Kilar Wojciech, *17 July 1932 Lviv, †29 December 2013 Katowice, Polish composer. From 1946 to 1947, he learned to play the piano under K. Mirski at the Secondary Music School in Rzeszów. He made his debut as a pianist at a Young Talents’ Competition in 1947, playing his Two Children’s Miniatures (2nd prize). Between 1947–1948, he attended the music lyceum (a secondary music school) in Kraków, his teachers were M. Bilińska-Riegerowa (piano) and A. Malawski (harmony private lessons). In 1948–1950, he learned at the State Secondary Music School in Katowice under W. Markiewiczówna (piano). At the same time, he took private composition lessons from B. Woytowicz. Kilar studied at the Higher State Music School in Katowice under B. Woytowicz (piano and composition). He graduated in 1955, gaining a diploma with distinction. In the same year, he was awarded second prize for Little Overture at the Symphonic Works Competition during the 5th Youth Festival in Warsaw. Between 1955–1958, he was a postgraduate student of B. Woytowicz at the State Higher Music School in Kraków in Kraków. In 1957 he took part in the Darmstadt International Summer Courses for Contemporary Music. Kilar, as a scholarship holder of the French government, studied composition with Nadia Boulanger (composition) in Paris from 1959 to 1960. In 1960, he received for his ode Béla Bartók in memoriam award of the L. Boulanger Foundation in Boston. He also performed as a pianist, playing his own compositions. Between 1979–81 he was vice-president of the Main Board of the Polish Composers’ Union. In 1977, he became a founding member of the K. Szymanowski Society in Zakopane. He was vice-president for two consecutive terms. He is also a member of the Związek Podhalan. K. Zanussi made a television movie entitled Wojciech Kilar in 1991. He is the winner of numerous awards and distinctions: in 1967, 1975 Minister of Culture and Art Award First Class and Second Class; in 1980 – First Class Award of Merit of the Polish Republic; in 1971, 1976, 1980 – music award of the Katowice Voivodeship; in 1975 – Polish Composers’ Union Award; in 1975, 1992 – award of the Katowice City ; in 1984 – Alfred Jurzykowski Foundation (New York) Award; in 1989 – the “Solidarity” Independent Trade Union Cultural Committee Arts Award; in 1990 – “Trzy Powstańcze Skrzydła” awards, Katowice TV Award; in 1995 – Wojciech Korfanty Prize, the “Lux ex Silesia” Prize bestowed by the Archbishop and Metropolitan of Katowice; in 1996 – Sonderpreis des Kulturpreises Schlesien des Landes Niedersachsen. In addition, he has received awards for film music: at the music festivals in Łagów (1970 – Czerwone i złote, 1971 – Romantyczni), in Gdańsk (1975 – The Promised Land [Ziemia obiecana], A Woman’s Decision [Bilans kwartalny], Linia, Znikąd donikąd, 1978 – Spirala), in Catania (1981 – Da un paese lontano), at the Cork International Film Festival (1973 – Szklana kula, 1981 – Da unpaese lontano), and also Prix Louis Delluc (1980 – Le roi et 1’oiseau), Nagroda Przewodniczącego Komitetu Kinematografii [“Award of the President of the Cinematography Committee”] (1991) and for the music to the film Bram Stoker’s Dracula – ASCAP Award 1992 in Los Angeles, Best Score Composer for a 1992 Horror Film in San Francisco.
Among contemporary Polish composers, Kilar stood out for his eminently individual style and uniqueness of musical conception. His work can be divided into three periods. First, from 1947 to 1957, neoclassical, concluded with the ode Béla Bartók in memoriam represents the years of stylistic exploration. Second, from 1960 to 1971, is characterised by sonoristic constructivism. Third, from 1972, has a national and religious character. Between the second and third periods the boundary is more fluid. However, Przygrywka i kolęda [“Prelude and Christmas Carol”] may be considered as a turning point.
The work of his first period is influenced by I. Stravinsky and B. Bartók. Kilar preferred the classical forms, for instance in Sonata for horn he maintained the sonata form. Characteristic features of the musical language are the motor of strong accented equal rhythmic values, large dynamic contrasts, and extremely frequent changes of metre, as well as the introduction of elements of folk music (Little Overture, symphonies).
