FILM MUSIC

Bilans kwartalny (Quarterly Balance), Theme from the film music (1974)

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Duration: 3’

Wojciech Kilar’s cooperation with Krzysztof Zanussi resulted in music for over thirty films. „Bilans kwartalny”, a Polish psychological drama from 1974, was the sixth film for both artists, preceded by „Iluminacja” and „Hipoteza” amongst others. The film tells the story of a young woman (Maja Komorowska in this role), whose regular but also monotonous life as a wife and mother, and at work as an accountant, changes after a chance meeting of a friend after many years (Marek Piwowski). His energy, spontaneity and carefree behaviour stands in opposition to the behaviour of her husband (Piotr Fronczewski) - peaceful, amicable, dedicated to work. A melancholy picture of her experiences, longings and desires. The film title refers indirectly to her profession, showing the company's financial troubles, but in fact presents moral problems, internal disputes, balancing the spheres of emotion and reason. Wojciech Kilar's music, with its famous theme, played on the piano with long notes in the strings certainly contributed to the film’s success, which received several awards, including a Golden Duck for Krzysztof Zanussi in 1976 for best Polish film.

Bilans kwartalny, temat 2, NOSPR, dyr. J.M. Florencio
Bilans kwartalny, temat 3, NOSPR, dyr. J.M. Florencio


Cwał (At Full Gallop), Gallop from the film music (1995)
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Duration: 2'

Gallop is one of the musical fragments from the movie „At Full Gallop" (“Cwał”), directed by Krzysztof Zanussi. This is music with a strongly illustrative character; the title gallop was shown brilliantly by the composer with purely musical means. The rhythm and articulation of the main theme on the violin and accompanying string orchestra and brass is reminiscent of a galloping horse. With repetitive short rhythmic musical motifs, from the very beginning there is a strong, constant pulse, pounding sounds, a gallop. This piece begins with a calm phrase in the strings, but soon the power of expression gathers, step by step adding more instruments, the musical narrative gets faster and draws to a climax, until the entire orchestra suddenly halts on the last chord.


Dracula: Suite from the Film Music for Mixed Choir and Orchestra (1992)

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Duration: 25’

Wojciech Kilar and Francis Coppola’s cooperation on the horror film, "Dracula" brought the screen adaptation of Bram Stoker’s tale huge success. Brilliant actors such Gary Oldman, Winona Ryder, Anthony Hopkins and Keanu Reeves also contributed to its success. The world premiere of the film took place on 13 November 1992, and in Poland - 31 December 1992. Wojciech Kilar’s excellent music has been honoured by the American Society of Composers, Authors and Producers "ASCAP Award 1992" in Los Angeles where it was awarded Best Score Composer for a 1992 horror film.
In an interview the composer said “thanks to the "Godfather" and the first part of "Apocalypse Now" Francis Ford Coppola was always my favorite director. One day, at 3.00 in the morning he called me with a proposal to write the music for "Dracula". Of course I agreed, and this for two reasons. Firstly - I always associated cinema with Coppola because I like and appreciate "cinema", which in the language of film people means "image, movement, action, great passions," etc., etc. If I need metaphysics, I don’t go to the movies, it’s just enough for me to reach to my bookshelf, for Pascal, Saint Thomas Aquinas, or simply the Scriptures. And secondly, it can’t be denied - quoting "The Godfather" - it was an offer I couldn’t refuse” (Cieszę się darem życia, p. 46).
The image of Dracula is one of the most famous symbols in popular culture. It was created by Bram Stoker in 1898, in fact, Abraham Stoker (1847-1912), one of the leading European horror writers. His novel "Dracula", which tells the story of the Romanian vampire from dark Transylvania quickly achieved great success and was quickly transferred to the screen (the first adaptation is "Nosferatu - a symphony of horror" by F.W. Murnau). The role of Dracula has to date been played by Max Schreck, Klaus Kinski, Bela Lugosi, Christopher Lee, and - in Coppola’s production - Gary Oldman.
The film is set in fifteenth-century Transylvania. A young lawyer, Jonathan Harker (Keanu Reeves), comes to the castle of the nobleman, Count Dracula, a seemingly nice, older man, but in fact a bloodthirsty vampire, to determine conditions for the purchase of an old abbey near London. When Dracula chances upon a photograph of Jonathan’s fiancee - Mina Murray (Winona Ryder), who committed suicide centuries ago, in 1462, a dramatic search for a loved one begins.

