Brikner's output, albeit relatively modest in quantity, merits interest on account of its sound compositional technique and considerable melodic invention. Fr. Eryk's compositions have been preserved to date exclusively in the collections of the Jasna Góra archives. [...] Fr. Eryk Brikner's ''Completorium'', like his other works, was composed without more complicated technical solutions. The vocal parts are placed in registers cenvenient for them. The melody, devoid of longer melismata, is generally marked by fluent repetition of seconds or triadic patterns, and sometimes - especially in passages scored for full forces - is declamatory in nature. Longer melismatic phrases, typical of concerto writing, were seldom used by Brikner, being reserved for the final sections, associated with the word ''Amen''. The violin melody shares the characteristics of the vocal parts at some points, when the first or second violin, alternately, doubles the soprano part, as if entwinning it with its timbre. At other tomes, the violin parts manifest purely instrumental features, the most characteristic being broken chords, dynamic scale progressions and tremolo. Two-part vocal textures definitely dominate the works of the cycle, frequently complemented by instruments. In the passages - not so numerous - with four vocal parts, homorhythm is prevalent. The non-obligatory alto and tenor parts function sa a harmonic filling. The timbre of the works is sweet and the general sound, devoid of pronounced dissonance, euphonious. The work ''Vos saeculorum judices'' is designed for performance at Vespers for the feasts of the Apostles. In many respects the composition is similar to the humn belonging to the ''Completorium''.(...) (A. Patalas)

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