The period of sonorist constructivism is characterised by the composition’s reliance on a simple idea, dynamism, expression, and brightness of instrumental sound. The first pieces contain elements of jazz music associated with “post-Webern” punctualism – in rhythm, dynamics, articulation there are small cells on the principle of riffs (Herbsttag). The increasing cast and role of brass instruments and percussion ensemble (Riff 62). Characteristic is the gradual expansion of the sound material, both by increasing the number of musicians in orchestral ensemble (petrol tank in Générique, percussion and brass instruments in Springfield Sonnet), quasi-stereophonic effects (Solenne), as well as the introduction of unconventional articulation (playing behind a bridge with a bow, striking strings with metal cans or fists, frullato – especially in Générique and Riff 62). The twelve-tone is extended by quarter tones. Kilar used in his vocal parts not only the rich articulatory possibilities (sussurando, parlare, gridare), but also the phonic properties of the voices and words, borrowed from Triobriandz songs (Diphthongos). However, while the older compositions of this period, like Riff 62, Générique, Diphthongos, Springfield Sonnet, are “energetic” works with bright dynamic contrasts and a great variety and mobility of musical ideas. Meanwhile, the newer works, especially Solenne and Upstairs-Downstairs, are calming, with a reduction in interval and rhythmic drawing and extensive use of bourdon sound structures (in Upstairs-Downstairs double-stop A4–C5 is present throughout the piece).
The compositions of the third period, which are consistent in terms of technique, fall into two distinct aesthetic trends. In his works of the “folk” trend, which are testimony to his love of the Tatra Mountains and music of Podhale, the composer used the folklore of Podhale (“poliptyk góralski” – Krzesany, Kościelec 1909, Grey Mist (Siwa mgła), Orawa). The works related to the religious trend are a reflection of Kilar’s deep faith and Christian attitude, a sort of prayer – sign of gratitude (Angelus), a reflection of significant religious and social events in Poland. The essence of compositions from this period becomes their extra-musical content and spiritual message. This entails a reduction and simplification of the musical language. Kilar almost completely abandoned avant-garde techniques. He emphasised the melodic element, the finite, closed theme (Kościelec), which was often a quotation from a song (Bogurodzica, Victoria). His interest in folklore is linked to his frequent quoting of highland songs (Krzesany, Grey Mist) usage of highland rhythms and scales. Kilar focused on the metamorphosis of the sound of the theme, its dynamization, polyphonization and fluctuation of duration. The vertical structure of the composition is simplified. These are ostinato-bourdon structures, most often taking the form of multi-strings with a well-defined interval structure (especially in Grey Mist), as third plus fifth consonances, showing clear links with the major/minor system (Exodus, Angelus and Chorale Prelude (Choralvorspiel)). The text, which is either folk or historical original text (Grey Mist, Bogurodzica) or the words of a prayer (Pozdrowienia Anielskiego, like in Angelus), plays an important role. This period of Kilar’s works is marked by the fusion of traditional and avant-garde elements into a unified whole, in which religious and general humanistic elements are highlighted.
A separate and significant area of his work is film music, appreciated in Poland and abroad, as evidenced by numerous awards. The composer collaborated with numerous directors; particular attention deserves his enduring partnership with K. Zanussi, which stands as a demonstration of the perfect symbiosis between both artists. In Zanussi’s films, Kilar’s music, which is synchronised with the image, permeates the entire work, enhances the mood, accompanies the plot and the idea of the film, becoming its indispensable component. Music from beyond the film frame is an interpretation of the content conveyed in it, a kind of emotional-intellectual commentary. The composer operated with fixed sound structures and clear motifs, he used the technique of leitmotifs; the simplicity and clarity of the musical structure favours the message of the visual layer. He also introduced music into the frame, especially in the A Woman’s Decision [Bilans kwartalny] (nightclub, concert in Żelazowa Wola) and Kontrakt (restaurant, wedding ceremony in a church, wedding), often fragments of music played on the radio or a tape recorder. Kilar’s film music, due to its high artistic value and excellent combination with other factors of a film work, is unique compared to contemporary film art on a global scale.
