Główna zawartość
Program festiwalu
Walk: "Musical Trail Around Toruń”
Limited availability *
- Klaudia Orłowska-Radecka – przewodnik
An immersive event with elements of audio description. Electronic registration required starting 17 June 2025
The walking tour, held on International Architecture Day, will take participants through some of the most significant musical landmarks and historic monuments of Toruń. Along the route, visitors will explore Gothic churches, view the historic organs preserved within them, and enjoy an organ recital. They will also learn about the history of these remarkable instruments and the rich musical traditions that once echoed through the city’s sacred spaces. The tour will feature stories of influential musical figures associated with Toruń, including Peter Artomius, author of the renowned Toruń Hymnal. His historic tenement house still stands on the Old Town Square. Toruń also honours the legacy of great 19th century artists—participants will pass a commemorative bench marking the visit of a young Fryderyk Chopin to the city. The tour will then shift to modern-day Toruń, with visits to the Artus Court and the Jordanki Cultural and Congress Centre. The experience will conclude with a majestic organ recital in the Cathedral Basilica of St John the Baptist and St John the Evangelist—a perfect finale to a day of architectural and musical discovery.
Organ Recital
Location: Cathedral of St. Johns / Admission free
- Dawid Wesołowski - organ
Programme:
- G.F. Haendel - Organ concerto in B-flat Major No. 6 Op. 4
- J.S. Bach - Prelude in A minor
- J.Ch.H.Rinck - Theme and Variations on "Heil dir im Siegerkranz"
At noon on 1 July, the majestic interior of Toruń’s St Johns’ Cathedral will resonate with the sound of one of the most powerful and awe-inspiring instruments — the organ. This special recital will be performed by Dawid Wesołowski, who will present works by the great masters of the Baroque and Classical periods: G. F. Handel, J. S. Bach, and J. Ch. H. Rinck.
The programme will feature one of Handel’s organ concertos, composed in the 18th century as interludes for his oratorios performed at the Covent Garden Theatre in London. These concertos were groundbreaking — among the first of their kind written specifically for the organ — and became models for future generations of composers.
Though Handel’s brilliance as a composer is undisputed, it is important to remember that he was also a virtuoso organist. Interestingly, the catalyst for his turn to organ composition was not purely artistic, but also practical: financial difficulties and competition from the emerging opera scene in London.
– During his early years in Italy, he met the renowned harpsichordist Domenico Scarlatti. Their encounter led Cardinal Ottoboni to organize a musical duel between the two. While opinions were divided regarding their harpsichord abilities, at the organ, there was no doubt: Handel’s superiority was clear. As John Mainwaring wrote in Memoirs of the Life of the late G. F. Handel: “Handel possessed extraordinary dexterity and command of his fingers; but what truly set him apart was the unmatched fullness, power, and energy with which he performed. These qualities shone equally in his playing and in his compositions.”
Johann Mattheson, in his seminal work Der Vollkommene Capellmeister, offered perhaps the highest praise: “It can be said that Handel, when it comes to organ playing, is second to none — except, perhaps, Bach of Leipzig.”
It is worth noting that the organs used by Johann Sebastian Bach in Germany were typically large instruments, equipped with double manuals and pedalboards, enabling them to dominate the orchestra with their powerful sound. In contrast, the English chamber organs played by George Frideric Handel had a single keyboard and no pedals, resulting in a lighter, more delicate tone that blended harmoniously with the ensemble rather than overpowering it.
During the concert at St Johns’ Cathedral in Toruń, we will hear Bach’s Prelude in A minor— a dramatic, free-flowing piece composed in the early 18th century during his tenure as court organist to the Prince of Saxony in Weimar. The work showcases Bach’s masterful command of improvisation and expressive intensity.
Also featured in the programme are compositions by Johann Christian Heinrich Rinck, a German organist and composer affiliated with the court orchestra of Prince Louis. We will hear his variations on the theme “Heil dir im Siegerkranz”— a melody that served as the national anthem of the Kingdom of Prussia and later as the unofficial anthem of the German Empire. Interestingly, the tune is identical to that of Britain’s “God Save the Queen”.
All works will be performed on a remarkable instrument: the main organ of St Johns’ Cathedral in Toruń, one of the most significant and historically valuable instruments of its kind in Poland. Located in the western choir, the grand organ was built in the 19th century by Wilhelm Sauer’s workshop in Frankfurt (Oder). With 52 stops, three manuals, and a pedalboard, it offers a rich, full sound that fills the cathedral’s Gothic interior. Following a major renovation in the 21st century, it has returned to active use in both concerts and liturgical services.
The sonic landscape is further enhanced by the smaller “side organ” located in the presbytery. Though more modest in scale, this instrument is a cherished part of the cathedral’s historic furnishings and is frequently used for intimate services and chamber music concerts.
This concert offers more than just a musical experience — it is an opportunity to hear history resonate through wood, metal, and the breath of air that has echoed within these Gothic walls for centuries. We warmly invite you to join us and become part of this living tradition.
Music of the Night A magical dusk recital. Festival Opening
Location: Amfiteatr Muzeum Etnograficznego / Admission free
- Adam Kośmieja - piano
- Magdalena Kujawa - host
Programme:
- L. van Beethoven - Sonata No. 14 in C sharp minor, Op. 27 No. 2 "Moonlight"
- F. Chopin - Nokturn in C sharp minor, op. posth
- F. Liszt - Consolation No. 3 in D flat minor
- C. Debussy – Moonlight
- E. Satie - Trois Gnossiennes
- A. Pärt - Variations for the Healing of Arinushka
- P. Glass - Glassworks: Opening
- M. Richter - Departure
- R. Sakamoto - Bibo no Aozora
- S. ten Holt - HUMAN (Canto Ostinato: sections 69-87)
When all is still, music begins to flow…Join us for a unique recital at dusk.
The programme features classical works that evoke the mystery of night and twilight, as well as hypnotic, dreamlike compositions drawn from minimalist and film music genres.
As the moon rises, the first notes of Ludwig van Beethoven’s Piano Sonata No. 14 in C-sharp minor Op. 27 No. 2—known to the world as the Moonlight Sonata—will fill the air. Composed between 1800 and 1801, the sonata was dedicated to Beethoven’s beloved pupil, Countess Giulietta Guicciardi.
Interestingly, the name “Moonlight Sonata” was not given by Beethoven himself, who titled it in Italian as Sonata quasi una fantasia (Sonata in the manner of a fantasy). The evocative nickname was later coined by poet and music critic Ludwig Rellstab, who likened the first movement to moonlight shimmering across a still lake.
Over time, the Moonlight Sonata has inspired generations of artists. John Lennon, for instance, based the chord progression of Because on a reversed sequence from its opening. Its haunting beauty has also found its way into video game soundtracks like Shadow Man, anime films, and numerous other cultural works.
The work presents an intriguing structure—it omits the traditional first, fast movement. Instead, it opens with a soothing melody, reminiscent of a lullaby. The second movement is carefree and lively, while the finale concludes the piece with unexpected strength and conviction. Beethoven employed innovative compositional techniques in this piece. Notably, he sustains the piano pedal throughout the opening section, allowing the harmonies to blend into one another. This creates a hazy, mysterious atmosphere that immerses the listener.
The programme would not be complete without a nod to Frédéric Chopin, whose nocturnes perfectly capture the romantic aura of the night. The soloist has selected Chopin’s Nocturne in C-sharp minor, Op. posth., composed in 1830 in Vienna.
Chopin’s influence can also be felt in Liszt’s Consolations, though Liszt’s interpretations tended to be more expansive and expressive. As critics have noted, he often allowed himself greater artistic freedom in performance.
