Borek Krzysztof, †20 February 1573, Polish composer. Incomplete and contradictory information about this figure, provided in earlier literature, has been verified over the past half-century on the basis of source research (M. Perz, T.M. Czepiel, E. Zwolińska). Borek came from the noble Borek family of Trzcieniec [now Trzciniec] (Jędrzejów Land [now Jędrzejów County]), bearing the Wąż [Polish for “Snake”] coat of arms. From March 17, 1556, until his death, he was the provost of the Rorantists ensemble at Wawel, and earlier (1547–48) he was a chaplain and musician at the court of Queen Bona. It is also known that he held two church benefices: in the parish of Mieronice (from 1549) and in Sędziszów (from 1551).
The Te Deum laudamus Mass and an untitled Mass (a cycle without the Agnus Dei section) have been preserved in a set of four handwritten Rorate Mass parts (call number Kk I.1 Arch. of the Cathedral Chapter at Wawel; Borek is also credited with an adaptation of one of Josquin des Prez’s masses, found in the same source).
Both works are set for low voices, and the question of the completeness of the source remains unclear to this day: four voices have survived, but the later addition of “5 vocum” in the untitled mass, as well as the characteristics of some fragments of the Te Deum laudamus Mass, suggest that the original version was for five voices. Borek’s compositional style is distinguished by the use of imitative and free polyphony, initial imitation with the preservation of homogeneous melodic and thematic material in successive parts of the cycle, and contrasts in texture (polyphonic and declamatory). The Te Deum laudamus Mass also features a special type of cantus firmus technique – the introduction of fragments of the titular hymn (melody with text) in the tenor.
Literature: M. Perz and E. Zwolińska, Do dziejów kapeli rorantystów w XVI stuleciu i biografii Krzysztofa Borka, “Muzyka” 1971 No. 2; W. Urban Notatki źródłowe o muzykach polskich w XVI w., “Muzyka” 1987 No. 1; K. Morawska, Renesans, in: Historia muzyki polskiej, ed. S. Sutkowski, Warszawa [1994]; J. M. Chomiński, K. Wilkowska-Chomińska, Historia muzyki polskiej, part 1, Krakow 1995; T.M.M. Czepiel Music at the Royal Court and Chapel in Poland c. 1543–1600, New York–London 1996; P. Poźniak, Repertuar polskiej muzyki wokalnej w epoce Renesansu, Krakow 1999; E. Zwolińska, introduction in: Dwie msze ‘ad imitationem’ z rękopisu Kk I.1 – Josquin des Prez/Krzysztof Borek(?), Pierre Certon, «Musica in Ecclesia Cathedrali Cracoviensi Audita» vol. 3, ed. P. Poźniak, Krakow 2016; E. Zwolińska, introduction in: Krzysztof Borek – Dwie msze z rękopisu Kk I.1, «Musica in Ecclesia Cathedrali Cracoviensi Audita» vol. 10, Krakow 2020.
Kyrie from the Te Deum laudamus Mass, ed. Z.M. Szweykowski and Sanctus from an untitled Mass, eds. Z. M. Szweykowski and M. Perz in: Muzyka w dawnym Krakowie, ed. Z. M. Szweykowski, Krakow 1964
Te Deum laudamus Mass, ed. M. Perz in: Muzyka staropolska, ed. H. Feicht, Krakow 1966
Sanctus from an untitled Mass in: Musica Antiqua Polonica. Renesans, ed. P. Poźniak, Krakow 1993
Krzysztof Borek – Dwie msze z rękopisu Kk I.1, ed. E. Zwolińska, «Musica in Ecclesia Cathedrali Cracoviensi Audita» vol. 10, Krakow 2020
Missa Mater Matris attributed to Borek (adaptation of Josquin des Prez’s Mass), ed. E. Zwolińska in: Dwie msze ‘ad imitationem’ z rękopisu Kk I.1 – Josquin des Prez/Krzysztof Borek(?), Pierre Certon, «Musica in Ecclesia Cathedrali Cracoviensi Audita» vol. 3, ed. P. Poźniak, Krakow 2016
