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ASO Program Notes Orawa Wojciech Kilar (1932 - 2013) While Chopin is usually the first name to come to mind when speaking of Polish composers, there are a number of contemporary Polish figures who have distinguished themselves by incorporating Poland’s indigenous culture and landscape into their music. One of these is Wojciech Kilar, now recognized as Poland’s leading composer of symphony, oratorio and chamber music, as well as numerous sound tracks. He was trained in Krakow, then in Paris, studying under some of the greatest modern tutors of the 20th century and perfecting and adopting his distinctive neo-classical style. He performed regularly in concert halls and also accepted a number of commissions from film directors. Commissions included The Truman Show, Dracula, Portrait of A Lady, and The Pianist, among many others. After a period of particularly avant-garde productions, he settled into a strongly nationalistic style, showing elements of his country’s folk and religious music. His composition Orawa , completed in 1986, takes it’s title from the Carpathian region of the Polish-Slovak border. It also refers to mountainous terrain and grass-covered mountain pastures with rivers running through. It is the final work in Kilar’s “Tatra Mountain works” for string orchestra and has been suggested to depict the potent forces of nature and an exuberant folk festival at harvest time. Orawa is characterized by use of repeated figures played off against one another, with its texture varying in dynamics and rhythms for dramatic effect. It is the most popular of Kilar’s works, and has lent itself to a variety of arrangements, including, at various times, for string quartet, for twelve saxophones, accordion trio and eight cellos! In an interview in Krakow in 1997, Kilar said of his most famous work, “Orawa is the only piece in which I wouldn’t change a single note, though I have looked at it many times… What is achieved in it is what I strive for - to be the best possible Kilar.” Beryl McHenry .

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{ inspirations } BraBraammS Stoktookoker’err ssD Dracrraa ulal , dirir.r. F.F F.F CCooppola TThTheh NiN nththh GaG tee, dir.ir RR.. Poolaańskiskkki © Agencja MJS © Agencja MJS In his career, Wojciech Kilar strictly debuting at the ‘Warsaw Autumn’ festival. piece”2. In another interview he bluntly de- observes two basic rules: firstly – He was keenly interested in all theoretical as- scribed the problem with a comparison: “An autonomous music for the concert hall is pects of film music. If the film (and of course autonomous composition is a house, and the in every respect more important than film the director) allowed it, Kilar eagerly experi- composer is the architect. In film, the director music, and secondly – silly movies that do mented with the music, with various ways of is the architect, and I’m just the decorator”3. not convey any deeper content are not juxtaposing it with the image and with the Despite this dependency, and the prob- worth writing music for; that time should function of music within the context of the lem of ‘ragged’ form, Wojciech Kilar has man- be spent writing concert music. Despite, film (K. Kutz Nikt nie woła, 1960, Milczenie, aged over the years to create countless mas- and because of this, Kilar has written music 1963, K. Zanussi Struktura kryształu, 1969). terpieces of film music, drawing on a wide for so many outstanding art films, which He quickly established himself as a composer variety of conventions, styles and techniques have passed into the history of Polish and who ‘felt’ the image and was able to illustrate associated with chamber and orchestral mu- international cinema.
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Górecki. a Stubborn Genius] Socialist Poland), Which Heavily Influenced the Life of Offend People and Was Able to Sever Years-Long Co-Edition Contract for 10 Years
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