A composer of songs, theatre and film music, author of monumental oratories and cantatas, pianist, singer, gel-art painter, educated as an architect, Jan Kanty Pawluśkiewicz was born on 13th October, 1942 in Nowy Targ.
He is the author of many well-known songs sung by Marek Grechuta, Andrzej Zaucha, or Grzegorz Turnau. Other singers who sang his songs include Hanna Banaszak, Sebastian Karpiel-Bułecka, Renata Przemyk, Janusz Radek, Maryla Rodowicz, Beata Rybotycka, Ryszard Rynkowski, Irena Santor, Justyna Steczkowska, Anna Szałapak, Zbigniew Wodecki, and Jacek Wójcicki.
Zbigniew Wodecki described Pawluśkiewicz as a
free, artistic soul, unrestrained, thank God, by any rules. A total visionary, without any insecurities. His confidence allows him to achieve exactly what he wants. I had the great honour and pleasure to be the first one to perform his violin compositions, scribbled on a tram ticket, which later survived for decades—The Heart and Tango Anawa. We’re lucky he was born in Nowy Targ, and not in New York, because we wouldn’t have had him otherwise.
[Wacław Krupiński, Zbigniew Wodecki. Pszczoła, Bach i skrzypce / Zbigniew Wodecki: Bee, Bach, and the Violin, Warsaw 2011]
Pawluśkiewicz composed many different musical genres: the musical Szalona lokomotywa (Crazy Locomotive, 1977), the opera Kur zapiał (The Rooster Crowed, 1984), the concert Apimondia mater (1987), Opera żebracza (The Beggar’s Opera, 1991), the oratory Nieszpory Ludźmierskie (The Ludźmierz Vespers, 1992), the symphonic poem Harfy Papuszy (Papusza’s Harps, 1994), the concert Amat Vita (1998), the oratories Droga – życie – Miłość (Path – Life – Love, 1999) and Ogrody Jozafata (Gardens of Jehoshaphat, 2002), the piano concerto Liściany kolczyk (The Leaf Earring, 2005), the oratories Przez tę ziemię przeszedł Pan (The Lord Passed Through This Land, 2005), Weneckie opowieści o piekle i raju (Venetian Stories of Heaven and Hell, 2008) and Radość Miłosierdzia (The Joy of Mercy, 2009), and the clarinet concert Karossa/Carossa (2013).
In his longer compositions, Pawluśkiewicz collaborated with the famous Polish female soprano Elżbieta Towarnicka and opera soloists as guest performers: Andrzej Biegun, Gwendolyn Bradley, Marzena Michałowska, Andrij Shkurhan, and Bożena Zawiślak-Dolny. His compositions have been conducted by such stars as Mirosław Jacek Błaszczyk, Sławomir Chrzanowski, Rafał Jacek Delekta, and Wojciech Michniewski. His longer forms were also performed abroad, including Canada, Portugal, and the United States.
He Always Made It
Jan Kanty Pawluśkiewicz is a graduate of the Fryderyk Chopin State Music School in Nowy Targ and the Faculty of Architecture of the Kraków University of Technology. He began his artistic career in his teens, playing piano at school events and, later, at weddings. He had a short stint as an organ player at the St. Catherine Church in Nowy Targ.
It was in that town that he played at mass whatever music he knew: before he mastered sacral music, he played the theme from Rififi before elevation, or current hit songs, such as Ciao, ciao bambina or Gdy mi ciebie zabraknie (When You’re Gone), both originally sung by Ludmiła Jakubczak. The attendance at mass tripled.
In 1966, together with a couple friends from his dormitory, Pawluśkiewicz came up with an idea for a student-run cabaret, which later turned into a music band, Anawa, with Marek Grechuta as a lead singer. Jan Kanty remembered his younger bandmate as ‘generally thoughtful and melancholic, but also not a stranger to pranks and other antics. In general, he wasn’t much of a party guy, however.’ The band worked with a number of instrumentalists, including Marek Jackowski on the guitar, Jacek Ostaszewski on the flute, and Zbigniew Wodecki on the violin.
If we never met [with Grechuta], I would probably still have moved towards music, but it would’ve taken longer. With Marek, I saw immediate, positive effects. That was probably because we agreed on the fundamentals: aim high, opt for perfect poetry, don’t churn out concerts one after another, keep working on new things, don’t do slipshod work, and finally—money is not top priority. That gave Anawa a good reputation. So much so that Jacek Ostaszewski got himself admitted to the hospital so that we didn’t have to perform at the Military Song Festival in Kołobrzeg. The [political] pressure was enormous! We had an explanation for the generals: ‘our musician is ill, and we cannot do it without our base player!’
