Wojciech Kilar is one of the most talented and most popular Polish composers. Creates a classical music and film for over 50 years. He had great success in Poland and abroad. He also composed music for over 130 films. In 1999, Opole University awarded him an honorary doctorate.
Born on 17 July 1932, in Lviv. Musical education began with piano music in the PSSM in Rzeszow. As a pianist, made his debut in 1947 on Young Talent contest, performing his own "Two miniatures for children." He was a student of the National School of Music in Krakow. Graduated from high school in 1950 in Katowice, where he also began his studies at the National Higher School of Music. A French government scholarship, studied under Nadia Boulanger in Paris. Graduating with highest honors in 1955.
Wojciech Kilar, until 1974, when he composed his most famous song today, the symphonic poem "Krzesany", was regarded as a leading representative of Polish avant-garde music. He had to his credit "Riff 62" (1962), the composition of ultra-modern sound and form, which became a symbol of rebellion against tradition, a manifesto for the future. Hit her in good time and "Riff 62" won the Warsaw Autumn Festival remarkable success: Silesian Philharmonic Symphony Orchestra under the baton of Charles Stryja bisowała, and this is the new music rare! The same thing happen to two new works by Kilar - "Generique" (1963) and "Diphtongos" (1964). Then came a fascination with other avant-garde - with 'minimal music', which resulted in two tracks: "Upstairs-Downstairs" (1971) and "prelude and Carols" (1972).
Kilar, however, gave no respite to the public and critics, and two years after the "Krzesanym" wrote another mountain track - "Kościelec 1909" (1976), devoted Mieczyslaw Karlowicz, a prominent composer who at the age of 33 years died in an avalanche just under Koscielec in 1909. Then there were the following: "Siva Mist" for baritone and orchestra (1979), "Exodus" (1979-1981), "Angelus" for soprano, mixed choir and orchestra (1982-1984) and "Orava" for chamber orchestra (1986 ).
His adventure with the film began in 1958 when he wrote the music for "Skiing" N. Brzozowska. Collaborated with such directors as Andrzej Wajda ( "Promised Land" 1974, "Pan Tadeusz" 1999), Kazimierz Kutz ( "No one cries" 1960, "Salt of the Black Earth" 1969, "Pearl in the crown" of 1971, "Death as a slice bread, "1994), Stanislaw Rozewicz (Westerplatte" 1967, "Loneliness in two", 1968), Wojciech Has ( "The Doll", 1968), Tadeusz Konwicki ( "Salto", 1965), Marek Piwowski ( "Voyage" 1970) Krzysztof Kieslowski ( "Case" 1981), Roman Polanski ( "The Ninth Gate," 1999, "The Pianist", 2002). An album of music for the film "Pan Tadeusz" (1999) was awarded "platinum" for 20 thousand copies sold. Starting with "crystal structures" (1969) Wojciech Kilar has written music for almost all films by Krzysztof Zanussi.
1992 years Wojciech Kilar, goes to Hollywood. At that time, Francis Ford Coppola asked him to write music for the film "Dracula." This path was a great success, and the composer received her Award of the American Society of Composers, Authors and Producers' ASCAP Award 1992 "in Los Angeles and an award for Best Score Composer and 1992 Horror Film in San Francisco. In 1995, writes music for the film by Roman Polanski's "Death and the Girl," with Sigourney Weaver in the lead role, a year later, he composes for the film "Portrait of a Lady," directed by Jane Campion. In 1999, once again working with Roman Polanski. This time, creates music for the horror movie "The Ninth Gate." In addition, his music can be heard in such films as "The Truman Show" (excerpt from "Life of David Gale") and "City of Angels".
Wojciech Kilar has always argued that film music is not for him most. For various reasons, he rejected several offers. In 1999 he made his proposal to write the music for "Lord of the Rings". Initially, the composer took up this task, taking it very enthusiastically. He resigned, however, the enormity of the work dostrzeżeniu how he waited. Agreed to write music only for the first part of the saga - it did not correspond to the producers.
Wojciech Kilar now lives in a modest cottage near Katowice, where the work needed to silence.