Literature: conversations with Kilar: J. Radliński Fiakrem we współczesność, published in: Obywatel Jazz, Kraków 1967; J. Cęgiełła Wojciech Kilar, published in: Szkice do autoportretu polskiej muzyki współczesnej, Kraków 1976; E. Wybraniec Nie chcę uchodzić za kogoś, kim nie jestem, “Poglądy” 1976 No. 24; M. Wieroński Samoobrona sztuki europejskiej i nowe tendencje w muzyce, “Ekran” 1978 No. 2; J. Kołodziej Nie całą łapą a tylko koniuszkami palców, “Ekran” 1981 No. 12; Wojciech Kilar – R.J. Abramek Rozmowa o jasnogórskiej genezie “Angelus”, “Jasna Góra” 1985 No. 3, 4; B. Pociej “Herbsttag” Wojciecha Kilara, “Ruch Muzyczny” 1961 No. 21; L. Markiewicz “Riff 62” Wojciecha Kilara, “Ruch Muzyczny” 1963 No. 2; L. Markiewicz “Springfield Sonnet” Wojciecha Kilara, “Ruch Muzyczny” 1965 No. 17; T. Zieliński “Générique” Wojciecha Kilara, “Ruch Muzyczny” 1963 No. 22; T. Zieliński “Training 68” Wojciecha Kilara, “Ruch Muzyczny” 1968 No. 23; also in: Spotkania z muzyką współczesną, Kraków 1975; Nowy Jork chwali dzieło polskiego kompozytora, “Kultura USA” 1966 No. 37; H. Czyżewski Wybrane zagadnienia z problematyki współczesnej notacji muzycznej, “Zeszyty Naukowe PWSM w Gdańsku” [“Scientific Journals of the Academy of Music in Gdansk”] No. 5, 1967; T. Kaczyński „Krzesany” Kilara, “Ruch Muzyczny” 1974 No. 23; T. Kaczyński “Bogurodzica” Kilara, “Ruch Muzyczny” 1976 No. 23; E. Pawlik-Żmudzińska Wojciech Kilar – “Kościelec 1909”, published in: Festiwal Muzyki Polskiej w roku Jubileuszowym 75-lecia istnienia Filharmonii w Warszawie, Warsaw 1976; A. Chłopecki, L. Erhardt, T. Kaczyński, A. Skrzyńska Kilar: „Kościelec 1909”, “Ruch Muzyczny” 1977 No. 23; M. Kominek Białystok: inauguracja sezonu w Filharmonii, “Ruch Muzyczny” 1978 No. 22; O. Pisarenko Festiwalowy brulion – “Exodus” Kilara, “Ruch Muzyczny” 1981 No. 23; M. Kalicińska Koncepcja muzyki Wojciecha Kilara w polskich filmach fabularnych Krzysztofa Zanussiego, master’s thesis, 1982, typescript University of Warsaw Library (includes interview with Kilar); B. Hesford Vratislavia Cantans, “Musical Opinion” from October 1984; L. Polony Inauguracyjny koncert Szymona Kawalli, “Ruch Muzyczny” 1985 No. 26; L. Polony “Angelus”, “Jasna Góra” 1986 No. 6; A. Machowska Warsztat kompozytorski Wojciecha Kilara na przykładzie utworów z lat 1972–1983, master’s thesis, typescript Jagiellonian University, 1986; E. Solińska W salonie muzycznym, Bydgoszcz 1986; Z. Sowiński Wotum wdzięczności, “Jasna Góra” 1986 No. 6; K. Droba Nowy festiwal muzyki współczesnej, “Ruch Muzyczny” 1988 No. 6.
