Wlad has worked on such films as Ambition, directed by Bob Shaye, Hitman: Agent 47, starring Rupert Friend and Zachary Quinto, Marshal From Detroit, starring Eminem, The Giver, starring Meryl Streep, November Man, starring Pierce Brosnan, 2019 Oscar-qualifying Demon by award winning director Caleb Slain, Orchestra of Exiles, directed by Oscar nominee Josh Aronson, Ginosaji vs Ginosaji series directed by 3-time Emmy winning director Richard Gale, Sabotage, starring Arnold Schwarzenegger, and others.

The music of Wlad Marhulets has been performed far and wide by world-class musical organizations, such as Lyric Opera of Chicago, Orchestre Symphonique de Montréal, Czech National Orchestra, Detroit Symphony, Columbus Symphony, Princeton Symphony, Orchestre National de Lyon, the Sinfonietta Cracovia, the Lithuanian choir Jauna Muzika, Qatar Philharmonic Orchestra, Macedonian Philharmonic Orchestra, Sinfonia Varsovia, and others.

He has won the Azrieli Prize in Music, the Susan W. Rose Fund Grant, the Peter D. Faith Prize, and five ASCAP Awards, including their prestigious Leonard Bernstein Award. A full scholarship student during his tenure at the Juilliard School, Wlad studied composition exclusively with Oscar and Pulitzer Prize winner John Corigliano (The Red Violin).

At present, Wlad is scoring and producing DARQ - a highly anticipated video game.

Located in Los Angeles, Wlad is represented by The Gorfaine/Schwartz Agency and published by G. Schirmer.


Jordan Hall at New England Conservatory | November 23, 2019

News and Press

[Concert Review] Boston Globe Klezmer Madness Review

The title of the Boston Modern Orchestra Project’s Saturday concert at Jordan Hall, “Klezmer Madness,” accurately represented half of its program. That portion consisted of two recent concertos for clarinet and orchestra that were audibly steeped in klezmer, the folk music of Eastern European Jews. Both pieces also featured the outstanding klezmer clarinetist David Krakauer, an ideal guide to the contemporary state of klezmer, who brought their solo parts thrillingly to life in performance.

The Boston Globe Full review