Hello, I am Pawel Stolarczyk. A film score composer and sound design artist. Here you can find a few facts about me and my musical background.
Film music composer, creative sound designer, music production director and music consultant. I started my musical education at the age of six, starting with the violin and piano and then continue my young professional career as a clarinet player. I legitimate classical education and broad experience – from performing (solo, chamber and orchestral performance) to film composition and music theory.
My over 15 years in the music industry (first - as a classical performer, then a film composer) and a broad knowledge and deep awareness of the relation between music and visual media allows me a better, more in-depth and complex analysis and further recommendations. Experienced in creating scores, orchestration, studio production & postproduction, as well as music edition and consultancy.
I studied 'Instrumental Performance - clarinet' (BA) at the Warsaw Academy of Music (Poland), 'Musicology' (MA) and 'Psychology of Advertisement' (PGDip) at the Warsaw University. Schlezwig-Holstein Music Festival, Batory Foundation, Royal Academy of Music in London scholarships receiver. I was nominated to "Fryderyk" award - the main Polish Music Market Award in 2001. I received the 1st prize at the Chamber Music Competition in Wrocław and 1st prize at Bertelsmann Media advertisement competition. Since 2006 I am the member of the Phonographic Academy and "FILM 1,2" Association. I have cooperated with such artist as: Katarzyna Drogosz, Jacek Kaspszyk (National Philharmony Orchestra), Łukasz Borowicz (Polish Radio Orchestra), Josef Wallnig (Mozarteum) or Tomek Bagiński (Oscar nomination). Moreover, I was also a contemporary music promotor with over 250 broadcasted radio programmes.
Today I have in my portfolio over 50 soundtracks for various visual projects - documentaries, short feature films, TV program branding, commercials etc. My commercial scores include spots for ExxonMobil, Unilever, Danone, Bank Pekao (UniCredit Group), Bertelsmann Media, TVP. I've co-operated with such production partners as Young&Rubicam, Saatchi&Saatchi, BBDO, Communication Unlimited, Platige Image, Odeon Film Studio, Alvernia Studios or Alter Ego Pictures.
One of the last movies I collaborated on, "Long Time Ago in Silesia" (dir. Tomasz Protokowicz), is a multi-award winning picture, showcased at several international film festivals. Another project I worked on, the short film "Total Harmony" (dir. Roman Jarosz), has been selected to the official shorts competition in Gdynia Polish Film Festival 2017 and has had the screenings at Transatlantyk Festival and Krakow Film Festival.
In my work I draw inspiration from various sources: from high to popular culture, nevertheless the patterns of modernism, especially the concept of functionality are closest to me. When approaching a project I first try to obtain the answer to a crucial question of the purpose of the music (‘What this music will be used for’) rather than focusing on any particular style, meaning, is the music coherent with the stylistic assumptions. And for that, the main focus is put on finding the formally and functionally satisfactory solutions for the film’s soundtrack, which are requested by the director and the clients, rather than aiming at an artistic or autonomic work. Yet, having met the assumptions I always try to give my work the final unique touch, that would make it sound exceptional. As a versatile composer I like to explore the various styles of musical narration and underscore in film, however in my recent projects I have been searching the balance between overall musical expression (acoustic, live performed or electronic) open abstract and minimalistic structure, creative sound design and subtle tones of a screen storytelling.
I create the music and soundtracks to visual media: feature movies, tv programs, documentaries, audio-video instalations, commercials, animations as well as computer games and ambient/environment music realizations. The foundation of our activities is searching the media complementarity and techniques of triggering the emotions. To establish the non-verbal communication. Therefore I search the new paths do use the idea of Gesamtkunstwerk or modern models of syncretic art. Moreover, I do the analysis in the field of easthetic music, applying the music to public environment, film and all visual media pre- and post-production consultations.
My fields of competence are
Analysis and consultancy at the preproduction stage in order to represent the creative idea in the sound layer. This results in constructing a sound map of final compositions based on several parameters. The map defines the entire music image of the visual work in its contexts: stylistic, aesthetic, historical, genre.
Creating original drafts and researching for music references, in order to fit the music with the creative concept and the visual project.
Analysis and creation of brands’ sound logotypes' - considering the cultural aspects, brand tradition and previous marketing communication and most importantly the strategic assumptions: brand image, target group, USP etc.
Multidimensional composition and digital music production for feature films, commercials and TV shows. Preparation of digital mock'ups, for the preproduction purposes, consultancy and soundtrack composition, editing and mastering, soundtrack composition and consultancy, editing and mastering at the postproduction stage.
Creating film’s original sound design; foley (synchronous and asynchronous)
Soundtrack edition at the preproduction stage (trailers, animatix, pitchings, tender versions).
Digital broadcast music production with the use of world class instrument samples: acoustical, electro-acoustical and electronic. Online mixing and mastering in the cooperation with the world's leading sound studio (Abbey Road Studios).
Complex production of recording sessions (from solo instrumental recording to full orchestra). Arrangement, orchestration and preparation of music scores for any instrumental ensemble.
Soundtrack supervision at the postproduction stage and acoustical verification of soundtrack’s quality, including the assumed aesthetical features (voice-over, mixing and editing, final dubbing and broadcast).