“For Franz Liszt, a staunch advocate of programmatic music, the symbolism of sound and the inspiration drawn by both performer and listener were of utmost importance. It is likely that the impulse behind these miniatures had a literary origin”, wrote Marek Szlezer in “Notatnik Pianistyczny”.
The title Consolations was likely inspired by Lamartine’s poem Une larme, ou Consolation, or perhaps a collection by Charles-Augustin Sainte-Beuve.
Interestingly, Consolation No. 3 in D-flat major was particularly cherished by Franz Liszt, who continued to perform it publicly well into his old age.
Tonight, the piano will quite literally—and figuratively— be illuminated by the Moonlight. Clair de lune, the most famous movement of Claude Debussy’s Suite bergamasque, was composed at the end of the 19th century and is often described as a “manifesto of impressionism in music”. Its ethereal melody has graced the soundtracks of films such as Ocean’s Eleven, Seven Years in Tibet, and Twilight. Interestingly, Debussy initially hesitated to publish the suite, doubting its worth, and delayed its release for several years.
Claude Debussy is not the only French composer whose music will accompany us after dusk. Adam Kośmieja has also chosen to include Trois Gnossiennes by Erik Satie—one of the most eccentric figures in late 19th- and early 20th-century music. Often described as a “brilliant jester”, Satie left an indelible mark on modern music. Igor Stravinsky once called him “the most awful person he ever knew—and also the rarest”. His music reflects both a haunting darkness and a whimsical eccentricity. Gnossiennes featured in numerous films and television series.
Alongside classical masterpieces, this evening’s programme also features works by contemporary composers—many of whom are known for film scores, electronic soundscapes, or minimalist music. Among them are Estonian composer Arvo Pärt, American minimalist Philip Glass, British-German artist Max Richter, Japanese icon Ryūichi Sakamoto, and Dutch composer Simeon ten Holt.
After dark, even familiar pieces take on new life. At night, we begin to hear the subtle sounds that often escape us during the day...
Sensory Workshop The Scent of Music
Location: Rehearsal Room CKK Jordanki / Admission free *
Host: Krystyna Borkowska
Duration: 90 minutes
For: Adults and young people aged 16+
Registration: sekretariat
tos [dot] art [dot] pl. Limited availability Begins 17 June at
What Does Music Smell Like?
Embark on a sensory journey inspired by the piece Dance of the Heavenly Spheres
by Adam Wesołowski, composed to mark the 550th anniversary of Nicolaus Copernicus' birth. During this unique experience, you will: Immerse yourself in music with eyes covered, heightening your other senses.
Explore rare and surprising scents.
Create your own fragrance composition that reflects the music’s atmosphere.
Enjoy a final multisensory moment, blending sound and scent into a single, unforgettable experience
These workshops are fully accessible to individuals with visual impairments. The instructor will provide audio descriptions of all actions, sounds, and elements to ensure full participation for every attendee.
Fantasticus – Baroque Fantasies
Location: St. Stephen's Church / Admission free
FANTASTICA ensemble:
- Aleksandra Owczarek – violin
- Klaudia Łoboda – harpsichord
Programme:
- G.B. Viviani - Sonata in D minor
- Ph. F. Böddecker - Sonata in D minor
- H.I.F. von Biber - Sonata dorycka C 139
- H. Litzkau - Sonata in D minor
- H.I.F. von Biber -Sonata in E minor C142
Virtuosity, Madness, and a Musical Journey through the Habsburg Empire.
“Fantasticus” is a concert programme bursting with intensity, virtuosity, and the wild expressiveness of the stylus fantasticus—a Baroque style known for its technical challenges, unrestrained improvisation, and dramatic, unpredictable shifts. It offers a dazzling confrontation between celebrated and forgotten works: from the renowned sonatas of Heinrich Ignaz Franz Biber to the rediscovered Sonata in D minor by Heinricus Litzkau—an overlooked gem of 17th-century violin literature. Recorded by Da Vinci Publishing, Fantasticus invites the listener into a world of Baroque fantasy, where the boundaries between music, emotion, and imagination dissolve into a single, vivid, pulsating experience.
The programme includes the Sonata in A minor by Giovanni Buonaventura Viviani, an Italian violinist and composer active at the imperial court. Known for his operas, oratorios, and solo cantatas, Viviani was reportedly influenced by the celebrated Baroque composer Antonio Cesti. His Sonata in A minor embodies the expressive depth and dramatic flair typical of the era.
The concert also features the Sonata in D minor by Philipp Friedrich Böddecker, a German composer and organist of the 17th century. Only a handful of his works survive, including the Sacra Partitura (a collection of sacred pieces for soprano and basso continuo), a violin sonata, a bassoon sonata, the festive Melos irenicum (composed to celebrate the Peace of Westphalia), and a mourning song written in memory of a government official’s daughter.
A highlight of the evening is the recently uncovered Sonata in D minor by Heinricus Litzkau, a 17th-century violinist and composer. It is likely that this performance will mark the work’s Toruń premiere.
The centrepiece of the programme is the work of Heinrich Ignaz Franz von Biber, the famed Austrian composer and violin virtuoso of Czech origin. Living in the 17th century, Biber pushed the technical boundaries of the violin, famously using scordatura—a method of retuning the instrument’s strings to unlock new sonic possibilities and virtuosic effects. His bold use of high and low positions, varied bowing techniques, and intricate textures helped define his expressive and innovative sonatas. Biber’s pioneering approach to violin technique is thought to have influenced later virtuosos, including Niccolò Paganini and his 24 Caprices.
This concert promises an evening of unbridled Baroque imagination—a world where fantasy reigns and musical boundaries are boldly redefined.
A Musical Journey Around Europe
Location: Chamber Hall CKK Jordanki / Entrance 40 PLN (BUY TICKET)
- Wojciech Waleczek – piano
- Gabriela Ułanowska - host
A special project featuring 25 works from 27 EU countries, presented in celebration of Poland’s Presidency of the Council of the European Union.
- W.A. Mozart (Austria) – Turkish March
- C. Franck (Belgia) – The Doll`s Lament
- T. Radoslavov (Bułgaria) – Mila Rodino
- I. Zajc (Chorwacja) – Uvod i Sbor prosjakinjah
- D. Pentecost (Cypr) – Reverie
- A. Dvořák (Czechy) – Lullaby
- C. Nielsen (Dania) – Piano Piece op. 3 No. 1
- E. Tubin (Estonia) – Prelude No. 1
- O. Merikanto (Finlandia) – Laulu
- J.S. Bach (Niemcy) – Air from the Goldberg Variations
- S. Samaras (Grecja) – Sérénade française
- N. Paganini / Ferenc Liszt (Włochy/Węgry) – Caprice No. 24
- J. Field (Irlandia) – Nocturne in G Major No. 12
- J. Vītols (Łotwa) – Prelude Op. 19 No. 2
- M.K. Čiurlionis (Litwa) - Piano Piece, VL 281
- J.A. Zinnen (Luksemburg) – Ons Hémecht
- N. Isouard (Malta) – Gavotte de la Dansomanie
- J.P. Sweelinck (Holandia) – Toccata in C Major
- J. Halévy / F. Chopin (Francja/Polska) – Variations Brillantes, Op. 12
- C. Seixas (Portugalia) – Tocata 45
- I. Ivanovici (Rumunia) – Waves of the Danube
- J. Cikker (Słowacja) – Sonatina No. 1, 1st mvmt
- S. Osterc (Słowenia) – Piece for piano No. 4
- I. Albéniz (Hiszpania) – Tango from España
- J.H. Roman (Szwecja) - Sonata No. 1, 3rd mvmt
25 Pieces from 27 EU Countries – Wojciech Waleczek’s European Piano Recital is a remarkable project that impresses with it’s scale and variety. Join us on a captivating journey across Europe’s rich cultural landscape.
