Miłosierdzie Boże jako źródło inspiracji twórczej

When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You

Influence of the endogene TSH stimulation of thyroid volume increase in the patients after total thyroidectomy due to differentiated thyroid cancer

Wstęp: Leczeniem z wyboru raka zróżnicowanego tarczycy jest tyreoidektomia całkowita, z następowym uzupełniającym leczeniem jodem promieniotwórczym. Przygotowanie chorego do terapii radioizotopowej obejmuje odstawienie terapii supresyjnej L-tyroksyny w celu uzyskania stężeń TSH przekraczających 25 mU/ml. Ze względu na znane kluczowe znaczenie TSH w roli regulacji proliferacji komórek pęcherzykowych tarczycy, możliwa jest stymulacja odrostu podczas co najmniej 3-tygodniowego okresu przerwania farmakoterapii. Celem niniejszej pracy jest ocena stopnia wzrostu masy tkanki tarczycowej u chorych po całkowitej tyreoidektomii z powodu raka zróżnicowanego tarczycy po stymulacji endogennym TSH i jego wpływu na przebieg dalszego leczenia. Materiał i metody: Badaniem objęto 23 chorych po całkowitej tyreoidektomii z powodu raka brodawkowatego i pęcherzykowego tarczycy. Wykonano badania biochemiczne (TSH, Tg) oraz obrazowe (USG tarczycy) w trakcie supresji preparatem L-tyroksyny oraz po 4-5 tygodniach od momentu jej odstawienia. Wyniki: Po odstawieniu leczenia supresyjnego L-tyroksyną objętość kikutów tarczycy wzrosła średnio o 30,1%, a różnica ta była znamienna statystycznie. Wnioski: Odstawienie preparatów L-tyroksyny w trakcie przygotowania do leczenia radiojodem u chorych leczonych z powodu raka zróżnicowanego tarczycy doprowadza do wzrostu masy tkanki tarczycowej, w niektórych przypadkach fakt ten może wpływać na decyzje terapeutyczne dotyczące chorego. (Endokrynol Pol 2008; 59 (2): 119-122)Introduction: The treatment-of-choice for differentiated thyroid carcinoma (DTC) is a total thyroidectomy with subsequent radioiodine therapy. In order to increase an iodine uptake in thyroid tissue remnants, the L-thyroxine withdrawal is required. It is recommended to achieve TSH levels higher than 25 mU/ml. As TSH is a known key factor in thyroid cell proliferation regulation, prolonged stimulation of the cells during L-thyroxine withdrawal can be a causative factor for a re-growth. Our aim was to assess the degree of thyroid re-growth in the patients after total thyroidectomy due to DTC and its possible clinical implications. Material and methods: 23 patients operated due to papillary and follicular thyroid cancer were included into the study. Biochemical determinations and ultrasound thyroid imaging were performed (TSH, Tg) during suppressive L-thyroxine therapy as well as 4-5 weeks after the withdrawal. Results: The mean volume of thyroid tissue remnants increased after withdrawal for substantial 30.1%. The difference was extremely significant. Conclusions: L-Thyroxine withdrawal in the patients after total thyroidectomy due to DTC can cause re-growth of the tissue remnants. The phenomenon may be of a clinical significance in the selected cases influencing therapeutic decisions. (Pol J Endocrinol 2008; 59 (2): 119-122

Transapical aortic valve implantation – a rescue procedure for patients with aortic stenosis and “porcelain aorta”

Surgical aortic valve replacement (AVR) still remains the treatment of choice in symptomatic significant aortic stenosis (AS). Due to technical problems, extensive calcification of the ascending aorta (“porcelain aorta”) is an additional risk factor for surgery and transapical aortic valve implantation (TAAVI) is likely to be the only rescue procedure for this group of patients. We describe the case of an 81-year-old woman with severe AS and “porcelain aorta”, in whom the only available life-saving intervention was TAAVI

Does contrast agent injection during trans-catheter aortic valve implantation negatively affect kidney function?

