Wojciech Kilar

After studying piano under Maria Bilińska-Riegerowa and harmony under Artur Malawski, he moved from Kraków to Katowice in 1948, where he finished his music middle school in the class of Władysława Markiewiczówna, after which he went to the State College of Music (now the Music Academy) in Katowice where he studied piano and composition under Bolesław Woytowicz, graduating with top honours and the award of a diploma in 1955[4][7] He continued his post-graduate studies at the State College of Music (now the Music Academy) in Kraków from 1955 to 1958.[4] In 1957 he took part in the International New Music Summer Course in Darmstadt.[4] In 1959–60 a French government scholarship enabled him to study composition under Nadia Boulanger in Paris.[4]

Wojciech Kilar, 28 October 2005

Kilar belonged (together with Bolesław Szabelski, his student Henryk Górecki and Krzysztof Penderecki) to the Polish Avant-garde music movement of the Sixties,[8] sometimes referred to as the New Polish School. In 1977 Kilar was one of the founding members of the Karol Szymanowski Society, based in the mountain town of Zakopane. Kilar chaired the Katowice chapter of the Association of Polish Composers for many years and from 1979–81 was vice chair of this association's national board. He was also a member of the Repertoire Committee for the "Warsaw Autumn" International Festival of Contemporary Music. In 1991 Polish filmmaker Krzysztof Zanussi made a biographical film about the composer titled Wojciech Kilar.

Having received critical success as a classical composer, Kilar scored his first domestic film in 1959, and went on to write music for 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, including internationally recognised titles such as Bilans Kwartalny (1975), Spirala (1978), Constans (1980), Imperativ (1982), Rok Spokojnego Słońca (1984), and Życie za Życie (1991), plus several others in France and across other parts of Europe. He made his English-language debut with Francis Ford Coppola's adaptation of Dracula. His other English language features — Roman Polanski's trio Death and the Maiden (1994), The Ninth Gate (1999) and The Pianist (2002), and Jane Campion's The Portrait of a Lady (1996) — were typified by his trademark grinding basses and cellos, deeply romantic themes and minimalist chord progressions.

In addition to his film work, Kilar continued to write and publish purely classical works, which have included a horn sonata, a piece for a wind quintet, several pieces for chamber orchestra and choir, the acclaimed Baltic Canticles, the epic Exodus (famous as the trailer music from Schindler's List and the main theme of Terrence Malick's Knight of Cups), a Concerto for Piano and Orchestra dedicated to Peter Jablonski, and his major work, the September Symphony (2003).[8]

Having abandoned Avant-garde music technical means almost entirely, he continued to employ a simplified musical language, in which sizable masses of sound serve as a backdrop for highlighted melodies. This occurs in those compositions that reference folk music (especially Polish Highlander Gorals folk melodies) and in patriotic and religious pieces.

During the summer of 2013, Kilar manifested signs of poor health, such as fainting and elevated blood pressure, but attributed those symptoms to his heart problems. However, in September he fell while on the street. He was admitted to a hospital, where he was diagnosed with a brain tumor, though news of his illness was only publicly released after his death. He underwent a successful surgery to remove the tumor, which caused no serious side–effects; Kilar was very optimistic and continued to work after the operation.[9] In addition, he underwent radiotherapy for six weeks, a process which left 81-year-old Kilar physically exhausted.[10][11][12]

In early December 2013, Kilar left the hospital to return to his residence in Katowice. As he did not have any children, he was taken care of by his niece.[12] He was also regularly visited by a Catholic priest and received the Holy Communion twice during the Christmas season. His condition deteriorated on 28 December and on the morning of Sunday, 29 December 2013, Kilar died.[10] Following the cremation of his body, Kilar's funeral was held on 4 January 2014 at the Cathedral of Christ the King in Katowice. After the service, his ashes were laid to rest alongside those of his wife.[13]

• The French Lili Boulanger Prize for composition (1960)
• The Polish Ministry of Culture and Arts Award (1967 and 1976)
• The Polish Composers Union Award (1975)
• The French Prix Louis Delluc (1980)
• The Alfred Jurzykowski Foundation Award (1984, USA)
• The Polish Cultural Foundation Award (2000)
• Co-Winner (with 7 other people and 5 other movies) of the 1993 ASCAP Award from the American Society of Composers, Authors, and Producers in Los Angeles for his score for the Francis Ford Coppola horror film Bram Stoker's Dracula.[17]
• Nominated for the Saturn Award for Best Music in a science fiction, fantasy, or horror film, for Bram Stoker's Dracula (San Francisco, 1993)[1]
• Winner of the César Award for Best Music written for a film, for The Pianist, at France's 28th César Awards Ceremony in 2003[2]
• Nominated for the Anthony Asquith Award for Film Music, for The Pianist, at Britain's 2003 BAFTA Awards[3]

