for (In Krakow) – Photo Courtesy of Krakow Festival Office

The Best film music festival in the world Career Achievement Award bares his name since 2014. Call it a key word, a password, a Hashtag. His ghost haunts the place… he owns it. And it probably never has been as true as it is this year at the 12th FMF Krakow.

The late Wojciech Kilar (1932-2013), who’s piece Agnus Dei (from the film King of the Last Days) launched the delightful Choral program on opening night is in every corner. See:

The second evening featured the long awaited and successful World premiere, live on film rendition, of one of Kilar’s best known movie score for the 1992’s version of Dracula, directed by Francis Coppola and starring Gary Oldman and Wynona Ryder. See:

On day three at ICE Krzysztof Penderecki Hall, the great annual series dubbed Scoring4Polish director, added its share of emotions. By celebrating, in music, the works of award winning (Cannes, Venice, Berlin, Montreal) director Krzysztof Zanussi, a major figure of world cinema, the festival was also highlighting 50 years of collaboration and friendship between Zanussi and Kilar.

If, during the afternoon panels, the director, telling stories about unsuccessful match up with famous Gorecki early on in his career (leading to his association with Kilar) poked us all (he has a refine witty sense of humor) for being crazy enough to listen to a score without the film, the evening concert was a success story.

The main sources of the concert were two Suites, arranged by Nikiforos Chrysoloras, from what was often very short cues and punctuation in their original on screen incarnations.

The first suite included excerpts from early Zanussi-Kilar collaborations:  Illuminacja (1973), Hipoteza (1973), Kontrakt (1980) and Bilans Kwartalny (1975), available in the past on compilation CD of works by the maestro. The second including excerpts from later collaborations: Foreign Body (2014), Black Sun (2007), Cwal (1996), Where ever you are (1988).

The Aukso chamber Orchestra, augmented with various singer and musicians, were on performing duty, under the baton of Maestro Marek Mos.

”The Monks” from Illuminacja  offered a continuity of the Agnus Dei of opening day, ‘Moto Perpetuo’, the original opening, also from Illuminacja, proposed a demonstration of the composer’s versatility, with high pitch piano, while the theme of the closing, Deer sequence, from Kontrakt  was an evocative highlight as well as the epic ‘Alla Polacca’ from the same film.

fot. Edyta Dufaj.jpg(Photo: Edyta Dufaj) – Courtesy of KFB

During intermission I intercepted the ‘skeptical sounding’ Zanussi of the afternoon, simply asking (in French): Et alors, M. Zanussi?

He took his usual dignified posture (he is a class act), looked at me with tears in his eyes and said:

”There was the sound of 50 years of our friendship in that room”

The magic…


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