The character of this composition was determined by the specific “granular” texture of the sound material. That material consisted of recorded sounds of hitting wood and glass, rubbing and breaking pieces of wood, and of a chainsaw—in other words, so-called concrete sounds. The composition makes use of 53 selected structures of varying “granularity,” “sharpness,” and approximate pitch. The structures were produced by means of microediting, i.e. stitching very short sections of tape—hence the work’s title. In production, these structures were subjected to filtering, multiplication, overlapping, and numerous other transformations, before being incorporated into the composition as sound sequences of different texture and colour, forming a steady wave-like flow and a wide dynamic scale. The composition was produced in 1963 by Eugeniusz Rudnik as the first two-channel piece coming from the Polish Radio Experimental Studio.

Włodzimierz Kotoński

(from the 1997 Warsaw Autumn

programme book, new translation)