Wstęp: Zabieg przezcewnikowego wszczepienia zastawki aortalnej (TAVI) jest od niedawna stosowany w leczeniu części chorych z istotnym hemodynamicznie zwężeniem zastawki aortalnej i z wysokim ryzykiem leczenia operacyjnego. Pacjenci kwalifikowani do TAVI to zwykle osoby starsze, przeważnie powyżej 80 rż., często z upośledzoną funkcją nerek. Jednocześnie w trakcie zabiegu TAVI podaje się środek kontrastowy o działaniu nefrotoksycznym. Cel: Celem pracy była ocena funkcji nerek po TAVI oraz zbadanie, czy podanie kontrastu podczas tego zabiegu nie prowadzi do pogorszenia czynności nerek i rozwoju nefropatii pokontrastowej. Metody: W okresie od stycznia 2009 do września 2010 roku w Instytucie Kardiologii w Warszawie metodą przezcewnikową wszczepiono zastawkę aortalną u 39 pacjentów (26 kobiet i 13 mężczyzn) w średnim wieku 81,43 ± 7,39 roku. Podczas zabiegu stosowano środek kontrastowy w średniej objętości 187,95 ± 91,34 ml o potencjalnym działaniu nefrotoksycznym. U każdego chorego oznaczano stężenie kreatyniny i wartość przesączania kłębuszkowego wg wzoru MDRD przed TAVI oraz w 1., 2. i 5.-8. dobie po zabiegu. Wyniki: Dwie pacjentki zmarły w 1. dobie po zabiegu. U pozostałych chorych po TAVI nie obserwowano istotnego pogorszenia funkcji nerek. Wnioski: 1. Zabieg TAVI nie pogarsza istotnie funkcji nerek. 2. W przedstawionej grupie starszych pacjentów z ciężkim zwężeniem zastawki aortalnej, licznymi chorobami współtowarzyszącymi oraz wyjściowo upośledzoną funkcją nerek podanie kontrastu podczas zabiegu TAVI nie doprowadziło do rozwoju nefropatii pokontrastowej. Kardiol Pol 2011; 69, 3: 251-255Background: Trans-catheter aortic valve implantation (TAVI) has recently emerged as an alternative to conventional surgery in high-risk surgical patients with haemodynamically significant aortic valve stenosis. However, patients referred for TAVI are usually elderly individuals (> 80 years) who frequently also suffer from renal impairment. Trans-catheter valve therapies require extensive use of contrast injections with a risk of nephrotoxicity. Aim: To evaluate post-TAVI renal function and to determine whether the exposure to contrast injections might cause reduced kidney function and contrast-induced nephropathy. Methods: From January 2009 to September 2010, TAVI was performed in 39 patients (26 women and 13 men). The mean age of the patients was 81.43 ± 7.39 years, and the mean volume of contrast material administered was 187.95 ± 91.34 mL. Serum creatinine and glomerular filtration rate (GFR, acc. to the MDRD formula) were estimated in all patients prior to and 1, 2, and 5-8 days after TAVI. Results: Two female patients died on postoperative day 1. Other patients did not show clinically significant reduction in renal function following the procedure (mean creatinine concentration 104.46 vs 99.77 vs 94.56 vs 93.64 mmol/L, NS and mean GFR 52.37 vs 56.63 vs 60.18 vs 61.34 mL/min/1.73 m2, NS). Conclusions: 1. The TAVI procedure, which includes contrast injection does not seem to cause a clinically significant decrease of renal function. 2. None of our elderly patients with severe aortic valve stenosis, multiple co-morbidities, and pre- TAVI renal compromise developed contrast-induced nephropathy. Kardiol Pol 2011; 69, 3: 251-25

Transcatheter aortic valve implantation using transfemoral/transsubclavian or transapical approach: 30-day follow-up of the initial 30 patients