The recital marks a special occasion: Poland’s presidency of the Council of the European Union for the second time. To honour this milestone, we invite you to experience a concert that is as educational as it is inspiring.
Renowned pianist Wojciech Waleczek will take audiences on a musical tour of Europe, showcasing the musical heritage of all 27 European Union member states. He will perform iconic works known to all — such as the Turkish March, the dazzling third movement of W.A. Mozart’s Piano Sonata No. 11 (Mozart being Austria’s pride), and the virtuosic Caprice No. 24 by Italian violin legend Niccolò Paganini, probably the most challenging piece ever written, arranged for piano by Hungarian composer Franz Liszt. The repertoire also features compositions by celebrated masters like Antonín Dvořák (Czechia), Johann Sebastian Bach (Germany), and Isaac Albéniz (Spain).
Yet the evening is not solely a tribute to household names. Listeners will also discover lesser-known yet compelling composers, such as David Pentecost—a London-born artist who spent much of his life in Cyprus—and Spiridon Samaras from Greece.
From nocturnes and sonatas to stirring national treasures like The Waves of the Danube and Bulgaria’s national anthem Mila Rodino (Dear Motherland), penned by Tsvetan Radoslavov while en route to the Serbo-Bulgarian War, the concert spans genres, histories, and emotions.
The programme also travels through time: from the Baroque elegance of Johan Helmich Roman (Sweden), to the Romantic depth of Ivan Zajc (Croatia), to contemporary voices like Ján Cikker (Slovakia).
And of course, Poland is represented by none other than Frederic Chopin — though not in his well-known mazurkas or polonaises. Performed by Wojciech Waleczek, the programme will include Variations in B-flat major on the theme “Je vends des scapulaires” from the opera Ludovic by Hérold and Halévy, Op. 12.
While the opera itself never gained widespread acclaim, one melodic fragment caught the attention of Frederic Chopin, who transformed it into a vibrant set of variations. The result is a graceful, melodic, and rhythmically engaging piece—at times lively, even dance-like in character. Polish musicologist Ferdynand Hoesick once described the composition as “thoroughly refined and sophisticated”.
And what better time for a musical journey across Europe than on a warm July evening? Who knows—this concert might just inspire your next travel destination.
Wojciech Waleczek is a pianist renowned for his uncompromising artistic integrity and expressive interpretation. As a soloist and chamber musician, he has performed with orchestras around the globe and graced prestigious concert halls across Europe, Asia, Africa, and the Americas.
A professor of art, Waleczek has received numerous accolades in recognition of his contributions to culture. In 2017, he was awarded the Honorary Badge of Merit to Polish Culture, followed by the Gold Medal for Merit to Culture – Gloria Artis in 2023, granted by the Minister of Culture and National Heritage. His achievements have also been recognised at the regional and national level, including the Honorary Badge for Services to the Silesian Province (2018), as well as the Silver (2019) and Bronze (2023) Cross of Merit, awarded by the President of Poland.
Cherries in the City A concert for children
Location: The Amphitheatre of "Baj Pomorski" / Entrance: Admission free
Cherries:
- Andrzej Zagajewski - vocal, banjo
- Wojciech Wędzicha - clatinet, saxophone
- Jakub Lewicki -tube, saxhorn
- Sebastian Kaszyca - percussion instruments
This time, we’re taking you to a city that’s loud and fast-paced—fascinating, yet a little intimidating. As always, we dance (we’ve recorded plenty of brass instruments and won’t hesitate to unleash them on stage!) and channel our energy into exploring themes that resonate with both young and older audiences. We follow a courier, visit a construction site, and set off on holiday. We reflect on the world around us and the changes that shape our daily lives. And we sing about the kind of city we all long for—a place where we can feel safe. Come with us—on your bike!—and let’s spend some time together. This is how the musicians of Czereśnie invite you to their July concert.
Czereśnie w mieście (Cherries in the City) is their latest release—the fifth album of children’s songs by Andrzej Zagajewski, winner of the Polityka Passport in the “Popular Music” category, frontman of the folk-punk band Hańba!, music educator, and producer. The album is infused with world music influences, brought vividly to life through live instrumentation by Wojciech Wędzicha (clarinet, saxophone), Jakub Lewicki (tuba, saxhorn), and Sebastian Kaszyca (percussion), all of whom also perform with Hańba!.
Czereśnie is renowned for its energetic live shows, where the youngest audience members are not just welcome, but actively encouraged to participate. In keeping with the band’s philosophy, concerts are interactive experiences—musical gatherings rather than passive performances.
In Toruń, they’ll play songs like Chodź na rower (Come Ride a Bike), Kurier (Courier), and Budowa (Construction Site). Urban life is presented in a way that’s accessible and engaging for children—without resorting to overly simplified or cutesy language.
So hop on your bike and join the fun at the Baj Pomorski Amphitheatre!
Masteful Strings
Location: The Old Town Hall / Entrance: 40 PLN (BUY TICKET)
Neuma Quartet:
- Sławomira Wilga - violin
- Michał Nowak - violin
- Nela Zaforemska – viola
- Agata Nowak – cello
- Gabriela Ułanowska - host
Programme:
- Ludwig van Beethoven – String quartet in D major Op. 18 No. 3
- Robert Schumann - String quartet in A major Op. 41 No. 3
- Bela Bartok - String quartet No. 3
The concert programme features three remarkable string quartets by composers from distinctly different eras: Ludwig van Beethoven, a Classical master and forerunner of Romanticism; Robert Schumann, a quintessential Romantic; and Béla Bartók, a pioneering voice of 20th-century music. In 2025, we mark several important anniversaries: the 255th anniversary of Beethoven’s birth, the 215th of Schumann’s, and the 80th anniversary of Bartók’s death.
There is a fascinating story behind the creation of Beethoven’s String Quartet in E-flat major Op. 127 no. 12. The work was commissioned by Prince Nicolas Galitzin, a wealthy Russian aristocrat and devoted admirer of Beethoven’s music. Galitzin’s commission ended a ten-year period during which Beethoven had not written a single quartet. Yet despite the prince’s enthusiasm, the composer delivered the piece over a year late—his attention diverted by the monumental task of composing the Ninth Symphony. By this time, Beethoven was completely deaf, so he visually monitored the string parts to shape tempo, articulation, and dynamics.
The premiere of the String Quartet in E-flat major Op. 127 no. 12 took place in 1825. The performance, given by the Schuppanzigh Quartet, was poorly received—perhaps unsurprisingly, as the ensemble had only two weeks to prepare. Joseph Böhm, the first violinist of the Böhm Quartet, later recalled: “When Beethoven found out about this – because he was not present at the performance – he flew into a rage and made it clear to both the performers and the audience what he thought of it.”
Fortunately, later performances were far more successful, and the quartet has since become a staple of the chamber repertoire.
In Przewodnik po Muzyce Kameralnej (Guide to Chamber Music), musicologist Danuta Gwizdalanka describes the opening Maestoso as “majestic, filled with richly resonant chords”. The lyrical Allegro teneramente is strikingly gentle for a string quartet. The second movement consists of six contrasting variations, ranging from subdued to impassioned. The third movement follows without pause—an unconventional, almost galloping scherzo that brims with vitality.
The finale continues to surprise: at times, thanks to Beethoven’s ingenious use of open strings and resonant harmonies, it may sound as though more than four musicians are playing on stage.
Robert Schumann composed his string quartets during a period of declining health, plagued by auditory hallucinations, anxiety, and chronic insomnia. Despite these challenges, he worked with remarkable intensity, and his String Quartet in A major Op. 41 No. 3 is widely regarded as the finest of the three works in the Op. 41 cycle. It was composed in July 1842. The first movement unfolds in a lyrical, romantic mood. In contrast, the second movement is emotionally turbulent, marked by constant shifts in dynamics that heighten the atmosphere of anxiety. The third movement stands out for its simplicity of form yet contains moments of dramatic tension. The finale, rhythmically and technically reminiscent of the second movement, features a particularly striking detail: a slightly altered quotation from the Gavotte in J. S. Bach’s French Suite No. 6.