Race against the sunset
Mina / Elisabeth
Vampire hunters
The Party
Mina / Dracula
The Storm


Dziewiąte wrota (The Ninth Gate) - Vocalise for soprano, piano, harpsichord and string orchestra (1999)

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Duration: ca 4'

The expert hand of the director - Roman Polański, and great music by Wojciech Kilar, created a blockbuster at the end of the nineties, "The Ninth Gate". The French-Spanish-American production presents the profile of New Yorker Dean Corso (played by Johnny Depp), an expert on antique books, commissioned by a mysterious and rich client to find all extant copies of a priceless medieval book of occult powers.
The enchanting „Vocalistaion” (in the film sung by the world famous soprano Sumi Jo) has gained great popularity in the repertoire of many vocalists.
In 1999 the director received the Prix Screen International prize for a European contribution to world cinema for „The Ninth Gate”.

Dziewiąte wrota, wyk. NOSPR, dyr. J.M.Florencio


Hipoteza (Hypothesis): Theme from the film music (1972)

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Duration: 2’

Wojciech Kilar’s cooperation with Krzysztof Zanussi resulted in music for over thirty films. In 1972, the artists’ common work was „Hipoteza” – a short film (27 minutes), a mischevious, funny, costume philosophical tale that forces us to reflect, in which the main character, Professor (Jerzy Zelnik) seeks to answer the question: “what would happen if ...?”

Hipoteza, temat 1, NOSPR, dyr. J.M.Florencio
Hipoteza, temat 2, NOSPR, dyr. J.M. Florencio
Hipoteza, temat 3-4, NOSPR, dyr. J.M.Florencio


Iluminacja (“Ilumination”): Theme from the film music (1973)

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Duration: 2’

Wojciech Kilar’s cooperation with Krzysztof Zanussi resulted in music for over thirty films. One of them was "Illuminacja" - a film about passing from adolescence to adulthood, seeking the meaning of life, experiences, dilemmas, deliberations. Commenting on the title of the film director said that "the somewhat archaic concept of "illumination" in the film will seem bitter, if not derisive. My character doesn’t experience any enlightenment - on the contrary, his intellectual biography is marked by moments of deep disappointment and doubts. But despite everything (...) there is hope that someday, in some moment of life, all of the intellectual efforts will together make for one bright, clear entirety." ("Kino" No. 4, 1973). The director, commenting on his collaboration with Wojciech Kilar described his composing as „a kind of semantic interpretation, where the music steps up to the level of dialogue in the scene, it is something extraordinary. It enriches the sense of what is being shown.” (M. Malatyńska, A. Malatyńska-Stankiewicz, „Scherzo dla Wojciecha Kilara”, Kraków 2002, p.39). Leszek Polony isolated six themes in the music to "Illuminacja" in his monograph about Wojciech Kilar. He defined this one as "Theme of the Tatra Mountains - therefore transcendence, destiny, and the 'love of life'" („Żywioł i modlitwa”, p. 184).

Iluminacja, wyk. NOSPR, dyr. J.M.Florencio


Kontrakt (The Contract): musical themes from Krzysztof Zanussi’s film (1980)

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Duration: 5’

A drama set in the times of Communism in Poland and a bitter reflection on morality among the elite and failed attempts at challenging the circumstances.
The film was acknowledged at the  1980 Venice International Film Festival.


Kronika wypadków miłosnych (“Chronicle of Amorous Incidents”) - Cavalry march - Theme from the film music (1985)

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Duration: 5’

This is one of the main musical themes (an energetic march theme) from the film "Chronicle Of Amorous Incidents" directed by Andrzej Wajda, 1985. The film is a nostalgic, poetic tale about the passage into adulthood of several of young people on the eve of World War II. The action takes place in Vilnius and the surrounding area and the main theme is the love of high school graduates Witek and Alina. Tadeusz Konwicki is the author of the screenplay, based on his own novel of the same name; in the main roles Paulina Młynarska-Moritz (Alina) and Piotr Wawrzyńczak (Witek).