Background: Transcatheter aortic valve implantation (TAVI) is a new method for the treatment of aortic stenosis (AS). Aim: To evaluate early results of TAVI using transfemoral/transsubclavian approach (TFA/TSA) or transapical approach (TAA) in patients with severe AS and high risk for surgical aortic valve replacement. Methods: Between January 2009 and May 2010, 30 high-risk patients underwent TAVI. The primary treatment option was TFA, and TAA was used if contraindications to TFA were present; one patient underwent the procedure using TSA. Reasons for selecting TAA were as follows: small diameter (< 7 mm) and/or severe calcification of the iliofemoral arteries, peripheral atherosclerosis, "porcelain" aorta and a horizontal course of the ascending aorta. Edwards-Sapien or CoreValve devices were used in all cases, and procedures were performed without the use of cardiopulmonary bypass in a cardiac catheterisation laboratory. Results: Mean patient age was 82.46 &#177; 5.79 years, mean NYHA class was 3.23 &#177; 0.41, and predicted mean surgical mortality using logistic Euroscore was 29.18 &#177; 16.9% (22.72 &#177; 12.07% in the TFA/TSA group vs 34.6 &#177; 15.4% in the TAA group; p = 0.031). Eleven patients were treated using TAA. The valve was implanted successfully in 96% of patients. Inhospital mortality was 3.3%. Mean 30-day mortality was 6.6% in the entire cohort, 0% in the TFA/TSA group and 18% in the TAA group. There were no cases of periprocedural myocardial infarction (MI), cardiogenic shock, stroke/transient ischaemic attack, or need for cardiopulmonary resuscitation. One patient died suddenly three weeks after the procedure; except for this case, there were no major adverse cardiovascular events (MACCE: MI, cerebrovascular accident, re-do procedure) at 30-day follow-up. The TAVI was associated with a significant reduction in the mean maximal aortic gradient in both groups (from 99.6 &#177; 22.07 mm Hg to 21.83 &#177; 9.38 mm Hg post-procedure and to 23.25 &#177; 9.22 mm Hg at 30-day follow up), with no cases of severe aortic valve regurgitation. The NYHA class at 30 days improved from 3.23 &#177; 0.41 to 1.72 &#177; 0.52 (p = 0.03). Conclusions: Our results demonstrate lower 30-day complication rate and mortality in the TFA/TSA group. The availability of several techniques of valve implantation in the group of non-surgical patients with severe AS potentially broadens the patient population with indications for this treatment. Kardiol Pol 2011; 69, 2: 105-114Wstęp i cel: Celem niniejszej pracy jest porównanie wyników przezcewnikowej implantacji zastawki aortalnej (TAVI), z dostępu przeznaczyniowego [od tętnicy udowej (TFA) lub podobojczykowej (TSA)] i przezkoniuszkowego (TAA) u pacjentów z ciężkim zwężeniem zastawki aortalnej zdyskwalifikowanych z leczenia chirurgicznego w okresie bezpośrednio po zabiegu i w obserwacji 30-dniowej. Metody: Analizą objęto 30 kolejnych pacjentów poddanych zabiegowi TAVI z dostępu TFA (18 osób), TSA (1 chory) lub TAA (11 pacjentów). Wszystkie zabiegi wykonano w Samodzielnej Pracowni Hemodynamicznej IK w Warszawie między 8.01.2009 a 13.05.2010 r. Dostępem pierwszego wyboru był TFA, natomiast drugiego wyboru - TAA, przy przeciwwskazaniach do TFA. Przeciwwskazaniem do TFA były masywne zwapnienia, kręty przebieg lub mała średnica tętnic biodrowych lub udowych wspólnych (< 6,5 mm dla zastawek CoreValve i < 7 mm dla systemu Edwards-Sapien), tętniaki aorty brzusznej i/lub piersiowej, "porcelanowa" aorta wstępująca bądź wywiad wcześniejszych zabiegów chirurgicznych tych naczyń. We wszystkich przypadkach implantowano protezy Edwards-Sapien lub CoreValve. Zabiegi przeprowadzono bez krążenia pozaustrojowego. Wyniki: Średni wiek pacjentów wynosił 82,46 &#177; 5,79 roku, klasa NYHA przed zabiegiem 3,23 &#177; 0,41, a przewidywane średnie ryzyko zgonu operacyjnego obliczone z zastosowaniem skali logistic Euroscore 29,18 &#177; 16,9% (TAA 34,6 &#177; 15,4% v. TFA/TSA 22,72 &#177; 12,07%; p = 0,031). Skuteczną implantację protezy przeprowadzono u 96% chorych. Całkowita śmiertelność szpitalna wyniosła 3,3% (TAA 9% v. TFA 0%; p = 0,19). W obserwacji 30-dniowej śmiertelność w całej grupie wyniosła 6,6% (TAA 18% i TFA/TSA 0%; p = 0,05). W trakcie hospitalizacji nie odnotowano poważnych zdarzeń, takich jak zawał serca, wstrząs, przemijający atak niedokrwienny/udar mózgu, konieczność zastosowania resuscytacji krążeniowo-oddechowej czy krążenia pozaustrojowego. Jeden pacjent zmarł nagle 3 tygodnie po TAVI. W obserwacji 30-dniowej nie zanotowano innych poważnych zdarzeń kardiologicznych. Po TAVI stwierdzono znamienną redukcję gradientu w obu grupach (z 99,6 &#177; 22,07 mm Hg do 21,83 &#177; 9,38 mm Hg po zabiegu i do 23,25 &#177; 9,22 mm Hg w obserwacji 30-dniowej), nie zaobserwowano ciężkiej niedomykalności aortalnej. Klasa wg NYHA w obserwacji 30-dniowej zmniejszyła się z 3,23 &#177; 0,41 do 1,72 &#177; 0,52 (p = 0,03). Wnioski: Na podstawie doświadczeń autorów niniejszej pracy można sądzić, że zabiegi TAVI TFA/TSA wiążą się z mniejszym ryzykiem powikłań, w tym zgonu, w obserwacji 30-dniowej. Jednak możliwość zaproponowania chorym z ciężką AS, niekwalifikującym się do leczenia chirurgicznego, kilku alternatywnych sposobów implantacji zastawki, zwiększa grupę pacjentów mogących skorzystać z tej metody terapii. Kardiol Pol 2011; 69, 2: 105-11

Ronald Reagan a wyzwania epoki

Z wprowadzenia: "Śmierć Ronalda Reagana w czerwcu 2004 r. zamknęła znaczącą epokę w dziejach Europy i świata. Reagan symbolizował pokolenie polityków, którym przyszło działać w czasach szybkiej dekompozycji dwóch, wydawałoby się niepodważalnych pewników politycznych dominujących po drugiej wojnie światowej w świecie zachodnim. Z polityków tych był tym, który przyczynił się w olbrzymiej mierze do podważenia obu z nich."(...

Miłosierdzie Boże jako źródło inspiracji twórczej

When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You