The most modern piece in the programme is the String Quartet No. 3 by Béla Bartók, the influential Hungarian composer considered one of the defining voices of 20th-century music. Completed in 1927, the work earned first prize at the Musical Fund Society competition in Philadelphia, where Bartók shared the honour with Italian composer Alfredo Casella. He dedicated the quartet to the society in gratitude.
The piece received its Warsaw premiere in 1931, sparking heated reactions. One particularly scathing review came from S. Niewiadomski, who wrote: “It is terribly ugly, and one can listen to it with the same aesthetic interest with which we watch a chimpanzee, which is a caricature of a human being. For the quartet is not music, but only a caricature of it.” Quite intriguing, isn’t it? And yet, another voice offered a dramatically different view. Philosopher and music critic Theodor W. Adorno described it as “undoubtedly Bartók’s best work to date”.
Bartók’s third Quartet is certainly unconventional. Structured as a single continuous movement divided into four interconnected sections, it showcases a vast array of tonal colours and textures. At times, the music is fierce and primal, driven by Bartók’s fascination with Hungarian folk traditions.
Adding to its distinctive voice is Bartók’s use of extended techniques that were highly innovative for their time: sul ponticello (bowing near the bridge), col legno (striking the strings with the wooden part of the bow), glissando (sliding between pitches).
Three distinct works by three masters of classical music will be performed by the Neuma Quartet, an ensemble that has been steadily gaining recognition on both the Polish and international music scenes since its formation. The quartet comprises: Sławomira Wilga – violin, Michał Nowak – violin and concertmaster of the Toruń Symphony Orchestra, Nela Zaforemska – viola, Agata Nowak – cello.
The group’s artistic journey began with a remarkable collaboration: a concert with Leonora Armellini, winner of the 18th International Frederic Chopin Piano Competition. This performance — the opening event of the 21st Kiejstut Bacewicz International Chamber Music Competition in 2022 — proved to be the catalyst for the quartet’s formation. From the outset, the ensemble set a clear artistic mission: to explore the rich depths of chamber music literature and share it with audiences at the highest level of performance.
Since its debut, the Neuma Quartet has continued to evolve and refine its sound, a development reflected in a growing list of accolades. In 2023, the ensemble won third prize and two special awards at the 1st Karol Szymanowski International Music Competition in Katowice and reached the semi-finals of the prestigious Carl Nielsen International Competition. The year prior, it was awarded the Grand Prix at the Beethoven International Competition.
The Neuma Quartet’s musical sensitivity has also drawn the attention of leading European festivals and organisations. The ensemble has been invited to perform at renowned events such as Musethica International, Crans-Montana Classics in Switzerland (where they studied and performed alongside the Jerusalem Quartet), Schleswig-Holstein Musik Festival and Zeist Music Days Festival & Masterclass.
Though the quartet performs for a wide-ranging audience, its commitment to music education and outreach is especially notable. The artists are deeply engaged in projects aimed at young listeners, guided by the belief that music — like conversation — can foster connection, inspire creativity, and nurture emotional awareness in the next generations.
Chopin’s Piano
Location: Rehearsal Room CKK Jordanki / Entrance: Admission free *
Piano recital commemorating the anniversary of the Warsaw Uprising
- Lily Phee (Singapur) – piano
- Urszula Urzędowska – host
F. Chopin:
- Preludes Op. 28 No. 13 – 18
- Mazurkas Op. 33
- Scherzo in E major Op. 54
- Ballada in F major Op. 38
- Walc in E-flat major Op. 18
- Andante spianato and Grand Polonaise in E-flat major Op. 22
On the 81st anniversary of the outbreak of the Warsaw Uprising, we invite you to a unique piano recital—a moving tribute to the heroes of one of the most significant and dramatic chapters in Polish history. The music of Frederic Chopin will resound in homage to their courage and sacrifice.
Taking the stage will be Lily Phee, an outstanding pianist from Singapore and recipient of the extra-statutory prize awarded by the Toruń Symphony Orchestra at the International Chopin Piano Competition in Turzno.
The concert programme will be entirely devoted to the works of Frederic Chopin—a composer whose music has, for generations, conveyed profound emotion, expressive depth, and a powerful sense of patriotism.
We will hear Preludes Op. 28, Nos. 13–18, a selection from the larger cycle of 24 preludes composed in the spirit of Bach. These six pieces span a remarkable emotional range—from quiet reflection to rising tension and melancholic introspection.
The Mazurkas Op. 33, full of rhythmic vitality, stir the imagination with echoes of traditional Polish dances such as the oberek and the more lyrical mazurka. Though not written for dancing, they evoke movement and national spirit.
Another item on the agenda is the Scherzo in E major Op. 54—the last of Chopin’s four scherzos. This work surprises with its lyrical tone and intricate structure. Though “scherzo” means “joke” in Italian, Chopin infuses the form with a philosophical depth, rich contrasts, and intense expressiveness.
A special highlight of the programme will be the Ballade in F major Op. 38, inspired by Adam Mickiewicz’s ballad Świteź and dedicated to Robert Schumann—a close friend and devoted admirer of Chopin’s artistry.
The concert will also feature the Waltz in E-flat major Op. 18, popularly known as the “Grand Waltz”. This youthful work, full of Parisian charm and bold flair, was dedicated to Chopin’s pupil and friend Laura Horsford. Its elegance, lightness, and spirited character have made it one of the composer’s most beloved waltzes.
Another jewel in the evening’s repertoire is the Andante spianato et Grande Polonaise brillante in E-flat major Op. 22— a two-part composition that showcases the full range of Chopin’s expressive and technical mastery. The Andante spianato, lyrical and flowing with an almost improvisatory feel, seamlessly leads into the Grande Polonaise, a dazzling display of national pride, rhythmic vitality, and virtuosity. Composed over several years and completed in 1836, the piece was dedicated to Baroness d’Este. Though originally written for piano and orchestra, it is also performed in a solo version—as it will be on this occasion.
This evening is more than a concert; it is a moment of shared remembrance. Through Chopin’s music we pay tribute to those who fought for freedom, and his compositions, so deeply woven into the Polish spirit, will resonate with emotional power and timeless beauty.
* Free passes are available at the CKK Jordanki box office from 24 July 2025, starting 13:00
Indonesian Evening
Location: The Artus Court / Entrance: Admission free *
A cultural celebration marking the 70th anniversary of diplomatic relations between Poland and Indonesia.
- Warsaw Gamelan Group
- Diah Anggraini-Martin – dancer
- Dennissee Peralta Matlingiewicz - dancer
Programme:
klasyczna i ludowa muzyka oraz taniec z różnych regionów Jawy, współczesne utwory na gamelan
* Free passes are available at the CKK Jordanki box office from 24 July 2025, starting 13:00
Liquid. Open Your Senses
Location: Rehearsal Room CKK Jordanki / Entrance: Admission free *
Mauris Ensemble:
- Magdalena Di Blasi – flute
- Jan Czyżewski – viola
- Adrian Nowak – harp
“We all drifted away for a while.”
“The concert was extraordinary—a balm for the soul.”
“I am delighted, moved, and touched.”
These are just some of the impressions shared by those who attended Liquid, an immersive musical project created by the Mauris Ensemble.
Liquid is a unique fusion of classical instrumentation, electronic music, and improvisation.
It invites the audience on an inner journey, heightening the senses and creating a deeply personal and reflective experience.
Participants describe it as an opportunity to literally sink into the music. The performers, too, exude a natural ease, as if they had always belonged to the space in which they played.
