Mikołaj Toreński

Mikołaj Toreński , also Nicolaus Zielenski (* around 1560 , † around 1620 ) was a Polish organist and composer . His compositions are among the earliest of the baroque style in Polish music.

Life

Little is known about Zielński as a person. The files of the archive of the Płock cathedral chapter show that he came from Warka , that he was associated with the Płock diocese in the years 1604-1606 and that in 1604 he ceded an estate in the episcopal village of Gromino by ceding the territory of the nobleman Stanisław Kijewski received from Pułtusk.

In 1606 he was named organist in the aforementioned annals of the Płock chapter. The news comes from 1611 that he was married to a certain Anna Feter and that he was organist and maestro di capella of Bishop Wojciech Baranowski . On March 1, 1611 (date of Zielenski's dedication sheet on his Venetian print), he was in Łowicz , the seat of the Gnesen archbishops, to take part in a trial for an estate. In addition, Starovolski was mentioned in the second edition of his Scriptorum Polonicorum Hecatonias , where he mentions Zielenski alongside other Polish composers who are said to have studied in Rome. However, Starowolski did not make a clear statement; it was only mentioned in the context of a printed marginal note.

Baranowski was first bishop of Płock, whose residence was in the palace in Pułtusk; hence the benefices that Zielenski received in the nearby village. Baranowski proceeded similarly (already as a Polish primate) later when he gave Zielenski the mill in Rudnik and the management of the village of Bochnia, both of which were also located near the Łowicz residence of the primate, for which the aforementioned court case (1611) was run with the previous owners.

What Zielenski did after the death of his employer Baranowski in 1615 or when and where he died has not been recorded. It is also not possible to create an exact chronology of his works based on the sources.

In 1989, the English musicologist Delma Brough found a source that supported earlier assumptions, for example by Hieronym Feicht and other Polish musicologists, regarding Zielenski's relationship with Baranowski in the period before his primacy.

plant

Opus Zielenskis comprises a total of 113 vocal instrumental and purely instrumental compositions. 56 in the collection

• OFFERTORIA | TOTIUS ANNI | Quibus in Festis omnibus Sancta Romana Ecclesia uti consuevit, | Septenis, & Octonis vocibus tam vivis, quam | Instrumentalibus accomodata | His accesserunt aliquod Sacrae Symphoniae cum Magnificat | vocum duodecim

and 57 in the collection:

• COMMUNIONES | TOTIUS ANNI | Quibus in solennioribus Festis Sancta Romana Ecclesia uti consuevit ad cantum | organi, per unam, Duas, Tres, Quattuor, Quinque, Sex voces, | cum Instrumentis Musicalibus, & vocis reso- | lutione, guam Itali gorgia vocant | decantandae. | His acesserunt aliquod Sacrae Symphoniae, Quattuor, Quinque, et Sex vocum, et Tres | Fantasiae Instrumentis Musicalibus accomodatae .

9 pieces are repeated twice in different versions. Both collections were published in 1611 in two parts as part books and as a Partitura pro organo by Jacobus Vicentius in Venice . The only complete edition was in the library of St. Bernard Church in Wroclaw until 1865 , then in the Wroclaw City Library until World War II. Currently there is a decompleted whole, consisting of some part books and the Partitura pro organo , whereby the missing parts and fragments from various copies made before the war and which could be supplemented from the Partitura pro organo .

Zielenski's compositions were conceived for 3 to 12 voices (5 for 3 items, 32 for 4 items, 14 for 5 items, 6 for 6 items, 12 for 7 items, 43 for 8 items, 1 for 12 items) St.), i.e. for vocal ensembles that were well known and generally used at the time. These are mainly adaptations of Mass Proprien , namely 44 Offertories , 47 Communiones , a Magnificat and 19 other texts such as Antiphons (including two texts dealing with Polish saints - St. Adalbert and St. Stanislaus), as well as psalms , responsories , Vespers (evening prayers).

The musical processing of sacred texts of a certain kind, in particular the Mass Proprien, was the general practice in music of that time; there are arrangements by composers such as Giovanni Pierluigi da Palestrina or Orlando di Lasso . In Polish music literature, in addition to the often edited psalms, cycles of introita appeared for the entire church year (for example the lost cycle by Martin from Lemberg or a group of introita from the organ tablature of the Warsaw Music Society). Offertory cycles in multi-choir arrangements only became popular in the 17th century, so target skis can be counted among the forerunners of this genre. On the other hand, there are hardly any adaptations of Communiones at that time. The target skis collection is therefore one of the exceptions. His Offertoria, which were intended for various church festivals (i.e. not for Sundays), have an arrangement that is consistent with that of the church year - with a few exceptions. In contrast, the Communiones break out of order.

