König der Letzten Tage
Wojciech Kilar
" König der Letzten Tage is a musical masterpiece "Written by Joep de Bruijn - Review of the regular release
The German miniseries König der Letzten Tage (A King for Burning, 1993) concentrates on the collision between 'good' catholics, as pronounced and figuratively represented through Prince-Bishop Franz Graf Waldeck opposing a group of people devoted to Jan Matthys, prophet of anabaptism, whose message is forwarded by Jan van Leiden. Despite the prophet being killed by his adversary, van der Leiden continues these beliefs, crowns himself as King and rules the city of Münster.
The score marked Wojciech Kilar's first use of the Prague Philharmonic Orchestra and the Chamber Choir Versija, which he would later employ for scores such as The Ninth Gate, The Portrait of a Lady and other music recordings for labels such as Naxos.
A short version of Gloria - Die Wiedertaeufer, the main theme opens both episodes of the miniseries and offers a wealth of variations throughout the series and, above all, communicates the celebration of faith. The entire series offers two full versions of the cue, both in the first episode. It features in a long introductory sequence of Jan van der Leiden speaking on his faith and the anabaptist prophet, on the square of Münster. Its long speech is miraculously supported by a full version of the theme, as the people become true believers. The second full version appears as Jan becomes King near the end of the first episode, ending with believers celebrating. In creating the ultimate effect in correlation to the King' madness another Gloria variation is used as he sits on his throne as surrounding devotees celebrate, enhanced by (slow)motion blur.
A second theme is a brief staccato motif for piano, harpsichord and sometimes additional strings, mostly used as stark theme signalling at individuals opposing the beliefs of Jan and the prophet, a conspiracy, and is used in relation to a blacksmith, mayor Knipperdolling, but especially his daughter Clarissa. As the prophet is killed by mercenaries of the Prince-Bishop, the mayor openly expresses his disbelief towards the imprecise outcome of the prophecy, but under force, is the person who literally crowns Jan van der Leiden as self-pronounced King, underscored by the final rendition of the staccato theme, then by a full main theme rendition.
Given the different ideas, the theme for Engele is a classic Kilar (Morricone)-esque theme: flourishing, minimal, featuring strings and an evocative woodwind solo. It is introduced as the series opens, as Sebastian, an entertainer, saves her from death after mercenaries have hanged her father and brother. It is a very evocative theme, presented with different nuances and meanings; it is connected to the friendship with Sebastian (who has feelings for her), her fragility as a female, later entangled through a difficult love relationship (shared with another mistress called Divara) with Jan van der Leiden, and tragic consequences towards the end, as Jan is captured and ultimately dies. It levels in between her relationship with the other characters, from blossoming to sorrowful. The most evocative rendition is towards the end as she visits the imprisoned Jan van der Leiden, carrying his birth child. As Jan is about to be executed, underscored by a strong epic rendition of the Misère theme (read the next section), he sees flashes of people, of which the final one is an intimate encounter with Engele, underscored by a short, entrancing xylophone variation, as heard in the cue Miserere - Engeles Kind. The miniseries then concludes with a full rendition of the Engele theme.
Like the main theme's Latin choir, all three remaining themes feature equally impressive choir, who are presented mostly with, but also without, from sparse, introverted, yet mostly very vivid and robust in scope. As with all themes of this score, Gloria and the aforementioned, most of the religious Latin texts sung are technically basic, minimal, repeating certain words continuously, but nonetheless aided and strengthened by the often sheer force of orchestral power, in the very same minimal mode.
The Sanctus theme is the second most recurring of all, and its use is the closest related to the main theme; whereas the Gloria theme is especially a manifest for supporting belief, Sanctus is the religious presentation of the collision between two different ideological beliefs, while it could also be considered as a looming portrayal of the intents of the prophet, later transformed to the King's intentions, which are even more menacing. Its roaring renditions are scattered throughout the score, overpoweringly strong in all orchestral and choral components. Its only full version is heard as the prophet is introduced to the people of Münster and reunites him with Jan van Leiden. Equally evocative is the Misère theme, which evidently strong in supportive the series, and blossoms as the King is about to be executed.
