I just got this score today (along with The challenge!,it's a good day! ).

It's a Sumptuous, Beautiful score, But all the booklet notes seem to be in Polish, It looks like a Costume/Period Drama?!

Andre ol'pal, I know you like Kilar's work, have you heard this yet?

Anybody else know anything??

But here are some info about Killar that may interest you and others:

Wojciech Kilar was born in Lvov on 17th July 1932. Becouse of occupation he had to leave Lvov. Between 1946 and 1947 he studied at P¦SM in Rzeszów (K. Mirski). He made his debut as a pianist in 1947 at Young Talents Contest (Konkurs Młodych Talentów), where he played his own "Two Child's Miniatures" ("Dwie miniatury dziecięce"), he won second prize. In 1947-1948 he studied in Higher School of Music (PLM) in Cracow (M. Bilińska - Riegierowa - piano, A. Malawski - harmony). Next in 1948-50 studied at Higher School of Music (PLM) in Katowicewith piano master Władysława Markiewiczówna and private lessons with composition tutor B. Woytowicz. Between 1950 and 1955 studied with Bolesław Woytowicz - piano and composition. In 1955 after obtaining a university degree with first class honour, he won second prize for "Small Overture" ("Mała Uwertura") in Symphonic Works Contest on V Youth Festival in Warsaw. In 1955-1958 he learned with B. Woytowicz at PWSM in Cracow. In 1957 he took part in International Vacation Courses of New Music in Darmstadt. In 1959-1960 he received a scholarship from French Government, where he studied composition with Nadia Boulanger in Paris. In 1960 he was awarded for Lili Boulanger memorial Fund Award of Boston for his "Ode to Bela Bartok in memoriam". Between 1979 and 1981 he served as vice-chairman in Polish Composers' Union (Zwi±zek Kompozytorów Polskich) In 1977 he founded K. Szymanowski Society (Towarzystwo im. K. Szymanowskiego) in Zakopane, for two first tenures he was also a vice-chairman. In 1991 K. Zanussi made a TV film about his life, called "W.K.".
He has received many artistic awards, including:

The Lili Boulanger Prize for Composer (1960)
The State Award, First Degree (1980)
The Award of the Minister of Culture and Fine Arts (1967 - Second Degree and 1976 - Firs Degree)
The Prize of the Polish Composers' Union (1975)
The Award of the Katowice Voivodship (1967, 1971, 1975 and 1980)
The Award of the City of Katowice (1975, 1992)
The Award of the A. Jurzykowski Foundation in New York (1984)
The Artistic Award of the Independent Culture Association NSZZ "Solidarnosc" (1989)
The Award of Three Uprising Wings (1990)
The Award of TV Katowice (1990)
The Award of the President of Cinematography Association (1991)
The Award of the American Composers Association for music to film Dracula(1993)
The W. Korfanty Prize (1995)
The Award of the Katowice Metropolitan Archbishop "Lux ex Silesia" (1995)
Sonderpreis des Kulturpreises Schlesien des Landes Niedersachsen (1996)
The Award of the Museum of Cinematography in Lodz (1997)
He also received awards on festivals:

Golden Grapes in Łagów for Czerwone i złote (1970) and Romantyczni(1971),
Award on International Film Festival in Cork in Ireland for Szklana kula (1973) and Da un paese lontano(1981),
Awards on Gdansk Festival for Ziemia obiecana, Bilans kwartalny, Linia, Znikad do nikad (1975) and Spirala (1978).
in Catania for Da un paese lontano (1981)
Prix Louis Delluc for Le roi et l'oiseau (1980)
for music to Bram Stoker's Dracula - ASCAP Award 1992 in Los Angeles, the Best Score Composer Award for a 1992 Horror Film in San Fransisco.
Among contemporary Polish composers W. Kilar is distingiushed by his very individual style and uniqueness. His artistic activity may be divided into three periods: first 1947-1957, neoclassical, finished by composing "Ode to Bela Bartok in memoriam", second 1960-1971 characterises sonoristic constructiveness, third - since 1972 is so called, national-religious period. "Prelude and Christmas Carol" ("Przygrywka i kolęda") is usually considerate as a turning point after the second period.
Works from the first period were written under I. Strawinski and B. Bartok music influence. Kilar preferes classical forms, for example in "Sonata for horn and piano" ("Sonata na rog i fortepian") sonata allegro structure. Characteristic of music from this period is strong dynamic contrasts and frequent changes of time. There are also folk music elements ("Small Overture", symphonies). Sonoristic constructiveness period music is mostly based on simple idea. First works include jazz music elements like rytm, dynamics, articulation. The meaning of brass instruments and percussion ("Riff 62"). In that period Kilar experiments with unconventional sounds and articulation, like hitting strings with fists or cans. Works from first part of this period are very "energetic" - dynamic, wide range of ideas. The second part is quieter ("Solenne", "Upstairs-Downstairs").
All works from the third period are quite similar, they are in two distinct aestetic trends. In folk music trends, which shows Kilar's love of Tatra Moutains and the music from this area. Composer uses folklore of Podhale ("Krzesany", "Ko¶cielec 1909", "Grey Mists", "Orawa"). The religious trends shows deep faith and christian attitude. That music is peculiar prayer ("Angelus"), reflects important religious and social events in Poland. Essence of these compositions is non-musical meaning and spiritual message. Kilar almost entirely give up avant-garde technical methods and displays melody, finished and closed theme ("Ko¶cielec"). Very important is also text - historical or folk ("Grey Mists" , "Bogurodzica") or a prayer ("Angelus"). In this final period traditional and avant-garde elements are joined in one, only humanistic and religious message are exhibited.

http://venus.amu.edu.pl/~gandalf/kilar2.jpg

I think we can't post pics here anylonger... anyway, just follow the link above to see Kilar's face.

All He needs now is an Oscar...LOTR?....who knows?