The works Zielenskis arose from a compositional practice, which in the late phase of the Renaissance - counterpoint originated. The treatment of polyphony , especially imitation and multiple choirs , the indeterminacy of the scoring, the design of the melody , tonality and other means demonstrate the connection between his works and the traditions of the second half of the 16th century. However, phenomena such as the beginnings of concert performances, the use of short motifs, the exposed role of the bass and the beginnings of monody , especially in the formation of tricinias with organ or instrumental accompaniment, which are the pre-forms of the baroque concert, prove that target skis are the the latest trends and achievements of the compositional technique were not alien and that one can also see him as a representative of the next style epoch.

The musical material used by Zielenski comes from his own invention. There are few and very weak concordances on Polish hymns. On the other hand, his break with Gregorian chant is characteristic . Only 8 of his compositions show similarities with the chorale, although these are limited to the first notes of the compositions. A single chorale intonation appears - albeit without influencing the piece - at the beginning of the twelve-part Magnificat .

From the point of view of the treatment of the musical material, Zielenski has two types of design. Firstly, the series of sections that consist of different musical material and secondly, repetition and reorganization of the same musical material with small extraneous additions that play the role of connecting elements.

Pseudomonodes

Target ski uses four types of shapes. The pseudomonodes (here 20 compositions from the Communiones ) are among the first . It is characterized by highlighting one of the voices (mostly bass , sometimes soprano , very rarely another), which is then usually richly decorated. It is true that they are not yet purely baroque solo compositions with the substructure of a chordal accompaniment, because the solo part is woven into a mostly four-part, polyphonic accompaniment that still obeys all the rules of the Renaissance contrapuct. In addition, the solo part stands out so strongly from the rest that these works can no longer be counted as part of the motet genre . The internal structure of the pseudo monodies is rather simple and is based on the combination of the impersonated initial fragment (usually with a full implementation ), which recalls a homophonisierenden section in which the composer operates with short motifs to later Baroque motif work. This is often accompanied by concerting elements.

Tricinia

The second structure is represented by the tricinia. (5 pieces, mainly comm.) These are simple compositions with a trio arrangement of the voices, whereby the two upper parts are usually performed in parallel in thirds. The bottom voice, on the other hand, is a clearer ambitus away from the top voice. Homophonizing structures predominate in these pieces, while short imitated sections emphasize concerting properties. The melodic lines are usually strongly figured.

Motets

The third type is represented by strongly developed motets (the majority of the Communiones ), the characteristic of which is the great wealth of technical means used. On the one hand, these are compositions with homophonizing elements of concert performance and richly used ornamentation (mostly in the outer voices, see the ornamented version of Pascha nostrum ), which sometimes contain sections in nota contra notam (e.g. in Quotiescumque manducabit ). On the other hand, it is about compositions that can be completely imitated, with broadly based from two to five - often redundant - implementations ( Vos secuti estis me ). Most often, however, there are motets in which we are dealing with a kind of “mixed factor”, which is based on series of imitated sections at the beginning of the pieces and of homophonizing sections in the further course and at the end of the composition.

The polyphonic sections operate by means of the concertation typical of Zielenski through imitation ( Gaudete iusti in Domino ), whereby the vocal groups can double the imitated motifs until vertical, i.e. chordal structures emerge in the individual vocal complexes ( Surrexit dominus ) . In these sections the composer uses imitation, imitation or free counterpoint , which usually occurs in the final phases of the pieces. Zielenski also uses concertos of individual vocal groups in homophonizing sections, but here they usually form short connecting elements between the imitating leadthroughs and usually have no concerting properties. A characteristic of the motets are strong contrasts in the structure caused by changes in the line-up ( i.e. the timbre) and changes in the meter .

"Symphoniae sacrae"

While the Communiones vary greatly in their form, the Offertoria are more static in their structure. They all belong to the type of the Symphonia sacra (sacred concert), i.e. to broad-based compositions whose structure is based on the concertation of two choirs. The nota contra notam - structural structure and a non-imitating, free counterpoint continue to be in the foreground . These structures also penetrate homophonizing fragments that sound in the course of the compositions. Laetentur coeli , which was built entirely on homophony, is an exception . Imitations - which are rarely used in the course of the piece - are mostly limited to stereotypical initial figures in the form of four-part developments (one after the other in both choirs).