Finally, there is Clarissa's theme, which is a Kilerian take on the Agnus Dei theme, first heard as Clarissa, daughter of the mayor Knipperdolling, announces her first doubts regarding this new prophet in the first episode, utilizing the contemplative choir shortly. As she, under the reign of the self-proclaimed King, refuses to submit herself to his beliefs, having herself rebaptised, she signs her inevitable death warrant. Upon her death by burn, the theme flourishes with great emotional depth, expressing her 'sins' and showing her as a forced sacrifice, a slaughter of the lamb (Agnus Dei), to a 'better' religious cause. While followers witness her execution, few celebrate her death, unlike the King and Divara, who dance joyously. This segues into her father, mayor Knipperdolling, reaching for her mutilated head, holding on to it tenderly, grieving, contrasting the joyous intent of the King, and dancing around with her skull. With all the emotional intents of the composer's music, this is undoubtedly one of the pièces de résistances of the score, supported by the Agnus Dei choir intertwined with a joyous, dance-like variation of the main theme. In regard to the official CD release, both are separated as Knipperdollings Tanz and Clarissas Tod. Nevertheless, the doubts that Clarissa and her father previously expressed through the conspiracy staccato theme, which was abandoned following the King's coronation, is a missed opportunity here.
Working in between scores and contemporary classical works, Kilar felt few scoring pieces deserved a representation as a concert work. Requiem for Father Kolbe (Życie za Życie) and The Portrait of a Lady were amongst them, and the theme to Clarrisa intertwined with Agnus Dei also received an extended 6-minute remodelling. It offers a variation of the liturgical, mediative chorale performed by syllable vocalise of female singers, but through its extended length, aligned with the general beliefs of the composer regarding the evolvement and growing strength through minimalism, it reaches deeper emotional value. The piece is heard on a release by Dux Records.
There are several more interesting musical ideas such as the string clusters and other instruments, that allude to the attacks of Catholic mercenaries. It is also worth noting several instruments - a brass fanfare introductory to a cue by Kilar or a tambourine performed by one of the artist as an integral part of the public performance act - are played on screen.
Kilar neglected to write a theme for Sebastian. Early on, Sebastian and Jan van Leiden appear long-term friends, and through the triangular relationship with Engele only comes to bloom towards the end, even with Sebastian playing the crucial role in the death of the King. There is an early scene in which they reunite and sing together, providing a good opportunity to base a melody on the singing and overhaul it in further designated moments throughout the series as an expression of their friendship. It feels similar to the missed opportunity in disallowing a final rendition of the stark, conceptual conspiracy motif after the mayor's daughters is executed.
Highlights, in context, include the glockenspiel variation on the Engele theme upon the King's death, the intermingling of the Clarissa and the Gloria theme as the mayor dances with her skull, and the insanity scene regarding the King, underscored by a variation on the main theme.
König der Letzten Tage is a musical masterpiece, but in my appreciation, knowing virtually all Wojciech Kilar ever composed in any idiom, there is conflict. Disregarding classical works, there is greater appeal towards his conceptual and minimal ideas, both cold and expressive, in smaller projects, as opposed to the larger than life ideas behind König der Letzten Tage as a miniseries and musically. The score remains one of a rare few of this size and scope that has made an everlasting impression upon me.
