July 17, 1932 – Dec. 29, 2013
WARSAW, Poland (AP) – Wojciech Kilar, a Polish pianist and composer of classical music and scores for many films, including Roman Polanski’s Oscar-winning “The Pianist” and Francis Ford Coppola’s “Bram Stoker’s Dracula,” died Sunday. He was 81.
The composer died in his hometown of Katowice, southern Poland, following a long illness, according to Jerzy Kornowicz, head of the Association of Polish Composers.
“The power and the message of his music, as well as the noble character of Wojciech Kilar as a person, will stay in my memory forever,” said Kornowicz.
A modest man who often avoided public attention, Kilar’s main love was composing symphonies and concertos, and he always put that above movies, even though he wrote the scores of dozens of films. He drew inspiration from Polish folk music and religious prayers and hymns, which he had learned in Latin as an altar boy.
But it was film music, especially for Coppola’s 1992 erotic horror movie, that brought this prolific vanguard composer to the world’s attention and commissions from other celebrity directors, including Jane Campion and her “Portrait of a Lady.” Kilar once said the three criteria that made him write film music were, in this order: the name of the director, the salary and the script.
In a 2007 interview with PLUS, a journal about Polish-American affairs, he recalled asking Coppola in Los Angeles what kind of music he was expecting and the director replied: “I did my part. You are the composer. Do what you want.”
Kilar wrote music for more than 130 movies in Poland and abroad, but “Dracula” won him the Best Score Composer award from the American Society of Composers, Authors and Publishers in 1992.
Kilar was born in Lviv, a former Polish city now in Ukraine, to a doctor and an actress. The family moved to Rzeszow in southeastern Poland, then to Katowice in the south, where Kilar continued the musical education that he had started in Rzeszow.
He studied piano, music theory and composition in Rzeszow, Krakow and Katowice before graduating in 1955 with top honors from the State Music Academy in Katowice.
In the 1950s he tried composition in a neoclassicist style, in vogue at that time. After studying in Paris, he became one of Poland’s three leading vanguard composers in the 1960s.
Kilar’s best known works from the time are the jazzy “Riff62”; “Diphtongos,” a composition for a choir with orchestra; and a minimalist “Upstairs-Downstairs” for two children’s choirs and an orchestra.
A turning point came in 1974 with “Krzesany,” a symphonic poem for an orchestra, inspired by highlander music of the Tatra mountains region of southern Poland. From then on, Kilar drew inspiration for his classical music from Polish tradition and Catholic church music.
Most of his works were written for symphony orchestras – often with a solo voice, or instrument or choir – and range from symphonies and concertos to religious choral pieces such as the powerful “Exodus” of 1981, “Angelus” in 1984, and the “Magnificat,” written in 2006.
In 2003 the British Academy of Film and Television Arts gave the composer an award for his score for “The Pianist.”