[Jan Kanty Pawluśkiewicz, interview with Wacław Krupiński, Jan Kanty Osobny / Jan Kanty the Separate, Kraków 2015]
Pawluśkiewicz’s original compositions formed a separate category in the popular music of those years: namely, the literary song genre, which combined poetry and music with a characteristically baroque timbre as equal elements. Anawa’s songs, breaking with the then-fashionable inclusion of the poignant sounds of electric guitars, quickly made their way to the top hits playlists.
Poetry has always held an important place in my work. I consider it inelegant when the composer focuses first on the music, only to add the lyrics later. This is simply inappropriate behaviour towards the author of the poem. I am always first inspired by the text, which stirs my musical imagination—although it has to be said that the poem itself, as a closed form, does not need music. When I find a text which stimulates me, I start looking for its musical equivalent. Poetry and music have to form a union which emanates a certain mood. I care for emotions a lot. Composers who follow the rational aesthetics of the twentieth century believe that emotions are a lowly thing and should not be manifested. I disagree—I see music as a carrier for emotions. I am generally more interested in musical forms which foreground the word, rather than absolute music. Music is made of the moments of tension and silence, same as human life…'
[Jan Kanty Pawluśkiewicz, Dziennik Polski no. 87 1995]
Anawa’s songs were always marked by their non-conventional character, closely related to the virtuosity of performance. No wonder, then, that they won scores of festival awards (including the Festival of Polish Song in Opole) and enjoyed great success at numerous concerts, both in Poland and abroad (including the Olympic Games in Munich in 1972). Fans of the band found it hard to believe that the band could break up at the height of its success—which is precisely what happened.
When it comes to the albums released by Anawa, Pawluśkiewicz, as the musical director, together with the lead singer Grechuta tested the patience of their audience. Both musicians lacked an academic musical education, which only propelled them to further pursue perfection in performance. They took two years, playing their songs at numerous concerts, before they published their first official album.
They listened to the people’s reactions as the best indicator for how complete a composition really is. If we could compare the inaugural performance with, say, the thirtieth one, we would surely see the vast difference between the two renditions. Both young artists set the bar very high for themselves, sensing that they have to write even better songs before they are worth recording.
[Danuta Grechuta, Jakub Baran, Marek. Marek Grechuta we wspomnieniach żony Danuty / Marek: Marek Grechuta, Remembered by His Wife, Kraków 2011.]
A decadent Goral
In the 1970s, Jan Kanty Pawluśkiewicz started an artistic collaboration with the Piwnica pod Baranami (Cellar Under the Rams) cabaret. Many of his compositions were used by artists of the group. Pawluśkiewicz also performed himself, in the song-and-dance pieces Inez and Bajka (Fable), adored by the audience. He considered this period to be the peak of his lifetime achievement. His performances were even recorded and shown on TV.
Pawluśkiewicz insists that he never felt a true member of the Piwnica pod Baranami group, arguing that while the cabaret gave him a lot, he did not return the favour. He often emphasises the importance of the conversations he held with Piwnica artists, particularly with Piotr Skrzynecki.
Even though I was never fully associated with Piwnica, I derived a great deal from it. I don’t mean the music—I was never under the influence of Zygmunt [Konieczny], simply because jazz was too strongly ingrained in me. But the fantastic meetings and conversations, which changed my thinking, my relationships with art and people, were immensely important. This was primarily the doing of Piotr. I became very calm because of him. He would repeat—don’t worry so much, don’t fret, stop being so dead serious about yourself. Search for interesting things and details. Be a perfectionist in those details, because that matters a lot for the whole. Art is very hard work, but it brings a great satisfaction. Keep searching, as much as your strength, talent, and perseverance allow you. I spent dozens of hours talking to Piotr. They were often incoherent, seemingly blurry, but they left a lot of thought material to process, define, and modify. I was incredibly enriched by those conversations.
[Joanna Olczak-Ronikier, Piwnica pod Baranami czyli koncert ambitnych samouków / Piwnica pod Baranami, or the Concert of Ambitious Autodidacts, Warsaw 1994]
A Barbarian in a Garden of Sounds
In an entirely new chapter of his art career, Pawluśkiewicz began a collaboration with the STU Theatre and Krzysztof Jasiński. In 1977, together with Marek Grechuta, he wrote the score for Szalona lokomotywa (Crazy Locomotive), a musical staged in the theatre and based on Stanisław Ignacy Witkiewicz’s play. In 1985, he wrote the opera Kur zapiał (The Rooster Crowed), whose libretto was based on Wiesław Dymny’s poem, Polski szynkwas żydowski (Polish Jewish Bar Counter).