Tracklist
1. Gloria - Die Wiedertaeufer (03:57)
2. Miserere - Die Buesser (01:41)
3. Engele - Melodie (03:34)
4. Sanctus - Der Prophet (04:49)
5. Der Falsche Engel (05:16)
6. Die Unmoegliche Liebe (02:36)
7. Die Belagerung (02:05)
8. Agnus Dei - Clarissas Thema (02:17)
9. Knipperdollings Tanz (01:35)
10. Clarissas Tod (02:16)
11. Die Nacht (02:07)
12. Die Eroberung (06:51)
13. Engeles Traum (02:06)
14. Die Hinrichtung (01:37)
15. Miserere - Engeles Kind (04:47)
16. Gloria (Schluss) (03:25)
Total Duration: 00:50:59
(written 02-09-2025)
The score marked Wojciech Kilar's first use of the Prague Philharmonic Orchestra and the Chamber Choir Versija, which he would later employ for scores such as The Ninth Gate, The Portrait of a Lady and other music recordings for labels such as Naxos.
A short version of Gloria - Die Wiedertaeufer, the main theme opens both episodes of the miniseries and offers a wealth of variations throughout the series and, above all, communicates the celebration of faith. The entire series offers two full versions of the cue, both in the first episode. It features in a long introductory sequence of Jan van der Leiden speaking on his faith and the anabaptist prophet, on the square of Münster. Its long speech is miraculously supported by a full version of the theme, as the people become true believers. The second full version appears as Jan becomes King near the end of the first episode, ending with believers celebrating. In creating the ultimate effect in correlation to the King' madness another Gloria variation is used as he sits on his throne as surrounding devotees celebrate, enhanced by (slow)motion blur.
A second theme is a brief staccato motif for piano, harpsichord and sometimes additional strings, mostly used as stark theme signalling at individuals opposing the beliefs of Jan and the prophet, a conspiracy, and is used in relation to a blacksmith, mayor Knipperdolling, but especially his daughter Clarissa. As the prophet is killed by mercenaries of the Prince-Bishop, the mayor openly expresses his disbelief towards the imprecise outcome of the prophecy, but under force, is the person who literally crowns Jan van der Leiden as self-pronounced King, underscored by the final rendition of the staccato theme, then by a full main theme rendition.
Given the different ideas, the theme for Engele is a classic Kilar (Morricone)-esque theme: flourishing, minimal, featuring strings and an evocative woodwind solo. It is introduced as the series opens, as Sebastian, an entertainer, saves her from death after mercenaries have hanged her father and brother. It is a very evocative theme, presented with different nuances and meanings; it is connected to the friendship with Sebastian (who has feelings for her), her fragility as a female, later entangled through a difficult love relationship (shared with another mistress called Divara) with Jan van der Leiden, and tragic consequences towards the end, as Jan is captured and ultimately dies. It levels in between her relationship with the other characters, from blossoming to sorrowful. The most evocative rendition is towards the end as she visits the imprisoned Jan van der Leiden, carrying his birth child. As Jan is about to be executed, underscored by a strong epic rendition of the Misère theme (read the next section), he sees flashes of people, of which the final one is an intimate encounter with Engele, underscored by a short, entrancing xylophone variation, as heard in the cue Miserere - Engeles Kind. The miniseries then concludes with a full rendition of the Engele theme.
Like the main theme's Latin choir, all three remaining themes feature equally impressive choir, who are presented mostly with, but also without, from sparse, introverted, yet mostly very vivid and robust in scope. As with all themes of this score, Gloria and the aforementioned, most of the religious Latin texts sung are technically basic, minimal, repeating certain words continuously, but nonetheless aided and strengthened by the often sheer force of orchestral power, in the very same minimal mode.
The Sanctus theme is the second most recurring of all, and its use is the closest related to the main theme; whereas the Gloria theme is especially a manifest for supporting belief, Sanctus is the religious presentation of the collision between two different ideological beliefs, while it could also be considered as a looming portrayal of the intents of the prophet, later transformed to the King's intentions, which are even more menacing. Its roaring renditions are scattered throughout the score, overpoweringly strong in all orchestral and choral components. Its only full version is heard as the prophet is introduced to the people of Münster and reunites him with Jan van Leiden. Equally evocative is the Misère theme, which evidently strong in supportive the series, and blossoms as the King is about to be executed.
