music of the Polish Baroque

It all began in 1595, when the first two groups of musicians from Italy arrived at the court of Zygmunt III Waza. From that moment on until the mid-seventeenth century, Italians were the only maestre di capella at the royal court, which was significant because Italians were considered to be the creators of “new music” at the time. Italian musicians also constituted the vast majority in the orchestra. All this shaped the musical taste and compositional skills of local Polish artists.

Today, listening to the beautiful, moving and lofty oratorio works of the Polish Baroque, as well is its energetic canzonas, it can be clearly seen that it is music that does not fall short of the artistic level of accomplished Europen composers of the day. This is proven by, among other things, the growing interest  in Polish Baroque taken by some of the best European ensembles and historical orchestras, resulting in concert series and recordings. Prima prattica and seconda prattica, religious works and secular chamber music all come together to form a unique musical landscape.


vocal and instrumental works of Polish composers of the 17th and 18th centuries, including Mikołaj Zieleński – published in Venice (beg. of  XVII c. – Ofertoria , Communiones), concertos by Marcin Mielczewski – royal musician of Waza Dynasty, large-scale motets by Grzegorz Gerwazy Gorczycki – music master of the  Royal Wawel Cathedral, sometimes referred to as the Polish Bach, sacred works by Marcin Józef Żebrowski – master of the capella of Bright Mount Monastery of Black Madonna, Marcin Jarzębski and his famed instrumentalTamburetta , bravura arias with obbligato instruments by S. Szarzyński and many others


14-16 performers, including up to 4 singers and a chamber orchestra of 10-12 players


1 h 20 min – 1 h 40 min