„Just as texts which can be read from both sides of the sheet, we have the 15th—century composing techniques, the Flemish school: Obrecht, Ockeghem. They wrote the so—called „Dutch tricks” that way. And then the baroque, of course. It was the time, perhaps not the greatest, when abstraction was important — the musical language operated along the basic parameters: pitch and rhythm. There are so many baroque references in my way of constructing the flow of the notes because of their serialism, i. e. there are series of notes and I process them serially. In a way, it`s similar to dodecaphony and some techniques used by the Second Viennese School — Schoenberg, Berg and Webern. In the aesthetic sense, perhaps not entirely, but to some extent, my pieces are similar to those by Webern. The similarity lies in processing short series of sounds.

Why are the works called „scrolls”? When I write a piece, the first key is a draft in which I paste the sheets in exactly that — a long strip of paper. I remember when I was writing my first scroll, it was seven metres long and difficult to store, so I just rolled those long strips for easier storage, hence the name. Strictly speaking, they are sketches, but I call them scrolls, which also shows they are abstract in the sense that it’s only a working name. It is a little different from the traditional notation, but the differences are not as big as one might think. Just as in the traditional notation, we have the duration and the sound pitch, which is expressed vertically. On the stave, high—pitched sounds are above the lower—pitched ones. Here, it goes from left to right, the flow of time. This notation is in fact clearer than the traditional stave. For example, when we see a third on the stave, then without seeing the clef, we don’t know whether it’s minor or major. Here, where each horizontal line represents a semitone, the whole structure is visible. That is why I record relationships between pitch levels in this way.”

Interview by Agnieszka Kubicka—Dzieduszycka and Krzysztof Dobrowolski, Wrocław, March 2012