“This is one of those moments when you truly feel why we live—to experience things like this”, reflected one attendee.
We hope the audience in Toruń will share these powerful emotions and that Liquid will leave a lasting impression.
Founded in 2022, the Mauris Ensemble is the brainchild of three musicians: flautist Magdalena Di Blasi, violist Jan Czyżewski, and harpist Adrian Nowak. Their mission is to develop a distinctive musical language—one that blends classical repertoire with improvised, experimental, and electronic elements, while fostering intimate, meaningful connections with audiences and fellow artists.
The ensemble is continuously evolving, engaging in collaborations with esteemed artists and institutions that expand its creative scope. Under the guidance of internationally acclaimed harpist, performer, and actress Rita Costanzi, the Mauris Ensemble has refined its artistic vision and brought to life original projects like Liquid—a concert experience that explores improvised classical music blended with electronic music.
At the heart of the Mauris Ensemble’s work is an openness to new forms of expression that redefines the boundaries of classical music. Collaborations with visual artists, explorations of movement, and the integration of electronic sound are not simply additions—they are organic extensions of the ensemble’s shared vision and the unique artistic identities of its members.
* Free passes are available at the CKK Jordanki box office from 24 July 2025, starting 13:00
The Many Faces of Central and Eastern Europe
Location: Chamber Hall CKK Jordanki / Entrance: 40 PLN (BUY TICKET)
TOS special prize awarded at the 3rd International Polish Music Competition
Quintessence:
- Seweryn Zapłatyński – flute
- Piotr Lis – oboe
- Grzegorz Wołczański – clarinet
- Marcin Orliński – basson
- Daniel Otero Carneiro – horn
- Karol Furtak - host
Programme:
- F. Farkas – Hungary dances
- D. Lipatti – 6 Sonatas of Scarlatti
- G. Ligeti – 6 Bagateli for wind quintet
- W. Kilar – Quintet for wind instruments
This unique concert, showcasing exclusively wind instruments, offers the audience not only a chance to appreciate their distinctive timbre, but also to explore the rich musical heritage of Poland, Hungary, and Romania.
The programme features works by celebrated composers from Central and Eastern Europe, performed by the Quintessence ensemble. The group is composed of graduates from prestigious music institutions, including Chopin University of Music in Warsaw, Conservatorio Superior de Vigo, Accademia Nazionale di Santa Cecilia in Rome, and Brass Academy in Alicante.
The concert opens with Hungarian Dances—but not the well-known pieces by Johannes Brahms. Instead, the audience will hear dances in the 17th-century style by Ferenc Farkas, a modern Hungarian composer renowned for drawing inspiration from folk traditions. Farkas was a proponent of clarity and simplicity in music, deliberately avoiding overly complex forms to make his work more accessible and resonant. His Hungarian Dances from the 17th Century evoke the spirit of Renaissance and courtly styles.
Also on the programme is Six Bagatelles for Wind Quintet by György Sándor Ligeti, a Hungarian composer of Jewish origin born in 1923 in what was then Romanian territory. At the age of 30, Ligeti arranged six movements from his piano suite Musica ricercata for wind quintet—flute, oboe, clarinet, horn, and bassoon—thus creating the Bagatelles.
The piece reflects Bartók’s influence through free-form passages, folk dance stylizations, Balkan rhythms, and a quotation from the third movement of Music for Strings, Percussion and Celesta. With its spontaneity and bold expression, the composition leaves a strong and lasting impression.
Interestingly, several of Ligeti's works were later used in Stanley Kubrick’s 2001: A Space Odyssey.
The repertoire also features Romanian composer Dinu Lipatti, often referred to as the “Prince of the Piano”. Lipatti died tragically young in 1950 at the age of just 33, after battling Hodgkin lymphoma. Despite his short life, he left behind a number of acclaimed recordings, including interpretations of Chopin. His playing was said to transcend the limitations of his time, offering depth and refinement that resonate with audiences across generations.
At the Jordanki Cultural and Congress Centre, audiences will have the opportunity to hear six sonatas by Domenico Scarlatti, a distinguished composer of the Baroque era. These works have been transcribed for wind quartet by Dinu Lipatti. The fusion of Baroque classical music with the distinctive timbre of wind instruments results in a surprising and richly textured sonic experience.
Adding a Polish touch to the programme is the music of Wojciech Kilar—renowned pianist and composer of classical, film, and sacred music. Kilar’s works reflect his remarkable versatility and mastery in sound selection. Over the course of his career, he composed scores for more than 130 films and received numerous awards and honours for his contributions to music. His Quintet for Wind Instruments will be performed at the Jordanki Centre. While chamber music occupied only a minor place in Kilar’s oeuvre, this quintet— written when he was just 20 years old—stands out as an early example of his creative voice. Rooted in neoclassical style, the piece also features melodic and harmonic elements drawn from Polish folk traditions.
The Different Faces of Central and Eastern Europe is a concert that celebrates Polish-Hungarian friendship and Hungarian-Romanian reconciliation. It also provides an opportunity to explore the rich musical heritage of composers from the former Eastern Bloc.
Nature x Cosmos
Location: Concert Hall CKK Jordanki / Entrance: 50 PLN (BUY TICKET)
- Sunjae Ok – violin - Special prize awarded by TOS musicians at the 6th International Karol Lipiński Violin Competition
- Toruń Symphony Orchestra
- Adam Banaszak – conductor
Programme:
- W. Żeleński - In the Tatra Mountains
- M. Karłowicz - Violin concert in A major Op. 8
- W. Kilar - Orawa
- M. Karłowicz - "The Eternal Songs" Symphonic poem Op. 10
- A. Wesołowski - Dance of the Celestial Spheres – a piece celebrating the 550th anniversary of Nicolaus Copernicus’ birth
Władysław Żeleński’s overture In the Tatra Mountains, composed in 1870 in Paris, is widely regarded as the composer’s most important and representative orchestral work. Although written in France, the inspiration for the piece emerged a decade earlier during Żeleński’s stay in the Tatra Mountains. Interestingly, the overture contains no direct references to highlander folklore or the traditional music of the Podhale region. As musicologist Zdzisław Jachimecki noted, Żeleński “did not attempt to create a realistic picture of the granite highlander landscape, the charms of the mountain weather, or the terror of a storm rolling over the Tatras”. Instead, the title alludes to the emotional impressions and reflections the composer experienced during his mountain hikes—through valleys, across ridges, and up rocky slopes. Originally titled Pastoral Fantasy,
the piece features two contrasting motifs: one cheerful and delicate, the other more vigorous and dance-like. With its vivid orchestral colours and memorable themes, the overture is both accessible and evocative, capturing a sense of serenity and summer exuberance.
The evening’s programme also includes two works by Mieczysław Karłowicz: the Violin Concerto in A major, composed in 1902, and the symphonic poem Eternal Songs.The Violin Concerto features an exceptionally demanding solo part, a challenge for even the most accomplished violinists.
Following its premiere, the Berliner Börsenzeitung described the concerto as follows: “The composition consists of three movements of considerable difficulty, particularly in the violin’s upper register. It may be seen as a duel between the soloist and the richly coloured orchestra. While remaining under an apparent influence of Tchaikovsky, the first movement is perhaps the strongest, with a dynamic main theme and a deeply lyrical part. The second movement, Romanza, is also highly melodic. The finale is distinguished by its humour and lively rhythm, with a principal theme that contrasts sharply with the lyrical middle section”.
Performing Mieczysław Karłowicz’s Violin Concerto is no easy feat. The soloist is tasked with navigating intricate polyphonic passages, rapid tempos, and extended passages in high positions—an extraordinary technical and interpretative challenge. At the Jordanki Cultural and Congress Centre, this demanding role will be undertaken by Sunjae Ok from South Korea, the winner of the 6th International Karol Lipiński Violin Competition.
