Mikołaj z Krakowa [Mikołaj of Krakow], Nicolaus Cracoviensis, Polish organist and composer active in the first half of the 16th century. The Polish version of his name was introduced into literature by A. Poliński. The Latin form appears in contemporary sources only once, as an expansion of the initials N.C., which occur repeatedly in two organ tablatures: the first, a manuscript from 1548 originating from the Holy Spirit Monastery in Krakow (hereinafter TKD), destroyed in 1944 and preserved in microfilm format at the Isham Memorial Library at Harvard University; the second, the tablature of Jan of Lublin (hereinafter TJL), from the second quarter of the 16th century, preserved in Kraków in the Research Library of the Polish Academy of Arts and Sciences, no. 1716. In TKD, the initials N.Z. also appear several times, generally interpreted as indicating a composer other than Mikołaj z Krakowa. However, it cannot be ruled out that both sets of initials refer to the same musician given that, in one instance, N.Z. is accompanied by the addition “Crac.”, both pairs of initials are used interchangeably, and on one occasion only the initial N. appears.
The body of works bearing the initials N. C. has been viewed in various ways. Historical studies of Polish music and monographs have not only discussed the praeambula and dances, but have often also examined in detail the compositional technique of Mikołaj z Krakowa in his vocal works. Some authors adopt a more cautious stance, while an extreme view was expressed by M. Perz, who fundamentally questioned both the scope of the musician’s work and his role in music history as attributed in existing literature. It seems that the surviving sources are traces of the great improvisatory talent of the Krakow organist, as suggested by the variant sources. In this way, he created both praeambula and arrangements of popular dance melodies. Similarly, he composed liturgical music, basing it either directly on chant and hymn material, or on polyphonic vocal works by other composers. In both cases, he adapted his works to the practice alternatim technique.
Literature: A. Poliński Dzieje muzyki polskiej w zarysie, Lviv 1907; A. Chybiński Tabulatura organowa Jana z Lublina (1540), “Kwartalnik Muzyczny” I–III, 1911–13; Z. Jachimecki Tabulatura organowa z klasztoru Św. Ducha w Krakowie z r. 1548, print from “Rozprawy Wydziału Filologicznego Akademii Umiejętności w Krakowie” LIII, 1913; K. Wilkowska[-Chomińska] Ze studiów nad klasowym obliczem tańców polskich w epoce Renesansu, “Studia Muzykologiczne” I, 1953; K. Wilkowska-Chomińska Nicolas de Cracovie et la musique de la Renaissance en Pologne, in: The Book of the First International Musicological Congress, devoted to the Works of Frederick Chopin 16th–22nd February 1960, ed. Z. Lissa, Warsaw 1963; J.R. White The Tablature of Johannes of Lublin, “Musica Disciplina” XVII, 1963; K. Wilkowska-Chomińska Twórczość Mikołaja z Krakowa, Krakow 1967; B. Brzezińska W kwestii autorstwa motetu „Date siceram moerentibus”, “Muzyka” XXI, 1976 no. 2; B.J. Blackburn Josquin’s Chansons. Ignored and Lost Sources, “Journal of the American Musicological Society” XXIX, 1976; B. Brzezińska Repertuar polskich tabulatur organowych z pierwszej połowy XVI wieku, Krakow 1987; M. Perz Wawelska przeszłość muzyczna – mity i domniemana rzeczywistość, “Muzyka” XXXV, 1990 no. 4; P. Poźniak Le vocal et l’instrumental dans les tablatures manuscrites polonaises du XVIe siècle, in: Le concert des voix et des instruments, ed. J.M. Vaccaro, Paris 1995; P. Poźniak Koniec legendy o polskim madrygale, “Muzyka” XLI, 1996 no. 3; P. Poźniak Repertuar polskiej muzyki wokalnej w epoce Renesansu, Krakow 1999; Tabulatura Joannis de Lublin. Repertuar, ed. Z. Dobrzańska-Fabiańska, vol. 1., «Monumenta Musicae in Polonia» B, Warsaw 2021; Z. Dobrzańska-Fabiańska Zdzisława Jachimeckiego marzenie o polskim madrygale – „Aleć nade mną Wenus N. C.” i inne włoskie kompozycje madrygałowe w repertuarze „Tabulatury Jana z Lublina”, in: Muzykolog humanista wobec doświadczenia muzyki w kulturze: księga pamiątkowa dedykowana Profesor Małgorzacie Woźnej-Stankiewicz, ed. Z. Dobrzańska-Fabiańska and M. Dziadek, Krakow 2021.