As a composer of theatrical music, Pawluśkiewicz also collaborated with the other Kraków theatres, including Ludowy (John Gay’s The Beggar’s Opera, dir. Krzysztof Orzechowski), Stary, Bagatela, Juliusz Słowacki Theatre and the KTO Theatre. Pawluśkiewicz also had a very rich portfolio of collaborations outside Kraków, starting with music to the plays directed by Tomasz Zygadło in the Jan Kochanowski Theatre in Opole (Nowe cierpienia młodego W. /Young W.’s New Sufferings, Dziady/Forefather’s Eve). In Warsaw, Pawluśkiewicz wrote music for the National Theatre (Tadeusz Różewicz’s Na czworakach/On All Fours, dir. Kazimierz Kutz) and Dramatyczny Theatre (A Season in Hell, based on Rimbaud’s poem, dir. Adam Sroka). He also wrote for the Stefan Jaracz Theatre in Łódź, Juliusz Osterwa Theatre in Lublin, and many other theatres in Poland. He described this kind of work in the following way:
Theatre does not need symphony, or the several dozen voices of the orchestra. Theatrical music is only a call sign, a certain musical project. It is an incredibly economical, but also refined, musical vision. … Because of that, music cannot replace or fill other elements of the play’s structure. … My presence in this music—let’s call it classical music—is like a presence of a barbarian in the garden of pleasure derived from unintelligible sounds. Music consists of states of tension and silence. Music is a situation, a state of being over time. Both silence and the internal dramaturgy of sounds are elements of musical action. It matters: the trajectory, rhythm, pace, type of narration, tension—all these elements of the musical drama have to be taken into consideration when writing. It’s not entirely a cold, intellectual approach, however, an intellectual analysis or production of music—elements of tension have to be present.
[Jan Kanty Pawluśkiewicz, interview with Krzysztof Rekosz, 'Teatr to moja niezdobyta kochanka,’ (Theatre is my unconquered lover) Teatr no. 7/8 (1996)]
Spheres of intellectual convolutions
Pawluśkiewicz is responsible for writing the music score for several shows of the TV Theatre, as well as several dozen shorts and regular feature films. He collaborated with directors such as Tomasz Zygadło (Brzydkie kaczątko/Ugly Duckling, 1973; Rebus/The Puzzle, 1977; Ćma/Moth, 1980; Odwet/Revenge, 1982), Janusz Zaorski (Chleba naszego powszedniego/Give Us This Day Our Daily Bread, 1974), Feliks Falk (Wodzirej/Top Dog, 1977; Obok/By the Side, 1979; Szansa/Chance, 1979; Idol/The Idol, 1984; Bohater roku/Hero of the Year, 1986), Andrzej Titkow (Układ krążenia/The Circulation System, 1978), Agnieszka Holland (Gorączka/Fever, 1980; Kobieta samotna/The Lonely Woman, 1981), Krzysztof Kieślowski (Krótki dzień pracy/Short Working Day, 1981), Kazimierz Kutz (Zawrócony/Reverted, 1994; Pułkownik Kwiatkowski/Colonel Kwiatkowski, 1995; Sława i chwała/Fame and Glory, 1997), Márta Mészáros (Córy szczęścia/Daughters of Luck, 1999; Mała Vilma/Little Vilma, 2000), Joanna Kos-Krauze and Krzysztof Krauze (Papusza, 2013 – Best Music Award at the 38th Film Festival in Gdynia).
Psalms, oratories, symphonic poems
An important part of Pawluśkiewicz’s work belongs to the genre called Mystery Music, monumental oratory compositions for soloists, choirs, and orchestra. In 1992, he composed the oratory The Ludźmierz Vespers, set to the lyrics by Leszek Aleksander Moczulski from the volume Psalmy dla dzieci małych i dużych (Psalms for Children, Small and Grown).
From the very first performance, the oratory was met with enthusiasm. The simple, moving lyrical quality of Moczulski’s psalms was combined with music that bore a certain resemblance to the songs of the Piwnica pod Baranami. Using these two elements, Pawluśkiewicz created an original symphonic oratory, moving with its intensity and the undiluted truth of emotions.
The first performance of the oratory took place in the parish church in Ludźmierz on September 26, 1992, attended by 400 people. Two days later, a concert in Nowy Targ was followed by a 20-minute-long standing ovation. Next performances took place in the St. Catherine Church in Kraków. The names of the famous performers brought thousands of spectators.
In the piece, Jan Kanty Pawluśkiewicz showed a mastery of the composer’s craft, as well as a profound musical imagination. The Ludźmierz Vespers were Pawluśkiewicz’s homage to his Goral roots. They hint at his longing toward the high forms of classical music, even though the performers (albeit brilliant) mostly came from popular music.