Karłowicz dedicated the concerto to his mentor, the renowned violin virtuoso Stanisław Barcewicz, who also premiered the piece in Berlin. The work was well received at its debut, but it was in Vienna that it truly captivated the audience—so much so that Karłowicz was called back to the stage seven times for curtain calls.
Like Żeleński’s overture In the Tatra Mountains, Karłowicz’s symphonic poem Eternal Songs reflects the composer’s deep emotional connection to the Tatra Mountains. His love of the region resounded not only in his music but also in his writings – here is how he described his experience in the mountains in one of his columns: “And when I find myself on a steep peak, alone, with only the azure dome of the sky above me, and around me the frozen summits submerged in a sea of plains—I begin to dissolve into the space around me. I no longer feel like an isolated individual; I am enveloped by the vast, eternal breath of all existence. This breath passes through every fibre of my being, filling it with a gentle light and reaching into the depths where memories of sorrow and pain lie, soothing, aligning, and restoring. The hours spent in this semi-consciousness are like a brief return to non-existence; they bring peace with life and with death, and speak of the eternal tranquility of merging with the universe.”
Mieczysław Karłowicz’s Eternal Songs was composed between 1904 and 1906. This symphonic poem is divided into three movements: Song of Eternal Longing, Song of Love and Death, Song of Eternity. Karłowicz gave the first movement a poignant motto: “Here I stand before you to complain about my fate!...” The piece weaves lyrical, emotionally charged themes imbued with a distinctly Slavic character.
Tragically, in 1909, the Tatra Mountains—so dear to Karłowicz—claimed his life. He was caught and buried by an avalanche.
Like Karłowicz, Wojciech Kilar was also inspired by the Tatra Mountains. Orawa, the final piece in his four-part Tatra series, was composed as a piece for 15 string instruments less than thirty years ago. The work vibrantly captures the vitality, rhythmic drive, and raw energy of Podhale folklore. Kilar envisioned Orawa as a tribute to the spirit of a highlander band—and he succeeded brilliantly.
The year 2025 has been declared the Year of People of Science from Kuyavia and Pomerania, commemorating the 120th anniversary of the birth of Wilhelmina Iwanowska, an eminent astronomer closely associated with Toruń. Fittingly, the programme features Dance of the Heavenly Spheres by Adam Wesołowski, composed in honour of the 550th anniversary of Nicolaus Copernicus’s birth.
The piece reflects the many facets of Copernicus’s achievements—not only as an astronomer, but also as a mathematician, physician, and spiritual leader. Wesołowski’s composition draws inspiration from Copernicus’s groundbreaking treatise On the Revolutions of the Heavenly Spheres, published in 1543. The central motif of the piece is the note sol—Latin for “sun”—symbolizing the sun’s central position in the heliocentric model of the universe.
Adding to its symbolic depth, the piece lasts precisely 15 minutes and 43 seconds—a direct reference to the year 1543, when Copernicus’s work was published and when he passed away. With Dance of the Heavenly Spheres, Wesołowski offers a powerful musical tribute to science and astronomy, honouring Copernicus’s transformative legacy.
The work is a fitting centerpiece for the Year of People of Science from Kujawy and Pomerania—where music, science, and history converge.
PAGANINI / LIPIŃSKI/ WIENIAWSKI #1
Location: Chamber Hall CKK Jordanki / : Entrance: Admission free *
The finalists of the 6th International Karol Lipiński Violin Competition,
Wystąpią:
- Carla Marrero Martinez – violin - a finalist of the at 6th International Karol Lipiński Violin Competition
- Radosław Kurek - piano
- Piotr Matwiejczuk - host
Programme:
- N. Paganini - Introduction and Variation from aria "Di tanti palpiti" of "Tancredi" for violin and orchestra Op.13
- H. Wieniawski – Legenda Op. 17
- K. Lipiński – Polonaise A major Op. 9
- N. Paganini – Introduction and Variations on "Nel cor più non mi sento" z opery La Molinara G. Paisiello
- F. Schubert - Rondo brillant B minor D. 895
- H. Wieniawski - Theme original varie Op. 15
One Day, Three Recitals – three exceptional young violinists, Sunjae Ok (South Korea), Carla Marrero Martínez (Spain), and Wonbeen Chung (South Korea) – will take the stage in Toruń, performing masterpieces by three legendary virtuosos of the violin: Niccolò Paganini, Karol Lipiński, and Henryk Wieniawski. This promises to be a true delight for lovers of string music.
In October 2024, the Toruń audience was captivated by these remarkable artists during the 6th International Karol Lipiński Violin Competition. Over the course of the competition, they advanced through three demanding stages, dedicating long hours to rehearsals and performing in solo recitals, with piano accompaniment, and alongside the Toruń Symphony Orchestra. Their talent, discipline, and passion were on full display — but in the end, there could only be one winner.
Sunjae Ok claimed first prize, along with several additional awards.
Wonbeen Chung was awarded third place, also receiving multiple special prizes.
Carla Marrero Martínez earned the title of finalist, and was additionally honoured with the Youth Jury and Festival Office Awards.
Now, these three outstanding musicians return to Toruń to showcase their artistry through the iconic works of Paganini, Lipiński, and Wieniawski, and pieces by other great composers such as Eugène Ysaÿe, Robert Schumann, and Franz Schubert.
They will be accompanied by pianists Radosław Kurek and Bartłomiej Wezner, who also supported them during the competition, helping bring their performances to life on stage.
Carla Marrero Martínez
From 2020 to 2024, Carla Marrero Martinez studied under Professor Ana Chumachenco at the Hochschule für Musik und Theater in Munich. She is currently continuing her postgraduate studies with Professor Ingolf Turban. Carla is known for her deep musicality and brilliant technique.
Martinez has graced prestigious stages such as the Konzerthaus Berlin, Konzerthaus Freiburg, and Auditorio Nacional Madrid, performing violin concertos by Brahms, Sibelius, and Schumann. She has collaborated with renowned orchestras, including the Spanish Radio and Television Symphony Orchestra, Miami Symphony, and Magdeburgische Philharmonie, under the direction of conductors such as: Christoph Poppen, Eduardo Marturet and Anna Skryleva. A regular performer with Anne-Sophie Mutter’s ensemble Mutter’s Virtuosi, Martinez is also an accomplished chamber musician. She has shared the stage with celebrated artists like Gidon Kremer, Christian Tetzlaff, and Steven Isserlis. Her accolades include winning the International Violin Competition Villa de Llanes in Spain in 2017 and the Manfred Grommek Prize awarded by the Kronberg Academy in 2021. In 2024, she was a finalist of the 6th International Karol Lipiński in Toruń.
* Free passes are available at the CKK Jordanki box office from 24 July 2025, starting 13:00
PAGANINI / LIPIŃSKI/ WIENIAWSKI #2
Location: Chamber Hall CKK Jordanki / : Entrance: Admission free *
The finalists of the 6th International Karol Lipiński Violin Competition,
- Wonbeen Chung (South Korea) - violin - the winner of the 2st prize of the at 6th International Karol Lipiński Violin Competition
- Bartłomiej Wezner – piano
- Piotr Matwiejczuk - host
Programme:
- K. Lipiński - Rondo alla Polacca Op. 7
- H. Wieniawski - Capriccio-Valse Op. 7
- N. Paganini - Non piu mesta
- R. Schumann - Violin sonata No. 2 in D minor Op. 121
One Day, Three Recitals – three exceptional young violinists, Sunjae Ok (South Korea), Carla Marrero Martínez (Spain), and Wonbeen Chung (South Korea) – will take the stage in Toruń, performing masterpieces by three legendary virtuosos of the violin: Niccolò Paganini, Karol Lipiński, and Henryk Wieniawski. This promises to be a true delight for lovers of string music.
