Mikołaj of Radom was the first Polish composer of European calibre. His talent and education allowed him not only to create at the level of the greatest composers of his time, but also to contribute to the development of European music.

Unfortunately, we know nothing about his life today, and only ten of his works have survived to our times. However, even such a slim state of preservation of this composer's work allows us to get to know his peculiar, rhetorical style, unusual sound imagination and richness of polyphonic and harmonic musical language. The works of Mikołaj of Radom are, with the exception of two four-part sections of the mass , three-voiced typically for his time. This is mainly liturgical music: three sets of Gloria and Credo, the famous Magnificat and Alleluia. Of the two preserved secular works, the motet Hystorigraphi aciem mentis, which sets a text written for the birth of prince Kazimierz, the son of Władysław Jagiełło, is a manifesto of the political significance of Poland in contemporary Christian Europe. The sophisticated music of this work and the complicated, symbolic text in Latin and Greek are also a testimony to the level of Polish culture of that time. Probably, one more song has a secular character, written in the form of a two-part ballad. Sadly, its text has not been preserved.

The work of Mikołaj of Radom, a composer so important for Polish musical culture, continues to  remain largely unknown. The reason for this is probably deficient knowledge of performance techniques suitable for his music and the notation of his compositions that communicates nothing to musicians of our day. Since the beginning of its existence, the Ars Cantus ensemble has dealt with recreating these techniques and reading the composer's work from the point of view of historical context and liturgical texts. Thanks to this research, the music of Mikołaj of Radom may reveal his subtle beauty today.