Pawluśkiewicz did not celebrate the success of The Ludźmierz Vespers for long. On 24th June, 1994, another great symphonic poem of the composer opened in the temporary amphitheatre built on the Błonie fields in Kraków and holding ten thousand people: Harfy Papuszy (Papusza’s Harps), set to the poetry of the Romani poet Bronisława Wajs (Papusza). In this case, the composer set the bar of artistic ambition even higher: He supplemented the thoroughly authentic lyrics with original score, not influenced by the rich musical folklore of the Roma.
On 6th May, 1999, Pawluśkiewicz presented his oratory, Droga – życie – Miłość. O Męce i Zmartwychstaniu Pana (Path – Life – Love: On the Passion and Resurrection of the Lord), based on the poetry of Leszek Aleksander Moczulski combined with old-Polish passion literature. The composer’s next musical enterprise, also carried out in collaboration with Moczulski, was the oratory Ogrody Jozafata (Gardens of Jehoshaphat), performed on 27th June, 2002 in the St. Anne Church in Zabrze.
Finally, the collaboration with Moczulski also resulted in the oratory Radość miłosierdzia (The Joy of Mercy), prepared for the 30th anniversary of the election of Karol Wojtyła as Pope John Paul II, and commissioned by the Poznań Philharmonic. The recording of the first performance was published as an album in May 2009.
In addition to his compositions, Jan Kanty Pawluśkiewicz is also an active painter. His early interest in drawing led him to study architecture at the Kraków Institute of Technology, which allowed him to stay in touch with painting, graphic arts, and sculpture.
Some time ago, Kanty took up a form of painting that was very peculiar to him, which he called gel-art. Truth be told, he simply invented this term. Krystyna Moczulska—an art historian who is married to Leszek Aleksander—called Pawluśkiewicz’s gel creations ‘ethereal realism’. Works are created in the meticulous process of covering the surface of the painting with countless dots, painted with special gel markers. It’s a very colourful form of art.
[Danuta Grechuta, Jakub Baran, Marek. Marek Grechuta we wspomnieniach żony Danuty / Marek: Marek Grechuta, Remembered by His Wife, Kraków 2011]
His paintings, produced with this equally inventive and peculiar technique, were first shown in 1999 in the Piwnica pod Baranami. Since then, he has created many series of paintings, drawings, and graphic designs, creating a magical world with a particular emotional charge, full of fable-like and joyous quality. Filled with light and colours: simply put, gel-art.
The term was coined by Tadeusz Nyczek, but the idea is, indeed, mine. I always wanted to combine contemporary extravagance with the convulsive classics, I simply lacked the courage. It’s extremely time-consuming, as it involves putting thousands of dots using gel markers.
[Krzysztof Jakubowski, Jan Kanty Pawluśkiewicz. Od niepewności do nieszporów / Jan Kanty Pawluśkiewicz: From Uncertainty to Vespers, krakow.gazeta.pl, 3.11.2012.]
A square centimetre holds on average 350-400 dots. The artist’s works, using this novel technique, have been exhibited abroad, including in Brussels (in the Yehudi Menuhin space in the European Parliament), Slovakia, Hungary, and Italy.