Seven and eight-part performances are very rare. The contrasts are mostly achieved through the consistent use of multiple choirs and comparisons of changing meters. Other work elements tend to strive for unity. The melody here is more modest than in the Communiones . The decorations are also less expansive.

Superstructures

The contrapuntal and structural means that Zielenski uses have strong ties with the tradition of Renaissance polyphony . At the same time, however, their application has strong individual and original features. Zielenski mainly made use of polyphony, and within this framework he used different types of voice structures. The most frequently used one is the nota-contra-notam structure (Symphoniae sacrae and motets), although it differs a little from the earlier nota-contra-notam counterpoint, but does not yet completely cross the line with pure homophony.

The melody used is still relatively little developed (with the exception of the top voice), in the 4-part syllabic treatment of the text occurs, on the other hand in the 7- and 8-part constructions the individual voices lose their independence and are often doubled. This structure is characterized by its technical "correctness", parallels rarely occur.

Imitation techniques

The different types of imitation structures play an important role. Aiming ski also used precise execution of longer phrases, but above all he uses short imitations of small motifs. Often imitated structures with a limited number of sections are closely interlinked, sometimes they are even placed on top of each other (In monte Oliveti). Aiming ski also uses canonical imitation. In simple imitations, quarters and fifths predominate; the gaps between the imitating voices are short and irregular. Imitation is sometimes treated freely; the imitated sections are subject to transformations ( Levavi oculos ), especially when using tonal colors and when imitation and homophonic structures are superimposed. The use of non-imitating polyphony and polyphonizing invoices is a rare occurrence. The latter occurs locally in some pseudomonodes and motets as well as in the closing phases of the Symphoniae sacrae and gives an impression of the figuration of chord progressions.

In Zielenski we can already find the beginning of the process of modifying polyphony and striving towards homophony , mainly by preferring the outer voices, limiting the passages, third-octave structures in the vertical and horizontal arrangement and changes in the imitated material. However, the homophonizing fragments do not yet form a clear opposition to the polyphonic fragments. The tricinias are most developed here. In some tricinia there is already a departure from fluent voice guidance in favor of vertical treatment with the use of all triad variants. This suggests a striving for real homophony, but it is obscured by the not entirely clear tonal structure of the works.

In addition to striving for the modification of polyphony, Zielenski shows developmental tendencies in the polyphonic structure, which are realized through new types of realization, especially in the polyphony. In the Offertoria for two choirs with the accompaniment of an organ and in his 12-part Magnificat (with accompaniment of 3 org.) Zielenski uses different combinations of choirs, mostly different choirs are put together in different registers or very different choirs in the same register ( Deus firmavit orbem terrae ). The composer often combines different methods of treating the choir: that is, tutti - fragments or a network of performances by independent or dependent choirs. In the choir parts, Zielenski usually uses the same material, which is varied, simplified or evolved in the repetitions. Sometimes he treats both choral parts as opposing and contrasting fragments of the composition. He often uses the echo, which he achieves by precisely repeating the fragments by both choirs while simultaneously differentiating the dynamics .

Diminution technique

The diminution technique plays a special role in Opus Zielenskis, a practice characteristic of the 16th century for embellishing the melody. She will u. a. determined by rhythmic frames, as well as coloring , ornamentation and figuration . Sometimes the diminution can have a formative meaning. The transformed melody decides on the structure of a piece ( amen dico vobis ). Zielenski usually treats you diminution as a kind of artistic "addition" and it only serves for ornamentation ( pascha nostrum ). Thanks to the simple and decorated versions of the same pieces, one can easily obtain information about Zielenski's “ornamental instruments”, although he uses relatively few decorations. As a result of the diminution he usually creates a melodic figuration (in contrast to common practice - embellishment of scale-like runs in the bass part) as well as numerous side and passage tones that enrich the rhythmic sequence of the work.

The use of '' groppo '' , which is mostly used in distinctive parts of the works ( Haec dies quam fecit ) , is very popular with Zielenski . The use of figures, which were rare at the time, to decorate the sub-second, sub-fifth, and the interval of a falling second represents a separate move by target skis when using diminution. These figures are usually placed in the edges. On the other hand, the trillo or dotted rhythms ( Christ qui a patre procedit ) characteristic of Italian music are rare .

