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PAN TADEUSZ – Wojciech Kilar

May 6, 2019 Leave a comment

100 GREATEST SCORES OF ALL TIME

Original Review by Craig Lysy

Poland had a decade earlier thrown off the foreign shackles of Russian domination, yet the country was struggling to regain its identity, and find its place in the world. Against this backdrop, the great Polish director Andrrzej Wajda conceived for his next project a grand tale based on Adam Mickiewicz’s epic 1834 poem Pan Tadeusz. The poem is considered by Poles to be the greatest achievement in Polish literature and by most professors of literature to be the last epic poem in European literature. Wajda describes it as “a great story that focuses on our national characteristics. The Poles in Pan Tadeusz are the same as we are now: sometimes wise, sometimes stupid. It’s basically a picture of how we are now and allows us to look at ourselves and see who we are and where we’re going.” Wajda pitched his idea to several studios and secured funding from a conglomerate of twelve companies. He would direct and write the screenplay, and Lew Rywin would produce. A fine cast was assembled, which included; Boguslaw Linda as Jacek Soplica/Father Robak, Michal Zebrowski as Tadeusz Soplica, Alicia Bachleda-Curus as Zosia Horeszko, Grazyna Szapolowska as Telimena, Andrzej Seweryn as Judge Soplica, and Marek Kondrat as Count Horeszko. Read more…

WOJCIECH KILAR REVIEWS – 1964-2007

September 24, 2017 Leave a comment

In this latest installment of the new irregular series looking at the career of some film music’s most iconic composers, we travel to Poland to look at the work of one of film music’s most unsung geniuses, Wojciech Kilar.

Wojciech Kilar was born in Lvov, Ukraine, when it was still part of Poland, in July 1932, but moved to Katowice in Silesia in 1948 with his father, a gynecologist, and his mother, an actress. Kilar studied at the State Higher School of Music in Katowice under composer and pianist Władysława Markiewiczówna, at the State Higher School of Music in Kraków under composer and pianist Bolesław Woytowicz, and then in Paris with the legendary Nadia Boulanger in the late 1950s. Upon his return to Poland, Kilar and fellow composers Henryk Górecki and Krzysztof Penderecki led an avant-garde music movement in the 1960s, during which time he wrote several acclaimed classical works.

Kilar scored his first film in 1959, and went on to write music from some of Poland’s most acclaimed directors, including Krzysztof Kieślowski, Krzysztof Zanussi, Kazimierz Kutz, and Andrzej Wajda. He worked on over 100 titles in his home country, but he did not score an major English-language film until Francis Ford Coppola’s adaptation of Bram Stoker’s Dracula in 1992.

In addition to his film work, Kilar’s classical output includes such masterworks as Krzesany (1974), a symphonic poem for orchestra, inspired by the “highlander” music of the Tatra mountains region of southern Poland; Exodus (1979), a religious choral piece used in the trailers for Schindler’s List, and others such as Prelude and Christmas Carol (1972), Mount Kościelec 1909 (1976), Angelus (1984), Orawa (1986), and Choralvorspiel (1988). His third, fourth and fifth symphonies – the September Symphony (2003), the Symphony of Motion (2005) and the Advent Symphony (2007) – were among his last major completed works. Kilar died on December 29, 2013, at his home in Katowice, after a battle with cancer, aged 81. Read more…

PAN TADEUSZ – Wojciech Kilar

October 22, 1999 1 comment

pantadeuszOriginal Review by Jonathan Broxton

The vast majority of Wojciech Kilar’s work remains undiscovered by the film music public at large. Despite having written music for well over 100 films during a career which started in 1959, only four of these have been in the English language: Bram Stoker’s Dracula, Death and the Maiden, The Portrait of a Lady and The Ninth Gate. As a result, a huge amount of music written by Kilar for European (and especially Polish) cinema has passed by without the slightest hint of recognition. A couple of domestic albums and compilations of his work exist, albeit on rather obscure labels which make obtaining them somewhat difficult, but those whose opinion of Kilar and his work are based solely on his American projects would do well do seek them out. There are many, many gems to be found. Read more…