TV Theatre (music)
- 1976 – Sean O'Casey, Juno and the Paycock, dir. Tadeusz Lis, first shown: 13th December, 1976
- 1976 – William Fairchild, Okup (Ransom), dir. Tadeusz Lis, first shown: 23rd December, 1976
- 1977 – John Whiting, Saint’s Day, dir. Tadeusz Lis, first shown: 8th April, 1977
- 1977 – Ladislav Smoček, Piknik, dir. Tadeusz Lis, first shown: 29th August, 1977
- 1981 – Karol Hubert Rostworowski, Judasz z Kariothu (Judas of Kerioth), dir. Tadeusz Lis, first shown: 13th April, 1981
- 1981 – Sławomir Mrożek, Dom na granicy (The House on the Border), dir. Tadeusz Lis, first shown: 14th September, 1981
- 1981 – My wciąż śpieszący (We Struggle and Flail) based on Rainer Maria Rilke, dir. Andrzej Maj, first shown: 2nd November, 1981
- 1983 – Ivan Turgenev, The Hanger-On, dir. Tadeusz Lis, first shown: 2nd May, 1983
- 1983 – Przyjdzie do ciebie (She Will Come to You), based on Zygmunt Krasiński, dir. Tadeusz Lis, first shown: 1st February, 1984
- 1984 – Stara baśń (An Ancient Tale), based on a novel by Józef Ignacy Kraszewski, dir. Irena Wollen
- 1985 – Nad wodą wielką i czystą (Over the Wide, Clear Water), based on Adam Mickiewicz, dir. Andrzej Maj, first shown: 22nd December, 1985
- 1986 – Jan Brzechwa, Przygody Sindbada Żeglarza i jego wuja Tarabuka (The Adventures of Sindbad the Sailor and His Uncle Tarabuk), dir. Andrzej Pawłowski, first shown: 22nd March, 1987
- 1987 – Aleksander Fredro, Pan Jowialski (Mister Jowialski), dir. Tadeusz Bradecki, first shown: 24th December, 1987
- 1988 – Nikolai Erdman, The Suicide, dir. Kazimierz Kutz, first shown: 24th April, 1989
- 1989 – Osip Mandelstam, The Death of The Age, dir. Krzysztof Orzechowski, first shown: 25th May, 1989
- 1989 – William Shakespeare, Richard III, dir. Feliks Falk, first shown: 11th December, 1989
- 1989 – Tadeusz Różewicz, Do piachu (Dead and Buried), dir. Kazimierz Kutz, first shown: 24th September, 1990
- 1990 – Włodzimierz Dulemba, Spadkobiercy (Heirs), dir. Andrzej Maj, first shown: 1st November, 1990
- 1991 – Eustachy Rylski, Zapach orchidei (The Scent of Orchids), dir. Kazimierz Kutz, first shown: 13th May, 1991
- 1991 – Venedikt Yerofeyev, Walpurgisnacht, or the Steps of the Commander, dir. Kazimierz Kutz, first shown: 4th November, 1991
- 1992 – Giacomo Joyce, based on James Joyce, dir. Andrzej Maj, first shown: 23rd December, 1992
- 1993 – Arthur Miller, Some Kind of Love Story, dir. Tomasz Zygadło, first shown: 24th May, 1993
- 1993 – Arthur Miller, Elegy for a Lady, dir. Tomasz Zygadło, first shown: 25th May, 1993
- 1993 – Anton Chekhov, The Swan Song, dir. Tomasz Zygadło, first shown: 21st December, 1993
- 1993 – Anton Chekhov, On the Harmful Effects of Tobacco, dir. Tomasz Zygadło, first shown: 21st December, 1993
- 1993 – A Christmas Carol, based on Charles Dickens, dir. Robert Gliński
- 1995 – Eustachy Rylski, Wilk kazański (The Kazan Wolf), dir. Filip Zylber, first shown: 4th December, 1995
- 1996 – Aleksandr Ostrovsky, Enough Stupidity in Every Wise Man, dir. Kazimierz Kutz, first shown: 30th September, 1996
- 1998 – Eustachy Rylski, Netta, dir. Kazimierz Kutz, first shown: 23rd March, 1998
- 2000 – Per Olov Enquist, The Image Makers, dir. Kazimierz Kutz, first shown: 20th October, 2000
- 2001 – Sławomir Mrożek, Wielebni (The Reverends), dir. Kazimierz Kutz, first shown: 29th October, 2001
- 2004 – Eustachy Rylski, Dzień podróżny (The Travel Journal), dir. Kazimierz Kutz, first shown: 7th February, 2005
- 2006 – Leszek Kołakowski, Wielkie kazanie księdza Bernarda (Reverend Bernard’s Grand Sermon), dir. Krzysztof Jasiński, first shown: 10th October, 2006
- 1972 – Korowód (The Procession), short film, dir. Krystyna Brzoskowska, Ryszard Kubiak
- 1973 – Brzydkie kaczątko (The Ugly Duckling), TV film, dir. Tomasz Zygadło