Finally, there is Clarissa's theme, which is a Kilerian take on the Agnus Dei theme, first heard as Clarissa, daughter of the mayor Knipperdolling, announces her first doubts regarding this new prophet in the first episode, utilizing the contemplative choir shortly. As she, under the reign of the self-proclaimed King, refuses to submit herself to his beliefs, having herself rebaptised, she signs her inevitable death warrant. Upon her death by burn, the theme flourishes with great emotional depth, expressing her 'sins' and showing her as a forced sacrifice, a slaughter of the lamb (Agnus Dei), to a 'better' religious cause. While followers witness her execution, few celebrate her death, unlike the King and Divara, who dance joyously. This segues into her father, mayor Knipperdolling, reaching for her mutilated head, holding on to it tenderly, grieving, contrasting the joyous intent of the King, and dancing around with her skull. With all the emotional intents of the composer's music, this is undoubtedly one of the pièces de résistances of the score, supported by the Agnus Dei choir intertwined with a joyous, dance-like variation of the main theme. In regard to the official CD release, both are separated as Knipperdollings Tanz and Clarissas Tod. Nevertheless, the doubts that Clarissa and her father previously expressed through the conspiracy staccato theme, which was abandoned following the King's coronation, is a missed opportunity here.
Working in between scores and contemporary classical works, Kilar felt few scoring pieces deserved a representation as a concert work. Requiem for Father Kolbe (Życie za Życie) and The Portrait of a Lady were amongst them, and the theme to Clarrisa intertwined with Agnus Dei also received an extended 6-minute remodelling. It offers a variation of the liturgical, mediative chorale performed by syllable vocalise of female singers, but through its extended length, aligned with the general beliefs of the composer regarding the evolvement and growing strength through minimalism, it reaches deeper emotional value. The piece is heard on a release by Dux Records.
There are several more interesting musical ideas such as the string clusters and other instruments, that allude to the attacks of Catholic mercenaries. It is also worth noting several instruments - a brass fanfare introductory to a cue by Kilar or a tambourine performed by one of the artist as an integral part of the public performance act - are played on screen.
Kilar neglected to write a theme for Sebastian. Early on, Sebastian and Jan van Leiden appear long-term friends, and through the triangular relationship with Engele only comes to bloom towards the end, even with Sebastian playing the crucial role in the death of the King. There is an early scene in which they reunite and sing together, providing a good opportunity to base a melody on the singing and overhaul it in further designated moments throughout the series as an expression of their friendship. It feels similar to the missed opportunity in disallowing a final rendition of the stark, conceptual conspiracy motif after the mayor's daughters is executed.
Highlights, in context, include the glockenspiel variation on the Engele theme upon the King's death, the intermingling of the Clarissa and the Gloria theme as the mayor dances with her skull, and the insanity scene regarding the King, underscored by a variation on the main theme.
König der Letzten Tage is a musical masterpiece, but in my appreciation, knowing virtually all Wojciech Kilar ever composed in any idiom, there is conflict. Disregarding classical works, there is greater appeal towards his conceptual and minimal ideas, both cold and expressive, in smaller projects, as opposed to the larger than life ideas behind König der Letzten Tage as a miniseries and musically. The score remains one of a rare few of this size and scope that has made an everlasting impression upon me.
Tracklist
1. Gloria - Die Wiedertaeufer (03:57)
2. Miserere - Die Buesser (01:41)
3. Engele - Melodie (03:34)
4. Sanctus - Der Prophet (04:49)
5. Der Falsche Engel (05:16)
6. Die Unmoegliche Liebe (02:36)
7. Die Belagerung (02:05)
8. Agnus Dei - Clarissas Thema (02:17)
9. Knipperdollings Tanz (01:35)
10. Clarissas Tod (02:16)
11. Die Nacht (02:07)
12. Die Eroberung (06:51)
13. Engeles Traum (02:06)
14. Die Hinrichtung (01:37)
15. Miserere - Engeles Kind (04:47)
16. Gloria (Schluss) (03:25)
Total Duration: 00:50:59
(written 02-09-2025)