In October 2024, the Toruń audience was captivated by these remarkable artists during the 6th International Karol Lipiński Violin Competition. Over the course of the competition, they advanced through three demanding stages, dedicating long hours to rehearsals and performing in solo recitals, with piano accompaniment, and alongside the Toruń Symphony Orchestra. Their talent, discipline, and passion were on full display — but in the end, there could only be one winner.
Sunjae Ok claimed first prize, along with several additional awards.
Wonbeen Chung was awarded third place, also receiving multiple special prizes.
Carla Marrero Martínez earned the title of finalist, and was additionally honoured with the Youth Jury and Festival Office Awards.
Now, these three outstanding musicians return to Toruń to showcase their artistry through the iconic works of Paganini, Lipiński, and Wieniawski, and pieces by other great composers such as Eugène Ysaÿe, Robert Schumann, and Franz Schubert.
They will be accompanied by pianists Radosław Kurek and Bartłomiej Wezner, who also supported them during the competition, helping bring their performances to life on stage.
Wonbeen Chung
Wonbeen Chung began studying the violin at the age of 6 and was admitted to Seoul Arts High School at 15. She graduated with a bachelor’s degree from the Hochschule für Musik und Theater in Munich at 21 and continued her education with master’s and postgraduate studies under Prof. Pierre Amoyal at the Mozarteum in Salzburg. Chung has performed with prestigious ensembles such as the Korean Chamber Orchestra, Daejeon Philharmonic Orchestra, Hofer Symphoniker, and Savaria Symphony Orchestra. She has won numerous national and international competitions, including second prize at the Postacchini International Violin Competition in 2019, and was a finalist in the International Violin Competition Henri Marteau in 2017. As a chamber musician, Chung has performed at various notable venues, including Schloss Mirabell (Salzburg, Austria), Schloss Moosham (Unterenberg, Austria), Künstlerhaus Salzburg, Göttingen Clavier Salon, Claustros de Santo Domingo (Jerez, Spain), Internationale Sommerakademie Ettal (Ettal, Germany), and Karl Amadeus Hartmann-Gesellschaft e.V. (Munich, Germany). In 2023, she founded the Egon Trio.
* Free passes are available at the CKK Jordanki box office from 24 July 2025, starting 13:00
PAGANINI / LIPIŃSKI/ WIENIAWSKI #3
Location: Chamber Hall CKK Jordanki / : Entrance: Admission free *
The finalists of the 6th International Karol Lipiński Violin Competition,
- Sunjae Ok (South Korea) – violin - the winner of the 2st prize of the at 6th International Karol Lipiński Violin Competition
- Radosław Kurek - piano
- Piotr Matwiejczuk - host
Programme:
- I. Yun - Das Vögelchen
- N. Paganini - Le streghe Op. 8
- N. Paganini - Caprices for violin Op. 1 No. 11, 5, 16
- G. Enescu – Ménétrier Op. 28 No. 1
- E. Ysaÿe – Sonata for violin No. 3 in D minor “Ballada” op. 27
- K. Lipiński – Polonaise A major Op. 9 No. 1
- H. Wieniawski – Fantazja brillante Op. 20
One Day, Three Recitals – three exceptional young violinists, Sunjae Ok (South Korea), Carla Marrero Martínez (Spain), and Wonbeen Chung (South Korea) – will take the stage in Toruń, performing masterpieces by three legendary virtuosos of the violin: Niccolò Paganini, Karol Lipiński, and Henryk Wieniawski. This promises to be a true delight for lovers of string music.
In October 2024, the Toruń audience was captivated by these remarkable artists during the 6th International Karol Lipiński Violin Competition. Over the course of the competition, they advanced through three demanding stages, dedicating long hours to rehearsals and performing in solo recitals, with piano accompaniment, and alongside the Toruń Symphony Orchestra. Their talent, discipline, and passion were on full display — but in the end, there could only be one winner.
Sunjae Ok claimed first prize, along with several additional awards.
Wonbeen Chung was awarded third place, also receiving multiple special prizes.
Carla Marrero Martínez earned the title of finalist, and was additionally honoured with the Youth Jury and Festival Office Awards.
Now, these three outstanding musicians return to Toruń to showcase their artistry through the iconic works of Paganini, Lipiński, and Wieniawski, and pieces by other great composers such as Eugène Ysaÿe, Robert Schumann, and Franz Schubert.
They will be accompanied by pianists Radosław Kurek and Bartłomiej Wezner, who also supported them during the competition, helping bring their performances to life on stage.
Sunjae Ok
Sunjae Ok has performed extensively across Europe and Asia, collaborating with ensembles such as the Euro-Asia Philharmonic Orchestra and the Imcheon Philharmonic Orchestra under the baton of Nanse Gum, among others. In 2015, he appeared at the InterHarmony Music Festival in Arcidosso, Italy. In 2017, he began his studies at the Universität der Künste Berlin under Prof. Tomasz Tomaszewski. His career is marked by numerous accolades, including first prize in the Areum Broadcasting Network Music Competition (2004), first prize in Korea’s Little Mozart Competition (2007), and top honours upon completing his education at the Yewon School (2014). He has also performed in Poland, giving concerts in Moszna and Opole in 2018. In 2020, he was awarded second prize at the 7th International Chamber Music Competition in Bydgoszcz, and in 2024, he captured first prize at the 6th International Karol Lipiński Violin Competition in Toruń.
* Free passes are available at the CKK Jordanki box office from 24 July 2025, starting 13:00
The Dames of Polish Song
Location: The Artus Court / Entrance: 50 PLN (BUY TICKET)
- Jan Gembala – music director, arrangements and compositions
- Joanna Kaczmarkiewicz – vocal
- Michał Rybka – bass guitar, keyboards
- Michał Szubert - drums
We, the women, must have perseverance and, above all, self-confidence. We must believe that we are gifted for something. – Marie Skłodowska-Curie
During the Dames of Polish Song concert, we will celebrate the music of strong, exceptionally talented women whose songs have stood the test of time. This special evening will feature timeless hits by some of Poland’s most iconic female artists—songs that have not only maintained their popularity over the decades but have become part of the very fabric of Polish musical heritage.
One such classic is Anna Jantar’s Tyle słońca w całym mieście (So Much Sun in the Whole City)— not only an enduring hit in the repertoire of the late artist, but also an evergreen in Polish musical history. The song, composed by her husband Jarosław Kukulski, was, as he recalled, born of love and immediately captured the hearts of listeners. The lyrics, written by Janusz Kondratowicz, were inspired by Jantar herself—her radiant optimism and infectious zest for life.
Also on the programme is Alicja Majewska’s empowering anthem Być kobietą (To Be a Woman), which has become a symbol of strength, confidence, and independence for generations of Polish women. We will also revisit one of the great romantic ballads of Polish music: Kochać (To Love) by Piotr Szczepanik, first released in 1966. It became one of his signature songs—frequently dedicated to his beloved wife Krystyna. After her passing, however, Szczepanik found it deeply emotional and difficult to perform. The song has frequently been performed by Edyta Geppert, often hailed as the queen of the Polish song.
Another beloved classic, Miłość w Portofino (Love in Portofino) by Sława Przybylska, will also be performed. The song was so evocative that listeners wrote to the artist, sharing that they had travelled to sunny Portofino in search of the magic and emotion captured in its lyrics.
The concert repertoire also features Edyta Górniak’s unforgettable Eurovision hit To nie ja (Once in a Lifetime), which brought Poland international acclaim at the 1994 contest in Dublin, earning second place with an impressive 166 points. The single quickly climbed the charts across Poland, eventually achieving gold record status.