- 1974 – Pocałunek (The Kiss), animation, dir. Alfred Ledwig
- 1974 – Jutro (Tomorrow), animation, dir. Marian Cholerek
- 1974 – Chleba naszego powszedniego (Give This Day Us Our Daily Bread), TV film, dir. Janusz Zaorski
- 1975 – W tym miejscu… (In This Place…), documentary, dir. Tomasz Zygadło
- 1975 – W cieniu (In the Shadows), animation, dir. Jerzy Kucia
- 1975 – Najważniejsza sprawa (The most important matter), documentary, dir. Anna Górna
- 1976 – Kres… (The End...), animation, dir. Jan January Janczak
- 1977 – Retrospekcja (In Retrospect), animation, dir. Andrzej Warchał
- 1977 – Recital, animation, dir. Jan January Janczak
- 1977 – Pax, animation, dir. Andrzej Warchał
- 1977 – Elwro II, animated commercial, dir. Marian Cholerek
- 1977 – Ab ovo, animation, dir. Jan January Janczak
- 1977 – Układ krążenia (The Circulation System), dramatic series, dir. Andrzej Titkow
- 1977 – Rebus (The Puzzle), feature film, dir. Tomasz Zygadło
- 1977 – Zakręt (The Turn), feature film, dir. Stanisław Brejdygant
- 1977 – Wodzirej (Top Dog), feature film, dir. Feliks Falk
- 1978 – Fragment większej całości (A Piece of a Larger Image), short dramatic film, dir. Stanisław Lenartowicz
- 1978 – Pejzaż horyzontalny (A Horizontal Landscape), feature film (musical score), dir. Janusz Kidawa
- 1978 – Nauka latania (Flying Lessons), feature film, dir. Sławomir Idziak
- 1979 – Jak w bajce (Like in a Fable), animation, dir. Stanisław Lenartowicz
- 1979 – Na koniku malowanym jedzie sobie pan (A Man Riding a Hobby Horse), short dramatic film, dir. Andrzej Różycki
- 1979 – Obok (By the Side), TV film, dir. Feliks Falk
- 1979 – Anna, animation, dir. Andrzej Warchał
- 1979 – Szansa (The Chance), feature film, dir. Feliks Falk
- 1980 – Wiosna (Spring), animation, dir. Jerzy Kucia
- 1980 – Tylko tyle (That’s All), TV film, dir. Anna Górna
- 1980 – Ćma (Moth), feature film, dir. Tomasz Zygadło
- 1980 – Gorączka (Fever), feature film, dir. Agnieszka Holland
- 1981 – Ślady na śniegu (Traces in Snow), animation, dir. Zbigniew Szymański
- 1981 – Portret niewierny (An Unfaithful Portrait), animation, dir. Ewa Bibańska
- 1981 – Kobieta samotna (A Lone Woman), TV film, dir. Agnieszka Holland
- 1981 – Krótki dzień pracy (Short Working Day), TV film, dir. Krzysztof Kieślowski
- 1981 – Gabinet śmiechu (The Cabinet of Laughter), animation, dir. Zbigniew Szymański
- 1982 – Odwet (Revenge), feature film, dir. Tomasz Zygadło
- 1983 – Koniec (The End), animation, dir. Ewa Bibańska
- 1983 – Z pamięci (From Memory), documentary, dir. Andrzej Titkow
- 1984 – Powinowactwo (Kinship), TV film, dir. Waldemar Krzystek
- 1984 – Przewodnik (Guide), documentary (music), dir. Tomasz Zygadło
- 1985 – Idol, feature film, dir. Feliks Falk
- 1985 – Daleki dystans (A Long Distance), TV film, dir. Mirosław Bork
- 1985 – Kto ty jesteś? (Who Are You?), documentary, dir. Stanisław Lenartowicz
- 1986 – Finisz (The Finish), animation, dir. Jan Petryszyn
- 1986 – Chłopiec i ptak (A Boy and a Bird), animation, dir. Jan Petryszyn
- 1986 – Nieproszony gość (An Uninvited Guest), TV film, dir. Feliks Falk
- 1986 – Bohater roku (Hero of the Year), feature film, dir. Feliks Falk
- 1987 – Dwunasta zero zero (Twelve Zero Zero), animation, dir. Marian Cholerek
- 1988 – Dla Noemi (For Noemi), animation, dir. Longin Szmyd
- 1989 – Dwa pawie na złotych sznurkach (Two Peacocks on Golden Strings), documentary, dir. Piotr Skrzynecki
- 1989 – Żelazną ręką (With An Iron Hand), feature film, dir. Ryszard Ber
- 1989 – Kapitał, czyli jak zrobić pieniądze w Polsce (The Capital, or How to Make Money in Poland), feature film, dir. Feliks Falk
- 1989 – Images, animation, dir. Agnieszka Ziobrowska
- 1990 – Rycerz (The Knight), animation, dir. Anna Ziomka, Grzegorz Bendkowski
