Miserere mei Deus, miserere mei na chór mieszany Szymona Godziemba-Trytka – w stronę wartości „zasłoniętych i zagubionych”

The relativisation of classical values, characteristic of the postmodernist period, has left its mark on that kind of artistic activity which, bowing to this pressure, lost touch with the original function and aim of works of art. however, some artists reacted to this situation by going „against the current” and turning to those values which have been “lost” or “reduced” (M. Tomaszewski). An example of this latter attitude is the composition Miserere mei Deus, miserere mei for mixed choir (2013) by Szymon Godziemba-Trytek, a composer who holds the conviction that there is „a strong inner desire for experiencing the beauty of art, beyond which the truth stands” (Sz. Godziemba-Trytek). This article describes the stylistic and aesthetic characteristics of his composition, with reference to the theory of intertextuality, and in the context of the definition by St Thomas Aquinas of the three conditions of beauty: perfectio, consonantia and claritas.