That evening, we will also hear Zanim zrozumiesz (Before you understand) by Varius Manx—a song brimming with emotional intensity, marked by a blend of melancholy, youthful defiance, and a certain sad reticence. Despite initial doubts from vocalist Kasia Stankiewicz, who was unconvinced by the simplicity of the lyrics, the track became a major success. It proved that power often lies in simplicity, and the album it appeared on went on to sell over 200,000 copies.
Another enduring hit in the lineup is Urszula Kasprzak’s Niebo to my (We Are the Sky)—a rock ballad that explores themes of freedom, intimacy, and building a life together. Though released years ago, the song remains as relevant and resonant as ever, and will also be performed during the concert at Artus Court.
The programme will include more contemporary gems as well, such as Ania Dąbrowska’s debut single Wszystko się może zdarzyć (Anything Can Happen, 2004). With its optimistic, yet mature message about embracing life and the unexpected, it became an anthem of hope for a new generation.
And when speaking of the dames of Polish song—many of whom are true icons of strength—we cannot forget Kayah’s bold and empowering Supermenka (Superwoman). Delivered with her signature sass and edge, the song is a celebration of female independence and resilience.
The evening of 22 August promises to be a powerful celebration of Polish music, emotion, and voice. Within the atmospheric walls of Artus Court, in the very heart of Toruń, we will experience the strength, beauty, and emotion of songs that have shaped generations. Each piece in the programme tells a story—timeless, moving, and unforgettable. We guarantee they will stir your heart this summer, just as they have for decades.
The Charm of Operetta, the Magic of Opera
Location: Concert Hall CKK Jordanki / Entrance: 85 PLN (BUY TICKET)
- Marija Jelic (Serbia) – sopran
- Marta Matalon (Israel) – mezzosopran
- Dainius Pavilionis (Lithuania) – dyrygent
- Toruń Symphony Orchestra
- Urszula Guźlecka - host
Programme:
- J. Strauss – Overture to the operetta Die Fledermaus
- J. Strauss – Rosalind's Czardas from the operetta Die Fledermaus
- J. Strauss – Everyone has their own taste from the operetta Die Fledermaus
- J. Offenbach – Overture to the operetta Beautiful Helena
- J. Offenbach – Amore de vin cyns from to operetta Beautiful Helena
- F. Lehar – Aria Meine Lippen, sie küssen so heiß from to operetta Giuditta
- I. Kalman – Overture to the operetta Countess Maritza
- I. Kalman – Sylvia's czardas "Heia, Heia, in der Bergen" from the operetta Princess Czardas
- G. Bizet – Overture to the opera Carmen
- G. Bizet – Aria Michaeli „Love is a free bird”
- G. Bizet – Habanera from the opera Carmen
- J. Offenbach – Barkarola from the operetta Opowieści Hoffmanna
The evening of 23 August will be filled with melodies from the world of opera, where music tells stories more vividly than words ever could. On this night, we invite you into a world of enchantment and passion through some of the most exquisite excerpts from operas and operettas—works full of elegance, drama and flair. We will be captivated by the voices of acclaimed soloists Marija Jelić and Marta Matalon, accompanied by the Toruń Symphony Orchestra under the baton of Dainius Pavilionis.
Opera is music that thinks.
— Hector Berlioz
Opera is the art form where music becomes the protagonist. It ignites emotion, unfolds narratives, and reveals nuances that language alone cannot express. This unforgettable evening will showcase timeless pieces that have left an indelible mark on the history of the stage—works that have stirred hearts across generations.
We begin with Georges Bizet’s Carmen, one of the most iconic operas of all time. Though controversial at its 1875 premiere, it went on to become a pillar of the operatic canon. At Jordanki Cultural Centre, we will hear it’s most recognisable excerpts: the passionate overture, Micaëla’s tender aria, and the iconic Habanera (Love is a rebellious bird)—a bold celebration of feminine independence and desire.
While Jacques Offenbach is often associated with playful operetta, his The Tales of Hoffmann reveals a deeper, more poetic sensibility. Composed at the end of his life, it captures a dark and poetic vision of love. During the concert we will also hear the ethereal Barcarolle – one of opera’s most cherished duets, graceful and timeless.
From the sparkling world of Viennese operetta, we turn to Johann Strauss II and his masterwork Die Fledermaus. The effervescent overture, spirited Czardas of Rosalinde, and the witty duet Chacun à son goût (Everyone Has Their Own Taste) are brimming with humour, charm, and irresistible rhythm.
We will also be swept away by the melodies of operetta’s golden age, represented by Franz Lehár and Emmerich Kálmán. With selections from Giuditta, The Csárdás Princess, and Countess Marica, audiences will be transported to a world of Hungarian dance, sweeping romance, and exotic flair—where lightness meets deep emotion.
The Time of Operetta, the Magic of Opera is more than a concert—it is an invitation to immerse yourself in grandeur, lyricism, and the full spectrum of human feeling. This will be a night to remember.
We Love Polish Hits
Location: Concert Hall CKK Jordanki / Entrance: 85 PLN (BUY TICKET)
- Małgorzata Janek – vocal
- Weronika Skalska – vocal
- Kamil Franczak – vocal
- Maciej Rumiński – vocal
- Toruń Symphony Orchestra
- Filip Huget – conductor
On 31 August, the Concert Hall of the Jordanki Cultural and Congress Centre will come alive with the energy, emotion, and unforgettable melodies in We Love Polish Hits concert.
This vibrant event will mark the grand finale of the 29th International Nova Music and Architecture Festival — and we plan to end on a high note, once again proving just how deeply we love Polish music. On this final summer evening, audiences will be treated to a celebration of timeless Polish pop hits that spark memories, stir emotions, and most importantly — bring generations together. In this way, we will pay tribute to the immortal melodies and the artists themselves.
The concert programme spans beloved tracks from the 1970s, '80s, and '90s — iconic songs that have topped charts and stood the test of time.
Expect a journey through the most cherished moments of Polish music. The repertoire includes emotional ballads such as: Dumka na dwa serca (A Slavic Folk Song for Two Hearts) – Edyta Górniak & Mietek Szcześniak, Mój przyjacielu (My Friend)– Goran Bregović & Krzysztof Krawczyk, Niech mówią, że to nie jest miłość (Let them say that it is not love) – Piotr Rubik, Niech żyje bal (Long Live the Ball) – Maryla Rodowicz. These unforgettable melodies speak the language of love, nostalgia, and sincerity— the kind of music that says what words often cannot.
But that’s not all. You’ll also hear classic sing-along anthems brimming with energy that are sure to get the audience clapping, dancing, and singing together. Highlights include: Prawy do lewego (The one on the right to the one on the left) – Goran Bregović & Kayah, Parostatek (Steamboat) – Krzysztof Krawczyk, Konik na biegunach (Rocking Horsie) – Urszula, Karuzela gna (Racing Carousel) – Bajm.
And for those who love a rock edge, the concert will feature powerful, rebellious hits that shaped generations and still ignite the spirit: Płonąca stodoła (The Barn is Burning) – Czesław Niemen & Akwarele, Biała Armia (The White Army) – Bajm, Aleja Gwiazd (The Alley of Stars) – Zdzisława Sośnicka, Cykady na Cykladach (Cicadas on Cyclades) – Maanam. This part of the evening is a tribute to Polish rock—bold, passionate, and electrifying. In this set, the music will speak louder than words– exceptionally loud during this exceptional evening. These iconic songs will be brought to life by some of Toruń’s favourite performers: Maciej Rumiński – beloved participant of The Voice of Poland and winner of the RMF FM listeners’ award, Kamil Franczak, Weronika Skalska, and Wioleta Malchar-Orynicz – acclaimed vocalists well known to the Toruń audience.
Join us for a night of unforgettable music, cherished memories, and shared joy. Let these timeless hits transport you back to your youth!