Iwona Lindstedt | Playlist
Wojciech Kilar has been permanently labeled a composer of film music. It's true, of course, but the label has stuck so firmly that it seems to overshadow Kilar’s autonomous works, i.e., those written for concert stages and philharmonic halls. There are many such works (...). I’d like to dust off some of these compositions, which have been, I think, forgotten.
Tadeusz Sobolewski | Playlist
I began listening to classical music thanks to the cinema. Talking about the early days, when I was still at school, my teachers of this music included, along with Krzysztof Penderecki, Wojciech Kilar. Kilar writing for Polish cinema – I have chosen a few film excerpts which show a side of Kilar slightly different from the one we know from his great hits, from the polonaises from Wajda films. This is Wojciech Kilar from the 1960s and 1980s, not serious or classical but wild, as it were.
Krzesimir Dębski | Playlist
I think the audiences have the same problem as Kilar had. Which works to like – Riff, the avant-garde Upstairs-Downstairs, or, for example, Grey Mist or Krzesany. I think one can like both. And Kilar probably did like both.
Jacek Kaspszyk | Playlist
If I were to make a list his works, I’d have to say that all of them are brilliant, all are written by a man of incredible talent. But the work closest to me is Exodus. I had the honour of conducting its premiere at the Warsaw Autumn Festival. It was a special concert – Kilar was changing his musical language at the time.
Michał Merczyński | Playlist
Of course his film scores for Dracula or Jane Campion’s The Portrait of a Lady are hits. I think highly of those works by Kilar which are autonomous. They include, of course, Orawa, Krzesany, Kościelec, and his symphonies or his piano concertos.