Composer, arranger, pianist. Konieczny has created
music for film, theatre, cabaret, and written numerous songs to the
words of Polish and foreign poets.
He spent his childhood in Szczyrzyc, Malopolskie Province. He has settled, though, in Kraków, where, in the years 1956-62, he studied at the Academy of Music. In 1959, he became involved with the renowned Kraków literary cabaret Piwnica pod Baranami. For several years, he was the cabaret’s only professional composer. His literary songs demonstrate a strong connection between music and content. Ewa Demarczyk has been one of the most noted exponents of his music.
He has written music for many theatre productions, including Andrzej Wajda’s Biesy [Demons], Noc listopadowa [November Night] and Dybuk [The Dybbuk]; Tadeusz Łomnicki’s Do piachu [Bite the Dust]; and Maciej Englert’s Mistrz i Małgorzata [The Master and Margarita] and Wniebowstąpienie [Ascension].
He has composed music for more than a hundred television films, shorts and feature films, including Kuba Czekaj’s Ciemnego pokoju nie trzeba się bać [Don’t Be Afraid of the Dark Room] (2009); Jan Jakub Kolski’s Pornografia [Pornography] (2003), Jasminum [Jasmine] (2006), Historia kina w Popielawach [The History of the Cinema in Popielawy] (1998) and Jańcio Wodnik [Johnnie the Aquarius] (1993); Teresa Kotlarczyk’s Prymas [The Primate] (2000); Wojciech Marczewski’s Ucieczka z kina Wolność [Escape from the ’Liberty’ Cinema] (1990); Tadeusz Konwicki’s Lawa [Lava] (1989) and Jerzy Gruza’s Przeprowadzka [Moving] (1972).
He has won several awards at the Polish Feature Film Festival in Gdynia - for his soundtracks to: Lava (1990), Pornography (2003), Escape from the ’Liberty’ Cinema (1990) and Pogrzeb kartofla [Burial of a Potato] (1990). Konieczny has received an ’Eagle’ Polish Film Award for his music for Jasmine (2007) and Szczęśliwy człowiek [Happy Man] (2002), and a ’Fryderyk’ music industry award for his music for The Primate (2001).
His compositional style is very distinctive. It combines a minimalist structure with a sensitivity to subtle harmonic sounds and an accent on the rhythmic element, often using syncopation and ostinati.
author’s orchestral materials
list of authors