THE TURBULENT HISTORICAL CONDITIONS IN POLISH NATION during the 17th and 18 th centuries posed challenges for developing a vibrant musical culture, unlike the flourishing environments witnessed in other European countries of that era. Furthermore, the meager musical legacy that managed to endure through those tumultuous times was ultimately erased by the catastrophic events of the 20th century. Nevertheless, within this modest musical treasury, there exist works that command profound respect as significant cultural monuments, alongside masterpieces that inspire deep admiration. Such is the case of the creations of Marcin Mielczewski and Adam Jarzebski. Marcin Mielczewski (born approximately in 1600, died 1651) having most likely received his musical education in Poland under the tutelage of esteemed musicians affiliated with the royal court, (Franciszek Lilius was mentioned as his teacher). In 1632 he became a member of the royal cappella and in 1643 his name was mentioned in a literary work about Warsaw authored by Adam Jarzebski. From these references, we can assume that he had emerged as a distinguished figure in the musical landscape of his time with dual roles as both an instrumentalist and a renowned composer. It is believed that Mielczewski also performed in the Arch-bishops band in Lowicz and later held the esteemed position of maestro di cappella at the court of the Bishop of Plock, Karol Ferdynand Vasa (brother of King Wladyslaw IV), whose court was located in Ujazdow near Warsaw. This was a prestigious role that signified his involvement in a court renowned for it's opulence and exceptional musical ensemble within the Polish-Lithuanian Commonwealth. Mielczewski's prolific compositions were preserved predominantly in the form of manuscripts, in fact in his lifetime only one canon was printed in Venice and after his death, a solo church concerto was published in Jena. Many copies of his manuscripts were widely distributed across Poland and various European regions (mainly in Germany, Denmark, Moravia, Slovakia and Russia), giving testament to his widespread acclaim throughout the 17th century. Mielczewski's instrumental compositions in the extant sources are titled "Canzon" or "Aria". The editorial team at the Polish Music Publishing House adopted the term "Canzona" for the edition of these works, organizing them based on the size of the ensemble. Additionally, this edition proposed reconstructions of missing voices or their fragments (by K. Sikorski and Z.M. Szweykowski). ClaveDuo, for it's interpretative purposes, has adjusted these reconstructions, often diverging significantly from the proposals found in PWM materials. The musical score of the Canzonas is partly preserved in books designated for violin (or soprano instruments), viola, bassoon or trombone (bass instruments), and basso continuo. Modern editions alone employ standard musical notation as a score. On the other hand, Adam Jarzebski, a contemporary of Marcin Mielczewski, also made notable contributions within the realm of music during his era. While details regarding his early life and education remain speculative, historical records indicate his tenure as a violinist in the Brandenburg court in Berlin around 1612.