Relationship of the music to the word

In Zielenski's work, the relationship between music and words is based above all on the fact that the structure and entire sequence of a piece are determined by the text (the architecture). The rule of the projection of the word by the music, on the other hand, is as good as nonexistent in target skiing. Only a few simple illustrative effects related to the meaning of a word are used. In some works with a semantically - emotionally clear statement, the emotion in the music is adapted to that in the text ( Laetentur caeli ). In other works, the composer consciously operates with musical contrasts ( Laetamini in Domino ), with rhythmic effects (dissecting the rhythm and accelerating the sequence, strongly dotted rhythms - In virtute tua ) or with metric changes (13X C in O in Salva festa dies ) .

The introduction of chromatics must be counted among the extraordinary means ( Vox in Rama ). The technical treatment of the text is stereotypical in Zielenski - in the Symphoniae sacrae the syllabic treatment predominates - in the solo pieces - different degrees of melismatics .

tonality

The tonal side of Zielenski's music does not show any individual or particularly progressive traits. The strict relationship to dissonance is retained, only in the embellished melodies is the treatment of dissonance a little more permissive. In his works, consonances based on the modal system predominate , with particular preference for the Ionic , Doric , Mixolydian and Aeolian modes. In this regard, he moves exactly within the normative framework of his time.

Instrumental line-up

The instrumental line-up in Zielenski's works is not clearly defined. It is likely that all of the compositions (with the exception of the Fantasies) were intended for vocal instrumental performance. However, a pure a cappella presentation cannot be ruled out either. The majority of the compositions - and certainly all of the solo compositions - were performed with organ accompaniment, although this could be realized in different ways - from a simple, chordal performance to performing with the vocal part. The organ part contains the repetition of the vowel part - either in more precise form, further reduced to a smaller number of voices or a simplified form. It is therefore not a real organ part - it is rather a kind of “part extract” from the individual compositions. Only in the case of those Communiones in which the organ appears in addition to the solo part was a special organ part printed. In the surviving prints from the period, there are seldom more detailed information about the performance apparatus. Zielenski only mentions the most important instruments such as: lutes , harps , violins , viols , especially often trombones as well as bassoons and prongs . So it does not exceed the range of instruments used at the time, and it does not exclude various performance apparatuses.

reception

The importance of Zielenski for the Polish musical culture is mainly based on the fact that he transplanted the achievements of the Venetian school and those of low-voicing on the basis of Polish music. His work shows all the achievements of this school - such as multi-choirs , concertos, the use of diminution , coloristic and dynamic effects (the echo through especially the treatment of the choir), as well as structural contrasts, achieved by juxtaposing polyphonic and homophonic sections, etc. a. In addition, Zielenski created the first large-scale collections of vocal instrumental music in Polish music with a well-developed, modern structure. In addition, he has devised an original type of concert technique and the high technical level as well as great compositional invention have made his work a valuable addition to the European music repertoire.

Between the 16th and 18th centuries, in the Polish Kingdom of Both Nations (Polish-Lithuanian Union State), Italy became the epitome of the best and most modern in the fields of science (and education), art and culture. Italian patterns were copied by the Polish magnates and the nobility and the Italian art or cultural paradigm was generally used, if one can speak of “an” Italian paradigm in this regard. However, this only happened externally, these patterns were not adapted or converted for the Polish realities. They were used, as it were, bought, used as far as it was convenient and useful. The broad Polish society - that is, essentially the nobility - was well aware of the high value of imported cultural values, but without being able to understand their deeper meaning.

The Polish nobility were so proud and fixated on their own Polish, or as it was called "Sarmatian" culture at the time, that they did not tolerate any foreign influences. So it came about that the Royal Chapel - which was composed mainly of Italians - was admired, but received almost no broad reception. Yes, the nobility threw King Sigismund III. Wasa even wasting money on this. It can be assumed that the wars against Russia , Sweden , Cossacks , the Ottoman Empire (Turks) and Crimean Tatars that broke out permanently in the 17th century - and the resulting difficult financial situation of the empire - ultimately led to the emergence of a broader musical life in the West Made patterns impossible. The reports about other magnate bands are too fragmentary to conclude that there was really a rich musical life on Polish courts.