The long-term cooperation between the masters: Wojciech Kilar and Andrzej Wajda, the composer himself described as problem free. "Andrzej Wajda is a dream director for me, because he gives me creative freedom," he said. "Not only me - the secret of his genius lies in the fact that he can bring the best out of the people working with him. Thanks to the creative freedom the composer feels as a co-creator of the film, and this helps immensely in the work. In his films, Wajda wants to have music that is not only fulfilling the function of the background, or is merely added to the image, but that also has "artistic value in itself, that is »alive« beyond the film. I am also inspired by the themes of his films - they are matters extremely dear to me, related to our history". In an interview with Leszek Polony and Klaudia Podobińska the composer said, "I never had problems with Andrzej Wajda's films. The vision of the musical arrangement came immediately, because Wajda's images are simply thrilling”. („Cieszę się darem życia”, p. 45).

Kronika wypadków miłosnych, Marsz kawalerii, wyk. NOSPR, dyr. J.M. Florencio


Kronika wypadków miłosnych (“Chronicle of Amorous Incidents”): Witek and Alina - Theme from the film music (1985)

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Duration: 4’

The gentle, poignant, somewhat nostalgic theme from the film "Chronicle Of Amorous Incidents" directed by Andrzej Wajda, 1985. The film is a poetic tale about the passage into adulthood of several of young people on the eve of World War II. The action takes place in Vilnius and the surrounding area and the main theme is the love of high school graduates Witek and Alina. Tadeusz Konwicki is the author of the screenplay, based on his own novel of the same name; in the main roles Paulina Młynarska-Moritz (Alina) and Piotr Wawrzyńczak (Witek).

The long-term cooperation between the masters: Wojciech Kilar and Andrzej Wajda, the composer himself described as problem free. "Andrzej Wajda is a dream director for me, because he gives me creative freedom," he said. "Not only me - the secret of his genius lies in the fact that he can bring the best out of the people working with him. Thanks to the creative freedom the composer feels as a co-creator of the film, and this helps immensely in the work. In his films, Wajda wants to have music that is not only fulfilling the function of the background, or is merely added to the image, but that also has "artistic value in itself, that is »alive« beyond the film. I am also inspired by the themes of his films - they are matters extremely dear to me, related to our history". In an interview with Leszek Polony and Klaudia Podobińska the composer said, "I never had problems with Andrzej Wajda's films. The vision of the musical arrangement came immediately, because Wajda's images are simply thrilling”. („Cieszę się darem życia”, p. 45).

Kronika wypadków miłosnych, Witek i Alina, wyk. NOSPR, dyr. J.M. Florencio


Pan Tadeusz: Polonaise from the film music (1998)

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Duration: 5’

The music to the film adaptation of Adam Mickiewicz’s epic „Pan Tadeusz” directed by Andrzej Wajda gained great popularity. In particular the „Polonaise”, which one may risk the claim – is the most popluar poloniase since the time of Michał Kleofas Ogiński’s „Pożegnania Ojczyzny”.

The piece has a characteristically exhuberant theme which is given by the oboe, then goes to the flute, trumpet and eventually to a full orchestral tutti. In the middle section, in a minor key, the horns come to the centre stage.

Wojciech Kilar received a Golden Duck (Złota Kaczka) for the music to „Pan Tadeusz” in the category of Best Author Of Music To A Polish Film (2000), an Eaglet (Orła) – the prize of the Polish Film Academy in the category of Best Music (2000), a Platinum Disc for 20 thousand sold discs and in 2007 a 50th anniversary Golden Duck for the Polonaise scene in the category of Best Dance.


Pan Tadeusz: Suite from the film music (1998)

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Duration: 25’

Marek Miller wrote a book about the 1998 film called „Zagrajcie mi to pięknie. Pan Tadeusz według Andrzeja Wajdy” (Warsaw, 1999). It consists of quotations from newspapers and comments by people who took part in making the film, including Wojciech Kilar. „They asked me how many times I had read "Pan Tadeusz" in writing the music. God save! Not once. Because for me at this moment the only "Pan Tadeusz" that exists is that of Wajda and I didn’t write music to Mickiewicz’s poem, just to Wajda’s film. But "Pan Tadeusz" sits in every Pole, so also in me, though I don’t keep it next to the bed. However, I have read it many times and many scenes are stuck inside me. It is part of my Polishness. And when it came to composing, the music seemed obvious. Some themes were easier, some harder. (…) I wrote with a great feeling of responsibility. Because everyone was waiting to see how this "Pan Tadeusz" would be, these ants, the polonaise, everyone associates it with something, sometimes also with our music. Because this is Polishness. And Polishness is automatically associated with Chopin with that melancholic note, a bit of the kujawiak, but my wife quite rightly said to me: "Remember that it happens in Lithuania!". And I said that to Wajda and he agreed with me, that we’re not going to reach for the treasure chest of easy effects, tickling, sentimental, national. With the exception of the polonaise, which of course must be a polonaise, the music should be universal.”. (based on the website: http://www.pantadeusz.com/film/muzyka.html)