Instrumental works:
orchestral works:
Little Overture, 1955, performed in Katowice 25 June 1955, WOSPR, conducted by J. Krenz, published in 1958, 2nd edition 1979 PWM
Symphony No. 1 for string instruments, 1955, performed in Poznań 8 February 1957, Poznań Philharmonic Orchestra in Poznań, conducted by J. Wiłkomirski
Sinfonia concertante No.2 for piano and orchestra, 1956, performed in Katowice on 23 April 1958, piano Wojciech Kilar, WOSPR, conducted by J. Krenz
Koncert for two pianos and percussion orchestra, 1958, performed in Katowice 16 December 1958, piano Wojciech Kilar and A. Kurylewicz, WOSPR percussion ensemble, concudted by J. Krenz
Riff 62 for orchestra, 1962, performed at Warsaw Autumn on 16 September 1962, The Silesian Philharmonic Symphony Orchestra, conducted by K. Stryja, published in 1963, 2nd edition 1966 PWM
Générique for orchestra, 1963, performed at Warsaw Autumn on 24 September 1963, The Silesian Philharmonic Symphony Orchestra, conducted by K. Stryja, published in 1964 PWM
Springfield Sonnet for orchestra, 1965, performed in Stockholm 6 September 1965, Warsaw Autumn on 21 September 1965, National Philharmonic Symphony Orchestra, conducted by W. Rowicki, published in 1970 PWM
Przygrywka i kolęda /Prelude and Christmas Carol for 4 oboes and string orchestra, 1972, performed at Warsaw Autumn on 16 September 1972, National Philharmonic Symphony Orchestra, conducted by M. di Bonaventura, published by 1973 PWM
Krzesany for orchestra, 1974, performed at Warsaw Autumn on 24 September 1974, National Philharmonic Symphony Orchestra, conducted by J. Krenz, published in 1976, 3rd edition 1987 PWM
Kościelec 1909 for orchestra, 1976, performed in Warsaw 5 November 1976, National Philharmonic Symphony Orchestra, conducted by W. Rowicki, facsimile edition 1977, 2nd edition 1984 PWM
Orawa for chamber orchestra, 1986, performed in Zakopane 10 March 1986, Polish Chamber Orchestra, conducted by W. Michniewski, published in
1987 H. Litolff’s Verlag; 1989 PWM /H. Litolff’s Verlag/ C.F. Peters
Choralvorspiel (Chorale Prelude) for chamber orchestra, 1988, performed in Stuttgart 22 September 1989, Orkiestra Kameralna „Ostinato”, conducted by J. Ambros; version for symphony orchestra, Poznań 16 March 1990, Poznań Philharmonic Symphony Orchestra, conducted by W. Michniewski, published in 1991 PWM/H. Litolff’s Verlag/ C.F. Peters
Requiem dla Ojca Kolbe for strings, piano, celesta, harp and timpani, 1996
Koncert for piano and orchestra, 1996
September Symphony, 2003
Ricordanza per archi, 2005, performed 20 XI 2005, AUKSO orchestra, conducted by M. Moś; published in Kraków 2005 PWM
V Symfonia „Adwentowa”, 2007, performed in Katowice 16 XI 2007, Silesian Philharmonic Symphony Orchestra and Choir, conducted by M.J. Błaszczyk; published in Kraków 2007 PWM
Uwertura uroczysta, 2010, published in Kraków 2010 PWM
II Koncert fortepianowy op. 2, 2011, performed in Katowice 14 IX 2011, NOSPR, conducted by J. Kaspszyk, piano J. Bilińska
piano works:
Two Children’s Miniatures for piano, 1947, performed in Rzeszów 1947, by Wojciech Kilar
Suite No. 1 for piano, 1949
Suite No. 2 for piano, 1950
12 preludiów [“12 Preludes”] for piano, 1951
Variations on a theme of Paganini for piano, 1951
chamber music:
Sonatina for flute and piano, 1951, performed in Warsaw 9 September 1953, flute A. Peresada, piano H. Musiałówna
Kwintet for flute, oboe, clarinet, bassoon and horn, 1952, performed in Warsaw 9 September 1953, flute A. Peresada, oboe A. Chlunka, clarinet J. Foremski, bassoon E. Lewandowski, horn S. Kierek
Sonata for horn and piano, 1954, performed in Warsaw 22 November 1954, published in 1959, 5th edition 1984 PWM