On the other hand, it is obvious that Nicolaus Zielenski - court conductor of the Polish primate Wojciech Baranowski - had his works printed not somewhere in Germany, but in Italy . Venice was also on the hiking trail of Polish travelers to Italy (for example Krakow - Prague - Vienna or Graz - Venice - Rome ), and the city was well known to the Poles as a cultural center. The choice of Venice as the place of publication spread the reputation of the employer as a patron of the arts. It can also be assumed that Baranowski willingly gave away the compositions of his court musician in order to shine with the high level of his court music. It is all the more astonishing that only one (incomplete) copy of the Offertoria and Communiones survived. In addition - it could only serve the career of the unknown Polish musician - to have his works printed in Venice.

Zielński's list of works (created after the first printing)

Offertoria totius anni - Symphoniae sacrae

• Laetentur caeli (In Prima Missa Nativitatis Domini)
• Deus firmavit (In Secunda Missa Nativitatis Domini)
• Tui sunt caeli (In Tertia Missa Nativitatis Domini)
• Elegerunt Apostoli (In festo S. Stephani Protomartyris)
• Iustus ut palma florebit (In festo S. Ioannis Apostoli et Evangelistae)
• Anima nostra (In festo SS. Innocentium)
• Inveni David (In festo S. Sylvestri Papae)
• Reges Tharsis (In Epiphania Domini et per totam Octavam)
• Desiderium animae eius (In festo S. Antonii Abbatis)
• Tu es Petrus (In festo Cathedrae S. Petri)
• Laetamini in Domino (Commune plurimorum Martyrum)
• Mihi autem nimis (In festo S. Andreae Apostoli)
• Diffusa est gratia (In festo Purificationis BMV)
• Constitues eos (In festo S. Matthiae Apostoli)
• Veritas mea (Commune Sanctorum)
• Ave Maria (In festo Annuntiationis BMV)
• Terra tremuit (In Dominica Resurrectionis)
• Angelus Domini (Feria secunda Paschae)
• Intonuit de caelo Dominus (Feria tertia Paschae)
• Confitebuntur caeli (In festo SS. Philippi et Iacobi Apostolorum)
• Dextera Domini (In festo Sancte Crucis)
• Posuisti domine (In festo S. Matthiae Apostoli et Evangelistae)
• Ascendit Deus (In festo Ascensionis Domini)
• Confirma hoc Deus (In festo Pentecostes)
• Portas Caeli (Feria tertia Pentecostes)
• Benedictus sit Deus (In festo Sanctissimae Trinitatis)
• Sacerdotis Domini (In festo Corporis Christi)
• Mirabilis Deus (In Communi plurimorum Martyrum extra tempus Paschae)
• Gloriabuntur in te omnes (In festo SS. Joannis et Pauli Martyrum)
• Beata es Virgo Maria (In festo Visitationis, Nativitatis, Praesentationis et Conceptionis BMV)
• Filiae Regum (In festo S. Mariae Magdalenae)
• In omnem terram (In festo S. Iacobi Apostoli)
• Gloria et divitate (In festo Transfigurationis Domini)
• Confessio et pulchritudo (In festo S. Laurentii Martyris)
• Assumpta est Maria (In festo Assumptionis BMV)
• In virtute tua Domine (In festo Decollationis S. Ioannis Baptistae)
• Pritegae Domine (In festo Exaltationis Sanctae Crucis)
• Stetit Angelus (In festo Dedicationis Basilicae S. Michaelis Archangeli)
• Iustorum animae (In festo Omnium Sanctorum)
• Domine Deus in simplicate cordis mei (In festo Dedicationis Ecclesiae)
• Afferentur Regi (Commune Virginum)
• Gloria et honore (In festo S. Ignatii Episcopi et Martyris)
• Laetentur omnes (In festo S. Nicolai de Tolentino)
• Felix namque (A Nativitate Domini usque ad Purificationem BMV)
• Factus est repente (Communio in festo Pentecostes)
• Tanto tempore (Communio in festo SS Philippi et Iacobi Apostolorum)
• Assumpsit Iesus Petrum (Motetto de Transfiguratione Domini)
• Per merita S. Adalberti (Motetto de S. Adalberto)
• Ortus de Polonia Stanislaus (Motetto de S. Stanislao)
• Igneum Ignatii iubar (Motetto de S. Ignatio)
• Estuet puris (Secunda pars)
• Salve festa dies (Motetto de S. Spiritu)
• Spiritus Sancti gratia (Motetto de S. Spiritu)
• Fulget in Choro Virginum (Motetto de S. Dominico)
• Domine ad adiuvandum (Deus in adiutorium)
• Magnificat anima mea Dominum (Magnificat)

