz – trąbka barokowa

Piotr Kowalkowski – trąbka barokowa

Filip Pysz – trąbka barokowa

Wojciech Brzozowski – trąbka barokowa

Paweł Szewczyk - perkusja

 

Repertoir: 

Cuius Schmidtlein
Phantasia quinti toni

Jan Pieterszoon Sweelinck (1562-1621)
Balletto del granduca
Fantasia chromatica

Ferenc Liszt (1811-1886)
Salve Regina
Ave Maria von Arcadelt

Georgi Muschel (1909-1989)
Toccata

Girolamo Fantini (1600 - 1675)
L’Imperiale

Anonymus
Jasna Góra XVI wiek - Intrada

Anonymus
Tabulatura vietoris saeculi XVII wiek
Nr 313
Nr 317
Nr 319 Z cleho srdcze sweho
Nr 320 Rano stawagice welicy y maly

Anonymus
Fanfary wg. marszów weselnych z Wielkopolski z XVIII wieku

Jacob van Eyck (1590 - 1657)
Der Fluyten Lust-Hof:“Questa dolce Sirena” oprac.Paweł Hulisz

N.Herman 1500-1561/Gdańska Tabulatura
Lobt Gott, ihr Christen alle gleich, oprac.Paweł Hulisz

Anonymus /Gdańska Tabulatura
Surrexit Christus hodie, oprac.Paweł Hulisz

E.Miszk/P.Hulisz 1990-, 1975-
Songs of Trumpets:
I Song of Compagney
II Principale Solo Song

A.D.Philidor 1726-1975
Canon Du Carrousel

J.E Altenburg 1734-1801
Morgensegen

K.Werner 1618-1650
Pieśń Weselna z XVII

EWA RYTEL

pianistka i organistka. Ukończyła studia na Wydziale Instrumentalnym w klasie fortepianu prof. Andrzeja Artykiewicza oraz w klasie organów prof. Bogusława Grabowskiego w Akademii Muzycznej w Gdańsku. W drodze konkursu pianistycznego w 1990 otrzymała roczne stypendium artystyczne przyznane przez Towarzystwo im. Fryderyka Chopina w Warszawie. Brała udział w organowych kursach mistrzowskich prowadzonych przez m. in. H. Vogla, D. Rotha, A. Schoofa oraz kursach pianistycznych prowadzonych przez A. Jasińskiego, A.Tatarskiego,J.Marchwińskiego.Koncertuje jako solistka i kameralistka. Dotychczas nagrała 11 płyt CD z muzyką romantyczną dla wydawnictwa fonograficznego Acte Prealable,które promuje muzykę nieznaną. Krążki CD były premierami światowymi. Ewa Rytel od 2005 roku pracuje w gdańskiej Akademii Muzycznej jako nauczyciel gry na organach i fortepianie oraz akompaniator.

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

 

Promoters