Compositions:
(preserved in two manuscript organ tablatures: the first from the Holy Spirit Monastery in Kraków, hereinafter TKD, ca. 1548, kept in the National Library until 1944 and subsequently destroyed, surviving only in microfilm format held in the Isham Memorial Library at Harvard University; the second belonging to Jan of Lublin, hereinafter TJL, from the second quarter of the 16th century, preserved in Kraków in the Research Library of the Polish Academy of Sciences and the Polish Academy of Arts and Sciences, no. 1716)
With initials N. C. (preserved in TJL, unless stated otherwise)
organ arrangements of chant and hymn cantus firmus:
Ave hierarchia
Lauda Sion (part two from Officium de Corpore Christi, in TKD only the verse “Ecce panis angelorum”, marked N. Z.)
Nasz Zbawiciel
Patrem per octavas
Salve Regina
Sanctus solemne (in TKD one section is attributed to N. C., while the entire piece is attributed to N. Z.; in TJL the work is transmitted anonymously)
Wesel się, Polska Korona
praeambula:
Preambulum in d
Preambulum in F
Preambulum pro introductione peduum applicaretur (TKD)
Preambulum (TKD)
dances:
Bauer-Tanz
Bona calata
4 Choreae without further specification
Chorea ad novem saltus
Chorea ad unum saltum “Poznanie”
Chorea ad unum saltum “Zakłułam się tarnem”
Chorea “Conradus”
Chorea Ferdinandi
Chorea Hispaniarum
2 Choreae italicae
Chorea “Poznanie”
Chorea super duos saltus
Chorea “Szewczyk idzie po ulicy szydełka nosząc”
Hajducki
Zeuner-Tanz
intabulations of vocal works:
Aleć nade mną Wenus (model: contrafactum of a villotta by Francesca Patavino)
Date siceram moerentibus (model: C. de Sermisy, contrafactum of a chanson by Josquin des Prés)
Philippe, qui videt me. Resolutum per N. C. (model: L. Senfl)
untitled, Resolutum per N. C.
probable intabulations:
Ach hilf mich Leid, two parts
Benedicta sit Sancta Trinitas, two parts
Cibavit eos, two parts (part one from Officium de Corpore Christi)
De sancto Johanne Baptista
Gaudeamus omnes, two parts (TJL – N. C., TKD – N. Z.)
Kyrie pascale (in TJL: three sources, the first attributed to N. C., the second anonymous, the third with an attribution, possibly to the model by Heinrich Finck; in TKD – Nicolai Crac.)
Nunc rogemus
Quem preces
Resurrexi et adhuc tecum sum, two parts
additionally, in TKD only the work Sub tuum praesidium is recorded with the initial N., and in both sources anonymous variants of many of the works listed above also appear
Editions:
dances in: 36 tańców z tabulatury Jana z Lublina, ed. A. Chybiński, «Wydawnictwo Dawnej Muzyki Polskiej» XX, Krakow 1948
works from TJL in: Tabulatura organowa Jana z Lublina, facs., ed. K. Wilkowska-Chomińska, «Monumenta Musicae in Polonia», series B, vol. 1, Krakow 1964 also in: Johannes of Lublin. Tablature of Keyboard Music, six volumes, ed. J.R. White, «Corpus of Early Keyboard Music» VI, Rome 1964–67
3 praeambula and 2 dances, ed. J. Berwaldt as well as Wesel się Polska Korona and Date siceram, ed. K. Wilkowska-Chomińska in: Muzyka w dawnym Krakowie, ed. Z.M. Szweykowski, Krakow 1964
Nasz Zbawiciel, Salve Regina and Sub tuum praesidium, ed. K. Wilkowska-Chomińska in: Muzyka staropolska, ed. H. Feicht, Krakow 1966
3 praeambula in: Z polskiej muzyki organowej, ed. J. Gołos, Krakow 1967
Preambulum in d, ed. J. Berwaldt, Ave hierarchia, Wesel się Polska Korona, Preambulum in F, 6 dances, Ach hilf mich Leid, ed. P. Poźniak, Aleć nade mną Wenus, ed. K. Wilkowska-Chomińska, in: «Musica Antiqua Polonica» – Renesans, ed. P. Poźniak, iss. 4 and 7, Kraków 1994