Communiones totius anni - pseudomonodes for a solo part

• [1] In splendoribus Sanctorum (In Prima Missa Nativitatis Domini) [Composition in two versions. Alternative voices are in Communio No. 25].
• [2] Video caelos apertos (In festo S. Stephani)
• [3] Exijt sermo inter fratres (In festo S. Ioannis Apostoli et Evangelistae)
• [4] Responsum accepit (In festo purificatiois BMV)

[Composition in two versions. Alternative voices are in Communio No. 26].

• [5] Si consurrexistis cum Christo (Feria tertia Resurrectionis Domini)
• [6] Confundantur superbi (In festo S. Catheriane Virginis et Martyris)
• [7] Venite post me (In festo S. Andreae Apostoli)
• [8] Semel iuravi (In festo S. Nicolai Episcopi et Confessoris)
• [9] Principes persecuti (In festo S. Luciae Virginis et Martyris)
• [10] Amen dico vobis (Dominica post Pentecostes vigesimatertia, 4. 5. 6. 7. 8.)
• [11] Mirabuntur omnes (Dominica tertia, quarta, quinta, et sexta post Epiphaniam)
• [12] Introibo ad altare Dei (Dominica in Sexagesima)
• [13] Illumina faciem tuam (Dominica in Septuagesima)
• [14] Gustate et videte (Dominica octacva post Pentecostes)
• [15] Qui manducat meam carnem (Dominica nona post Pentecostes)

Communiones totius anni - pseudomonodes for two solo voices

• [16] Tu es Petrus (In festo Cathedrae S. Petri)
• [17] Amen dico vobis quod vos (In Conversione S. Pauli Apostoli)
• [18] Ecce Virgo concipiet (In festo Annuntiationis BMV)
• [two alternative parts to the motet Psallite Domino, Communiounes No. 48]
• [19] Spiritus qui Patre procedit (Feria tertia Pentecostes)
• [20] Qui mihi ministrate (In festo S. Laurentii martyris)
• [21] Beata viscera (In festo Conceptionis BMV) [piece in two versions: the alternative voices are in Communio No. 27]
• [22] middle manum tuam (In festo S. Thomae Apostoli)
• [23] Fantasia [for two wind or string instruments and organ = alternative parts]
• [three alternative voices to the pseudomonody In splendoribus Sanctorum, Communiones Nr. 1]
• [three alternative voices to the Pseudomonodie Responsum accepit, Communiones No. 4]
• [three alternative voices to the Pseudomonody Beata viscera, Communiones No. 22]

Tricinia

• [24] Feci iudicum (In festo S. Mariae Magdalenae)
• [25] Visionem quam vidistis (In festo Transfigurationis Domini)
• [26] Beatus servus (In festo S. Martini Episcopi et Confessoris)
• [27] Fantasia [for two wind or string instruments and organ]
• [28] Fantasia [for two wind or string instruments and organ]

Motets

• [29] Domus mea (In festo dedicationis Ecclesiae)
• [30] Viderunt omnes fines terrae (In tertia Missa Nativitatis Domini) [piece in two versions; See No. 35]
• Viderunt omnes fines terrae (Alio modo simpliciter) ["simple" version of No. 34]
• [31] Vox in Rama (In festo SS. Innocentium)
• [32] Vos secuti estis me (In festo S. Matthiae Apostoli)
• [33] Pascha nostrum (In festo Paschae) [piece in two versions; See No. 39]
• Pascha nostrum (Alio modo simpliciter) ["simple" version of No. 38]
• [34] Per signum Crucis (In festo Inventionis Sanctae Crucis)
• [35] Quotiescumque (In festo Corporis Christi)
• [36] Beati mundo corde (In festo Omnium Sanctorum)
• [37] Adoramus te Christe (Motetto de Sancta Cruce)