- 1992 – Historia Cyganki (The Story of a Gypsy), documentary, dir. Greg Kowalski
- 1992 – Osioł i lew (A Donkey and a Lion, Legendy chrześcijańskie [Christian Legends] series) animation, dir. Andrzej Piliczewski
- 1992 – Tragarz puchu (The Transporter of Down), feature film, dir. Janusz Kijowski
- 1993 – Taranthriller, TV film, dir. Mirosław Dembiński
- 1993 – Straszny sen Dzidziusia Górkiewicza (The Terrible Dream of Babyface Gorkiewicz), TV film, dir. Kazimierz Kutz
- 1993 – Na drugi brzeg (To The Other Bank), animation, dir. Stanisław Lenartowicz
- 1993 – Kronika powstania w getcie warszawskim wg Marka Edelmana (The Chronicle of the Warsaw Ghetto Uprising According to Marek Edelman), documentary, dir. Jolanta Dylewska
- 1994 – Zawrócony (Reverted), TV film, dir. Kazimierz Kutz
- 1994 – Szklany klosz (The Bell Jar), TV show, dir. Dariusz Pawelec
- 1995 – Pułkownik Kwiatkowski (Colonel Kwiatkowski), feature film, dir. Kazimierz Kutz
- 1995 – Pamiętam… (I Remember…), TV show, dir. Filip Zylber
- 1996 – Muzyka ludzi gór (Music of the Mountain Folk), documentary (musical score), dir. Stanisław Snopek
- 1996 – Buffo, TV show, dir. Filip Zylber
- 1997 – Sława i chwała (Fame and Glory), based on a novel by Jarosław Iwaszkiewicz, TV series, dir. Kazimierz Kutz
- 1999 – Córy szczęścia (Daughters of Luck), feature film, dir. Márta Mészáros
- 2000 – Żyć można wszędzie – umieraj gdzie dom (You Can Live Everywhere – Die Where Home Is), documentary, dir. Márta Mészáros
- 2000 – Twarze i maski (Faces and Masks), serial fabularny, dir. Feliks Falk
- 2000 – Mała Vilma (Little Vilma), feature film, dir. Márta Mészáros
- 2002 – A potem nazwali go bandytą (And Then They Called Him a Bandit), documentary, dir. Grzegorz Królikiewicz
- 2006 – Dziennik pilota Góry (The Diary of Pilot Góra), documentary, dir. Adam Ustynowicz
- 2007 – Łódka (The Boat), short dramatic film, dir. Michał Szcześniak
- 2008 – Tischner. Życie w opowieściach (Tischner: Life in Stories), documentary, dir. Artur Więcek Baron
- 2012 – Aktor odnaleziony. Marian Dziędziel (An Actor Regained: Marian Dziędziel), documentary, dir. Marta Węgiel
- 2013 – Papusza, feature film, dir. Joanna Kos-Krauze, Krzysztof Krauze
Long musical form
- 1977 – Szalona lokomotywa (Crazy Locomotive)
- 1984 – Kur zapiał (The Rooster Crowed)
- 1987 – Apimondia Mater
- 1991 – Opera żebracza (The Beggar’s Opera)
- 1992 – Nieszpory Ludźmierskie (The Ludźmierz Vespers)
- 1994 – Harfy Papuszy (Papusza’s Harps)
- 1998 – Amat Vita
- 1999 – Droga – życie – Miłość (Path – Life – Love)
- 2002 – Ogrody Jozafata (The Gardens of Jehoshaphat)
- 2005 – Liściany kolczyk (The Leaf Earring)
- 2005 – Przez tę ziemię przeszedł Pan (The Lord Passed Through This Land)
- 2008 – Weneckie opowieści o piekle i raju (Venetian Stories of Heaven and Hell)
- 2009 – Radość miłosierdzia (The Joy of Mercy)
- 2013 – Karossa/Carossa
Anthems and bugle calls
- 1996 – town anthem for Nowy Targ, set to lyrics by Bronisław Maj
- 1997 – Ich czterech (The Four of Them) – the anthem for Opole Theatre Confrontations Polish Classics
- 2007 – bugle call for the town of Polkowice
- 2016 – The UNESCO World Book Anthem, set to Tadeusz Różewicz’s poem Włosek poety (Poet’s Hair)
- 1970 – Marek Grechuta and Anawa
- 1971 – Korowód (Procession)
- 1973 – Anawa
- 1977 – Szalona lokomotywa (Crazy Locomotive)
- 1993 – Nieszpory Ludźmierskie (The Ludźmierz Vespers, recording of a concert at the Franciscan Church in Kraków, 2nd October, 1992)
- 1994 – Harfy Papuszy (Papusza’s Harps)
- 1996 – Nowy radosny dzień (New, Joyous Day)
- 1998 – Amat Vita (composed for the opening of a dam in Czorsztyn)
- 2003 – Consensus
- 2005 – Przez tę ziemię przeszedł Pan (The Lord Passed Through This Land)
- 2009 – Radość miłosierdzia (The Joy of Mercy)
All pieces sung by Elżbieta Towarnicka.