Parts:

  1. Inwokacja
  2. Polowanie
  3. Echo
  4. Świątynia dumania
  5. Mrówki
  6. Tadeusz i Zosia
  7. Rok 1812
  8. Śmierć Jacka Soplicy
  9. Kochajmy się
  10. Polonez wyk.NOSPR, dyr J.M. Florencio

The Pianist: Theme from the film music (2002)

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Duration: 2’

The next meeting between Wojciech Kilar and Roman Polański after the "Ninth Gate" (1999) and "Death and the Maiden" (1994). "The Pianist" is a screen recollection of Władysław Szpilman (played by Adrien Brody), an eminent composer and pianist, who because of his Jewish origins experienced persecution during World War II, barely avoided deportation and struggled to survive with the help of friends.

The film won tremendous acclaim and numerous awards, including the "Golden Palm" at the Cannes Film Festival (2002) and the French "César" in seven categories.

Wojciech Kilar was awarded an Anthony Asquith BAFTA Award for Best Film Music (2003), an Eaglet (“Orła“) from the Polish Film Academy for Best Music (2003), and the already mentioned César for Best Film Music (2003).

The composer spoke in Cannes about the Golden Palm for Roman Polański’s "The Pianist", saying that it was "the most well-deserved prize in the history of the last years of the award. The winning movie was great, simple, humanistic, talking about the most important issues, the most important threats, which, contrary to how recent Earopean history seems, are still hanging over us, especially after 11th September last year. A great director has been awarded. This artist is increasingly returning to his roots, to the place where he spent probably the most important moments of his life."

Pianista, wyk. NOSPR, dyr. J.M. Florencio


A Portrait of a Lady (“Portret damy”): Suite from the film music (1996)

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Duration: 30'

Parts:

  1. Prologue
  2. A certain light
  3. Phantasms of love
  4. Flowers of Firenze
  5. A portrait of a Lady, perf. NOSPR, dyr. J.M. Florencio
  6. Love remains
  7. The kiss, wyk. NOSPR, dyr. J.M.Florencio
  8. Epilogue

After Dracula, Wojciech Kilar’s next Hollywood success was his excellent music to Jane Campion's drama, which was awarded two Oscars and a Golden Globe (for best Supporting Actress Barbara Hershey). The film, by the New Zealand independent director and writer, based on the novel by Henry James received a lot of critical acclaim.

The director presents the stories of women (starring Nicole Kidman in the lead role), who are enslaved by conventions, their own beliefs, decisions and commitments and who are unable to realise their own dreams, suffering from confusion and loneliness.


Smuga cienia (The Shadow Line), theme from the film music (1976)

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Duration: 3'

Smuga cienia, wyk. NOSPR, dyr. J.M.Florencio


Suite from Krzysztof Zanussi’s Films (1972 – 2009)

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Duration: 12’

Wojciech Kilar’s cooperation with Krzysztof Zanussi resulted in music for over thirty films. Excellent, well-known and popular musical themes from the films: „Iluminacja”, „Kontrakt”, „Bilans kwartalny”, „Hipoteza” captured here in the form a several-minute suite.

The director, commenting on his collaboration with Wojciech Kilar described his composing as „a kind of semantic interpretation, where the music steps up to the level of dialogue in the scene, it is something extraordinary. It enriches the sense of what is being shown.” (M. Malatyńska, A. Malatyńska-Stankiewicz, „Scherzo dla Wojciecha Kilara”, Kraków 2002, p.39).

Performance materials are prepared to order. Please place orders at least 6 weeks before the first rehearsal.


Śmierć i dziewczyna (Death and the Maiden), Suite from the film music (1994)

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Duration: 14’

Suite of themes from the film "Death and the Maiden”, the first film with the accomplished Kilar – Polański duet. The film was produced in 1994 based on the play by the Argentinian-Chilean writer Ariel Dorfman with the same title. In the lead roles were Sigourney Weaver and Ben Kingsley. „The main musical motive” of the film is – in reference to the title of the film – the famous string quartet by Franz Schubert.