• Small Overture (1955), for the Youth Festival, 1955
• Symphony for Strings (Symphony No. 1, 1955)
• Ode Béla Bartók in memoriam, for violin, brass, and percussion (1956)
• Riff 62 (1962)
• Generique (1963)
• Springfield Sonnet (1965)
• Krzesany, for orchestra (1974)
• Kościelec 1909, for orchestra (1976)
• Orawa, for string orchestra (1986)
• Choralvorspiel (Choral Prelude), for string orchestra, (1988)
• Requiem Father Kolbe, for symphony orchestra (1994)
• Symphony No. 3 "September Symphony" for orchestra (2003)
• Ricordanza" (2005)
• Uwertura uroczysta [Solemn Overture] for orchestra (2010)

• Symphony Concertante, for piano and orchestra (Symphony No. 2, 1956)
• Prelude and Christmas Carol, for four oboes and string orchestra (1972)
• Bogurodzica, for mixed choir and orchestra (1975)
• Hoary Fog (Siwa mgła), for baritone and orchestra (1979)
• Exodus, for mixed choir and orchestra (1981)
• Victoria, for mixed choir and orchestra (1983)
• Angelus, for symphony orchestra, soprano, and mixed choir (1984)
• Piano Concerto No.1 (1996)
• Missa Pro Pace, for orchestra, chorus, and soloists (2000)
• Symphony No. 4 "Sinfonia de Motu" (Symphony of Motion), for orchestra, chorus, and soloists (2005)
• Magnificat, for orchestra, chorus, and soloists (2007)
• Symphony No. 5 "Advent Symphony", for orchestra, chorus, and soloists (2007)
• Te Deum, for orchestra, chorus, and soloists (2008)
• Veni Creator, for mixed chorus and strings (2008)
• Piano Concerto No.2 (2011)

• Lament, for mixed unaccompanied choir (2003)
• Paschalis Hymn for chorus (2008)

• Flute Sonatina (1951)
• Woodwind Quintet (1952)
• Horn Sonata (1954)
• Training 68, for clarinet, trombone, cello and piano (1968)
• Orawa, arr. for 8 Cellos
• Orawa, arr. for 12 Saxophones (2009)

Numerous solo piano pieces

Krzesany is a symphonic poem completed in 1974.

The premiere of the poem took place in Warsaw during the "Warsaw Autumn" International Festival of Contemporary Music on September 24, 1974. The composer has dedicated a piece to the National Philharmonic. The piece is a reference to the folk music of Podhale. Originally Krzesany is a folk dance from the Podhale region. The work was completed on July 14, 1974. It was performed for the first time on September 24, 1974. The poem is a one-movement piece. Along with Kościelec 1909, Hoary Fog and Orawa, Krzesany is a kind of "Kilarian Tatra polyptych".[18][19]

Kościelec 1909 is a symphonic poem completed in 1976.

The premiere took place in Warsaw on November 5, 1976. Wojciech Kilar composed a piece on the occasion of the 75th anniversary of the National Philharmonic in Warsaw and the 100th anniversary of the birth of Mieczysław Karłowicz. The composition was dedicated to the conductor Witold Rowicki. Along with Krzesany, Hoary Fog and Orawa, Kościelec 1909 is a kind of "Kilarian Tatra polyptych". The pieces refer to the tradition of Podhale music. The composer distinguished three sections-themes: tema della montagna (mountain theme), tema dell’abisso chiamante (abyss theme) and tema del destino (fate theme).[18] The piece was inspired by the tragic death of the Polish romantic composer Mieczysław Karłowicz. Karłowicz died on February 8, 1909 in a snow avalanche at the foot of Mały Kościelec in the Tatra Mountains.[20]

Hoary Fog (Polish title: Siwa mgła) is a vocal-symphonic poem completed in 1979.

It was based on the song of the Podhale highlanders. The author dedicated the piece to the opera singer Andrzej Bachleda-Curuś. Along with Krzesany, Kościelec 1909 and Orawa, Hoary Fog is a kind of "Kilarian Tatra polyptych". The pieces refer to the tradition of Podhale music.[18] The music is accompanied by the singing of a baritone. The text is a traditional Polish highlander song. It is a one-movement piece. The world premiere took place in Bydgoszcz on October 14, 1979. The baritone part was then performed by Andrzej Bachleda-Curuś, the Symphony Orchestra of the Kraków Philharmonic was conducted by Jerzy Katlewicz.[21]

Orawa is a symphonic poem for chamber string orchestra completed in 1986.

The premiere of the poem took place in Zakopane on March 10, 1986. The Polish Chamber Orchestra was conducted by Wojciech Michniewski. This is the fourth piece by Kilar referring to the tradition of Podhale music. Along with Kościelec 1909, Hoary Fog and Krzesany, Orawa is a kind of "Kilarian Tatra polyptych". There are arrangements for a string quartet, twelve saxophones, an accordion trio, eight cellos and others.[18][22][23]