Oda Béla Bartók in memoriam for solo violin, brass instruments and 2 percussion ensembles, 1957, performed in Katowice December 1958, violin W. Wochniak, WOSPR, conducted by M. Baranowski, published in 1960 PWM
Training 68 for clarinet, trombone, cello and piano, 1968, performed at Warsaw Autumn 25 September 1968, „Warsztat Muzyczny” (clarinet C. Pałkowski, trombone E. Baraniak, cello W. Gałązka, piano Z. Krauze)
Vocal and instrumental works:
Wyczarowanie for baritone, flute, tam-tam, harp and string quartet, text by Tu-Fo, 1952
Ptak for soprano and piano, text by J. Tuwim, 1954
Suita beskidzka for tenor, mixed choir and small orchestra, words of folk songs, 1956
Kołysanki for soprano, 3 clarinets, horn, harp and piano, text by J. Czechowicz, 1957
Herbsttag for alto and string quartet, text by R.M. Rilke, 1960, performed at Warsaw Autumn September 1961, mezzo-soprano K. Szostek-Radkowa, Zespół Kameralny Państwowej Filharmonii Śląskiej, conducted by K. Stryja
Radkowa, The Silesian Chamber Orchestra of the Silesian Philharmonic, conducted by K. Stryja
Diphthongos for mixed choir and orchestra, vocalized text, single words and shouts from Triobriand’s songs “Io’uwa”, 1964, performed in Venice 13 September 1964, Symphony Orchestra and Kraków Philharmonic Choir, conducted by A. Markowski, published in 1965 PWM
Solenne for 67 performers, vocalized text, 1967, performed at Warsaw Autumn 22 September 1967, soprano A. Malewicz-Madey, Orchestre Philharmonique de 1’ORTF, conducted by Ch. Bruck, published in 1968 PWM
Upstairs-Downstairs for 2 girls’ or boys’ choirs and orchestra, vocalized text, 1971, performed at Warsaw Autumn on 25 September 1971, The Silesian Philharmonic Symphony Orchestra, conducted by K. Stryja, published in 1972 PWM
Bogurodzica for mixed choir and orchestra, text from the text from the 18the century song, Bogurodzica, 1975, performed at Warsaw Autumn 18 October 1976, National Philharmonic Symphony Orchestra and Choir, conducted by W. Rowicki, facsimile edition 1978 PWM
Fanfara for mixed choir and orchestra, in honour of Pope John Paul II, 1979, performed at Kraków 5 June 1979, Symphony Orchestra and Kraków Philharmonic Choir, conducted by J. Radwan (from audiotape)
Grey Mist for baritone and orchestra, lyrics from a folk song, 1979, performed in Bydgoszcz 14 September 1979, baritone A. Bachleda, Symphony Orchestra of the Kraków Philharmonic, conducted by J. Katlewicz, published in 1983 PWM
Exodus for mixed choir and orchestra, text in Latin., 1981, performed at Warsaw Autumn, 19 September 1981, WOSPRiT in Katowice and Polish Radio and Television Choir in Kraków, conducted by J. Kasprzyk, published in 1986 PWM /H. Litolff’s Verlag/ C.F. Peters
Victoria for mixed choir and orchestra, fragment of lyrics from the letter of John III Sobieski to Pope Innocent XI, 1983, performed in Katowice 20 June 1983, The Silesian Philharmonic Symphony Orchestra, conducted by A. Wit, facsimile edition 1983 PWM
Angelus for soprano, mixed choir and orchestra, prayer Pozdrowienie Anielskie, 1984, performed in Katowice 12 October 1984, soprano D. Ambroziak, WOSPRiT in Katowice and Polish Radio and Television Choir in Kraków, conducted by A. Wit, published in 1989 PWM /H. Litolff’s Verlag/ C.F. Peters
Króluj nam Chryste for voice and piano, text by the composer, 1995, performed version for mixed choir, Cieszyn August 1995, Kongres Europejskiej Federacji Ekumenicznej [Congress of European Ecumenical Federation]
Jakżeż ja się uspokoję for voice and piano, text by S. Wyspiański, 1995, performed in Kraków December 1995, W. Warska-Kurylewicz
