Talking about his choral output, Augustyn descends into a somewhat schizophrenic string of free associations. In the same breath he mentions dozens of idiomatic expressions, beginning with angelic choruses, through to choirs of sirens and prisoners, ending with (if you’ll pardon the expression) “Uncle Sam” choruses. All in order to make us understand that hidden behind this immense inter-textual mixture of material is an attempt to impart new values to a multiple group of vocalists, associated by an average music lover with a stringent and disciplined sense of community, whose aim is singing in praise – never mind to whom. Augustyn’s chorus has nothing in common with heavenly choirs, where as in the Book of Jeremiah – “damned is he who badly performs the work of the Lord.” If anything it stems from ancient choreomania and is closer to poetry than composed music where melody and rhythm play an equal role dictated by the overall, over-riding “musicality” of the narrative. His chorus, rather than communal is usually an individual “I”: sometimes an actor, sometimes a listener and sometimes a go-between, an authority that assists in finding the correct path in world participation – as witnessed by Nietzsche’s deliberations in