Five-part compositions

• [38] Haec dies (Motetto in festo Paschae cum resolutione) [piece in two versions; Simpler version of No. 45]
• Haec dies (Alio modo simpliciter) ["simple" version of No. 44]
• [39] Surrexit Dominus (Feria secunda Paschae)
• [40] Ego sum Pastor bonus (In festo S. Stanislai)
• [41] Psallite Domino (In Ascensione Domini) [piece in two versions; Alternative voices in Communiones No. 19]
• [42] Benedicimus Deum caeli (In festo Sanctissimae Trinitatis)
• [43] Spiritus Sanctus docebit (Feria secunda Pentecostes cum resolutione) [piece in two versions; See No. 51]
• Spiritus Sanctus docebit (Alio modo simpliciter) ["simple" version of No. 50]
• [44] Tu puer Propheta (In festo S. Ioannis Baptistae)
• [45] Optimam partem (In Assumptione BMV)
• [46] Levavi oculos meos (Motetto)
• [47] Domine Deus meus in te speravi (Motetto)
• [48] ​​O gloriosa Domina (Motetto)
• [49] In monte Oliveti (Motetto)
• [50] Benedicte Deum (Motetto)
• [51] Ipsum benedicte (Secunda pars)

Six-part compositions

• [52] Vidimus stellam eius (In Epiphania Domini)
• [53] Laetabitur iustus (In festo S. Adalberti Episcopi et Martyris)
• [54] Magna est gloria eius (In festo S. Matthaei Apostoli et Evangelistae) [Piece in two

Versions; See No. 63]

• Magna est gloria eius (Alio modo simpliciter) ["simple" version of No. 62]
• [55] Benedicte omnes Angeli (In festo Dedicationis S. Michaelis Archangeli)
• [56] Gaudete iusti in Domino (In Festo SS. Tyburtii, Valeriani et Maximi martyrum)
• [57] Cantere (Motetto)

literature

• J. Dunin: Do biografii M. Zielenskiego. In: Polski Rocznik Muzykologiczny . Volume II, 1936.
• Z. Jachimecki: Wplywy wloskie w muzyce polskiej. Kraków 1911.
• W. Lipphardt: The history of the polyphonic proprium missae. Heidelberg 1950.
• W. Malinowski: Technika wielochórowa na tle rozwoju wieloglosowisci. In: Muzyka, 1958, No. 4.
• W. Malinowski: Partitura pro organo w Offertoriach Mikołaja Toreńskiego. In: Prace Naukowe Istytutu Muzykologii UW . I, Warsaw 1961.
• W. Malinowski: Prologomena do pojecia diminucji. In: Musica Antiqua, II. Acta Scientifica . Bydgoszcz 1969.
• W. Malinowski: La tecnica della gorgia in Polonia: Mikołaj Toreński. In: Primo incontro con la musica italiana in Polonia dal Rinascimento al Barocco. Parma 12-13 giugno, Bydgoszcz 11-12 September 1969. Bologna 1974.
• W. Malinowski: Wokól "Magna est gloria eius" Mikołaja Toreńskiego . In: Res Facta, issue 5. Kraków 1971.
• W. Malinowski: Transkrypcja wykonawcza Communiones Toreńskiego. Podstawowe problemy. In: Pagine . Warsaw 1972.
• W. Malinowski: Technika dzwiekowa szkoly weneckiej a architektura wnetrz koscielnych. In: Pagine. Warsaw 1972.
• W. Malinowski: Chiavetty w Offertoriach Toreńskiego. In: Muzyka, 1979, No. 4.
• W. Malinowski: Do problemu analizy wieloglosowosci. Ksiega pamiatkowa ku czci prof. J. Chomińskiego . (in print)
• W. Malinowski: Wstep do Offertoria I. Ed. W. Malinowski . In: Nicolaus Toreński. Opera omnia I. Krakow 1966. (= Monumenta Musicae in Polonia . Seria A. Red. JM Chomiński.)
• W. Malinowski: Polifonia Mikołaja Toreńskiego. Krakow 1981.
• GP Mucante: I due soggiorni del card. Legato E. Caetani a Varsavia (1596-1597). [...] Florence 1982.
• B. Przybyszewska-Jarminska: Muzyczne dwory polskich Wazów . Warsaw 2007.
• M. Szczepanska: O dwunastoglosowym Magnificat Mikolaja Zielenskiego. In: Polski Rocznik Muzykologiczny, Volume I, 1935.
• W. Tygielski: Wlosi w Polsce . Warsaw 2006, pp. 477–478.

Web links

• Sheet music in the public domain by Mikołaj Toreński in the Choral Public Domain Library - ChoralWiki (English)