Magnificat for soprano, tenor, basso, mixed choir and orchestra, 2006, performed in Warsaw 5 V 2006, Warsaw National Philharmonic Orchestra and Choir, conducted by A. Wit; published in Kraków 2012 PWM
Te Deum for solo voices, mixed choir and orchestra, 2008, performed in Kraków 9 XI 2008, I. Hossa (soprano), E. Marciniec (alto), R. Bartmiński (tenor), P. Nowacki (basso), Polish Radio Choir (dyryg. W. Siedlik), Silesian Philharmonic Choir (dyryg. W. Sutryk), NOSPR, conducted by W. Michniewski
Veni Creator per coro misto ed archi, 2008, published in Kraków 2008 PWM
Vocal works:
Agnus Dei for mixed choir a cappella, 1996
Stage works:
W górę – w dół, ballet based on Générique, Riff 62, Upstairs-Downstairs, 1975, performed in Bytom 18 October 1975, Silesian Opera ballet and orchestra ensemble, conducted by N. Siess, choreography by H. Kozminski, scenography by M. Kolodziej
Film music:
Narciarze, 1958, directed by N. Brzozowska
Lunatycy, 1959, directed by B. Poręba
Nikt nie woła, 1960, directed by K. Kutz
Milczące ślady, 1961, directed by Z. Kuźmiński
Tarpany, 1961, directed by K. Kutz
Spotkanie w „Bajce”, 1962, directed by J. Rybkowski
Rodzina Milcarków, 1962, directed by J. Wiłkomirski
Głos z tamtego świata, 1962, directed by S. Różewicz
Kryptonim „Nektar”, 1963, directed by L. Jeannot
Daleka jest droga, 1963, directed by B. Poręba
Mansarda, 1963, directed by K. Nałęcki
Milczenie, 1963, directed by K. Kutz
Obok prawdy, 1964, directed by J. Weychert
Pięciu (Five), 1964, directed by P. Komorowski
Późne popołudnie, 1964, directed by A. Ścibor-Rylski
Echo, 1964, directed by S. Różewicz
Giuseppe w Warszawie, 1964, directed by S. Lenartowicz
Wyspa złoczyńców, 1964, directed by S. Jędryka
Salto, 1965, directed by T. Konwicki
Katastrofa, 1965, directed by S. Chęciński
Ktokolwiek wie, 1966, directed by K. Kutz
Bumerang, 1966, directed by L. Jeannot
Marysia i Napoleon (Mary and Napoleon), 1966, directed by L. Buczkowski
Piekło i niebo, 1966, directed by S. Różewicz
Powrót na ziemię, 1966, directed by S. Jędryka
Sami swoi (All Friends Here), 1967, directed by S. Chęciński
Stajnia na Salwatorze, 1967, directed by P. Komorowski
Bicz boży, 1967, directed by M. Kaniewska
Cała naprzód, 1967, directed by S. Lenartowicz
Westerplatte, 1967, directed by S. Różewicz
Maria Skłodowska-Curie, 1967, directed by S. Grabowski
Wstęp do wiedzy o sztuce – Artysta, 1967, directed by K. Nałęcki
Człowiek z M-3, 1968, directed by L. Jeannot
Lalka (The Doll), 1968, directed by W.J. Has
Ostatni po Bogu, 1968, directed by P. Komorowski
Molo, 1968, directed by W. Solarz
Samotność, 1968, directed by S. Różewicz
Sól ziemi czarnej (Salt of the Black Earth), 1969, directed by K. Kutz
Struktura kryształu (The Structure of Crystals), 1969, directed by K. Zanussi
Czerwone i złote, 1969, directed by S. Lenartowicz
Tylko umarły odpowie, 1969, directed by S. Chęciński
Zbrodniarz, który ukradł zbrodnię, 1969, directed by J. Majewski
Przygody pana Michała (television series), 1969, directed by P. Komorowski
Góry o zmierzchu (television series), 1970, directed by K. Zanussi
Dancing w kwaterze Hitlera, 1970, directed by J. Batory
Przystań, 1970, directed by P. Komorowski
Rejs, 1970, directed by M. Piwowski
Romantyczni, 1970, directed by S. Różewicz
Perła w koronie (Pearl in the Crown), 1971, directed by K. Kutz
Pierścień księżnej Anny, 1971, directed by M. Kaniewska
Bolesław Śmiały, 1971, directed by W. Lesiewicz
Brylanty pani Zuzy, 1971, directed by P. Komorowski
Życie rodzinne (Family Life), 1971, directed by K. Zanussi
Die Rolle (television series), 1971, directed by K. Zanussi
Hipoteza (television series), 1972, directed by K. Zanussi
Szklana kula, 1972, directed by S. Różewicz
Drzwi w murze, 1973, directed by S. Różewicz