1. The confession
2. Paulina's theme
3. Roberto's last chance, wyk. NOSPR, dyr. J.M.Florencio


Trędowata (“The Leper”): Waltz from the film music (1976)

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Duration: 5’

The famous, vigorous waltz from the mid-seventies hit film, "Trędowata" directed by Jerzy Hoffman, which reveals the composer’s great melodic inventiveness. The film is the third adaptation of the novel by Helena Mniszkówna and starred Elżbieta Starostecka (as Stefcia Rudecka) and Leszek Teleszyński (and Waldemar Michorowski). This waltz, danced at the ball, was the climax of the tale of love, unrequited as a result of misalliance.

Trędowata, walc, wyk. NOSPR, dyr. J.M.Florencio


Zazdrość i medycyna ("Jealousy and Medicine"): Tango from the film music directed by Janusz Majewski


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Zazdrość i medycyna, wyk. NOSPR, dyr. J.M. Florencio.


Zazdrość i medycyna ("Jealousy and Medicine"): Theme from the film music directed by Janusz Majewski
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Duration: 2,5'

The collaboration between two natives of Lviv, Wojciech Kilar and Janusz Majewski, started with the film „Zbrodniarz, który ukradł zbrodnię" ("The criminal who stole a crime"). As the director recalls, "I needed the music to build tension and excitement. Maybe it was Andrzej Kurylewicz,  who was friends with Kilar since their school days, or my then mentor and informal artistic guide Antoni Bohdziewicz, who suggested the idea to me to go to Kilar with a proposal for cooperation. As we worked well together and I was very pleased with the results, it was natural to go on for my next two films: Lokisie and Zazdrości i medycynie." The gentle musical theme, strongly contrasting with the famous Tango from the same film is composed of repetitive, short phrases in the strings and a singing theme in the piano. Overall it creates a special atmosphere, so characteristic of Kilar’s film music.


Zemsta (“Revenge”): Mazurka from the film music (2002)

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Duration: 4’

The charming "Mazurka" begins the film adaptation of Aleksander Fredro’s "Zemsta" directed by Andrzej Wajda. It was made in 2002 and quickly gained the sympathy of the audience: the film starred a whole galaxy of stars of Polish cinema, including Janusz Gajos, Daniel Olbrychski, Andrzej Seweryn, Katarzyna Figura, Agata Buzek, Cezary Żak, Roman Polański, Rafał Królikowski and many others. During the recording of the “Mazurka” by the Symphony Orchestra of the National Philharmonic conducted by Wojciech Michniewski, the composer himself confessed, "it seems to me that the mazurka will not be as popular as the polonaise from "Pan Tadeusz" because I will be compared to Moniuszko, and that leaves me without a chance.” But as it turned out, the "Mazurka" appealed to a large audience.

Zemsta, wyk. NOSPR, dyr. J.M.Florencio


Ziemia obiecana (“The Promised Land”): Waltz from the film music (1975)

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Duration: 3’

The waltz is the most popular piece of Wojciech Kilar’s great music to the film adaptation of the story, "Promised Land", by the Polish Nobel laureate, Władysław Reymont, directed by Andrzej Wajda. It received prizes during the second Polish Film Festival in Gda?sk (1975). The waltz is part of the composer's rich collection of dance music; it is worth mentioning the "Polonaise" from "Pan Tadeusz", "Mazurka" from "Zemsta" and the “Waltz” from “Trędowata”.

The film itself received numerous nominations and awards including the Golden Duck for Best Picture (2011) and in 1976 it was nominated for an Oscar for Best Foreign Language Film.

Ziemia obiecana, walc, wyk. NOSPR, dyr. J.M.Florencio


Życie za życie (Life for Life, a Krzysztof Zanussi film) - Requiem for Father Kolbe -  Theme from the original film score (1996)

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Duration: 15’

The film depicts the tragic fate of the prisoners of the Auschwitz concentration camp and the true story of the martyrdom of Father Maksymilian Kolbe (played by Edward Żentara) who chose to die in place of a convicted fellow prisoner.
The score of the theme was reconstructed by Piotr Sarnecki.