Jan Kanty Pawluśkiewicz – Anthology 2013–2015
- Jan Kanty Pawluśkiewicz – Anthology. Volume 1: Andrzej Zaucha
- Jan Kanty Pawluśkiewicz – Anthology. Volume 2: Harfy Papuszy (Papusza’s Harps)
- Jan Kanty Pawluśkiewicz – Anthology. Volume 3: Marek Grechuta
- Jan Kanty Pawluśkiewicz – Anthology. Volume 4: Radość miłosierdzia (The Joy of Mercy)
- Jan Kanty Pawluśkiewicz – Anthology. Volume 5: Grzegorz Turnau
- Jan Kanty Pawluśkiewicz – Anthology. Volume 6: Przez tę ziemię przeszedł Pan (The Lord Passed Through This Land)
- Jan Kanty Pawluśkiewicz – Anthology. Volume 7: Consensus
- Jan Kanty Pawluśkiewicz – Anthology. Volume 8: Amat Vita
- Jan Kanty Pawluśkiewicz – Anthology. Volume 9: Zaklinanie, czarowanie (Magic and Enchantment)
- Jan Kanty Pawluśkiewicz – Anthology. Volume 10: Nieszpory Ludźmierskie (The Ludźmierz Vespers)
- Jan Kanty Pawluśkiewicz – Anthology. Volume 11: Film Music
- 1994 – Grzegorz Turnau: Turnau w Trójce – music in Pejzaż horyzontalny
- 1995 – Grzegorz Turnau: To tu, to tam – music in Jak linoskoczek
- 1997 – Grzegorz Turnau: Tutaj jestem – music in Piosenka dla ptaka
- 2005 – Grzegorz Turnau: 11:11 – music in Czas błękitu
- 2006 – Grzegorz Turnau: Historia pewnej podróży
Awards, Titles, Honors
- 1967 – Grand Prix at the Student Song Festival for music in the song Tango Anawa (lyrics: Marek Czuryło, Marek Grechuta)
- 1968 – The Journalists’ Award at the National Festival of Polish Song in Opole for music in the song Serce (Heart, lyrics: Liliana Wiśniowska, Andrzej Nowicki)
- 1969 – 1st Prize at the FAMA festival in Świnoujście for compositions and arrangements for the Anawa band
- 1974 – The Janek Krasicki Silver Badge for lifetime achievement in composition at the National Festival of Polish Song in Opole
- 1975 – The Bronze Dragon for the musical score for W tym miejscu… (In this Place…) at the 12th Kraków International Short Film Festival
- 1977 – Winner, Student Song Festival
- 1977 – Winner, National Festival of Polish Song in Opole
- 1992 – Winner, Festival for Television
- 1992 – Winner, Polish Film Festival in Gdynia
- 1992 – Honorary Head Shepherd of the Podhale Region
- 1993 – Winner, Music Award for Ludźmierz Vespers, Festival for Television
- 1994 – Winner, Musical Score Award for Reverted, Polish Film Festival in Gdynia
- 1994 – Nomination to the Fryderyk Music Award, Album of the Year
- 1995 – Nomination to the Fryderyk Music Award, Composer of the Year
- 1996 – Nomination to the Fryderyk Music Award, Album of the Year
- 2001 – Nomination, Eagle (Polish Film Award), Best Music, for the score in Daughters of Luck
- 2001 – Winner, Ludwik (an award of the Kraków theatrical society), for the score in Tadeusz Różewicz’s Spaghetti i miecz (Spaghetti and the Sword), Old Theatre in Kraków
- 2002 – Nomination, Eagle (Polish Film Award), Best Music, for the score in Little Vilma
- 2003 – Nomination to the Fryderyk Music Award, Album of the Year
- 2005 – A Golden Laurel for Mastery in Art in 2004, awarded for composition by the Kraków branch of the Polish Cultural Foundation
- 2007 – Award of the Marshal of the Pomorskie Voivodeship at the Twelfth Festival of Stars in Gdańsk, combined with the impression of a hand print in the Promenade of Stars
- 2007 – Honorary Citizen, Polkowice County (Jan Kanty Pawluśkiewicz composed the town’s bugle call)
- 2008 – Honorary Citizen, Nowy Targ (the composer’s hometown)
- 2011 – Honorary Ambassador, Podhale Highlands
- 2013 – Music Award for Papusza, Polish Film Festival in Gdynia
- 2014 – Eagle (Polish Film Award), Best Music, for the score in Papusza
- 2014 – Jańcio Wodnik Award for the music in Papusza – Nationwide Film Festival Prowincjonalia, September
- 2014 – Grand Prix Komeda for the film score for Papusza – 3rd Krzysztof Komeda Film Festival, Ostrów Wielkopolski
- 2016 – Gold Medal for Merit to Culture – Gloria Artis