Hubal, 1973, directed by B. Poręba
Iluminacja (The Illumination, 1973, directed by K. Zanussi
Opętanie (Possession), 1973, directed by S. Lenartowicz
Zazdrość i medycyna, 1973, directed by J. Majewski
Wielka miłość Balzaka (television series), 1973, directed by W. Solarz
Ziemia obiecana (The Promised Land), 1974, directed by A. Wajda
Linia, 1974, directed by K. Kutz
A Woman’s Decision, 1974, directed by K. Zanussi
The Gatamount Killing, 1974, directed by K. Zanussi
Znikąd donikąd, 1975, directed by K. Kutz
Jarosław Dąbrowski, 1975, directed by B. Poręba
The Promised Land (television series), 1975, directed by A. Wajda
Trzecia granica (television series), 1975, directed by W. Solarz, L. Lorentowicz
Die Nachtdienst (television series), 1975, directed by K. Zanussi, E. Żebrowski
Trędowata, 1976, directed by J. Hoffman
Barwy ochronne, (Camouflage) 1976, directed by K. Zanussi
Bords to Birds, 1976, directed by P. Komorowski
Smuga cienia (The Shadow Line), 1976, directed by A. Wajda
Z punktu widzenia nocnego portiera, 1977, directed by K. Kieślowski
Haus der Frauen (Dom kobiet) (television series), 1977, directed by K. Zanussi
Anatomiestunde (Lekcja anatomii) (television series), 1977, directed by K. Zanussi
Brigitte Horney (television series), 1977, directed by K. Zanussi
Rodzina Połanieckich (television series), 1978, directed by J. Rybkowski
Spirala (Spiral), 1978, directed by K. Zanussi
Paciorki jednego różańca, 1979, directed by K. Kutz
Wege in der Nacht (television series), 1979, directed by K. Zanussi
David, 1979, directed by K. Zanussi
Le roi et l’oiseau, 1979, directed by P. Grimault
Kontrakt (television series), 1980, directed by K. Zanussi
Constans, 1980, directed by K. Zanussi
Ród Gąsieniców (television series), 1980, directed by K. Nałęcki
Krzesany (television series), 1980, directed by C. Drzewiecki
Przypadek (Blind Chance), 1981, directed by K. Kieślowski
Da un paese lontano. Papa Giovanni Paolo II, 1981, directed by K. Zanussi
Versuchung (television series), 1981, directed by K. Zanussi
Imperativ (Imperatyw) (television series), 1981, directed by K. Zanussi
Capitali culturali – Vaticano, 1982, directed by K. Zanussi
Unerreichbar (television series), 1982, directed by K. Zanussi
Marynia, 1983, directed by J. Rybkowski
Na straży swej stać będę, 1983, directed by K. Kutz
Paradigme du le pouvoir du mal (Power of Evil), 1983, directed by K. Zanussi
Rok spokojnego słońca (Year of the Quiet Sun), 1984, directed by K. Zanussi
Blaubard (television series), 1984, directed by K. Zanussi
Kronika wypadków miłosnych (A Chronicle of Amorous Accidents), 1986, directed by A. Wajda
Gdzieśkolwiek jest, jeśliś jest (Wherever You Are), 1988, directed by K. Zanussi
La table tournante, 1988, directed by P. Grimault
Napoleon et l’Europe (television series), 1989–90, directed by K. Zanussi et al.
Korczak, 1990, directed by A. Wajda
Leben für Leben – Maximilian Kolbe, 1990, directed by K. Zanussi
Long Conversation with a Bird, 1990, directed by K. Zanussi
Le retour, 1990, directed by J. Dayan
The Touch, 1991, directed by K. Zanussi
Bram Stoker’s Dracula, 1992, directed by F. Coppola
König der letzten Tage, 1993, directed by T. Toelle
Śmierć jak kromka chleba, 1994, directed by K. Kutz
Faustyna (Faustina), 1994, directed by J. Łukaszewicz
Death and the Maiden, 1994, directed by R. Polański
Cwał (At Full Gallop), 1995, directed by K. Zanussi
Deux fantômes en colère, 1996, directed by G. Oury
Portret damy, 1996, directed by J. Campion
Dziewiąte wrota, 1999, directed by R. Polański
Pan Tadeusz, 1999, directed by A. Wajda
Pianista, 2002, directed by R. Polański
Zemsta, 2002, directed by A. Wajda
