The  Revolutions  are going rather smoothly. While I did abandon the idea of sticking strictly to Slonimsky’s scales and models (in fact, I never lied to myself even for a moment that I would stick to them), some parts seem to have seeped into what is being created.

The piece will be a duet for flute and tuba. That combination quickly became the obvious one – and even the only possible one in this situation. Imaginations of sounds come easily; it is somehow less easy to come up with a convincing form. But here the lingering image of rotating circles at the back of the mind is helpful and somehow generative. By the way, I expressed myself imprecisely last time. The perimeter point of a circle with a radius twice as short as that on which it revolves determines not a straight line, but a segment (which is also the diameter of a larger circle). In fact, with a little effort taken to imagine the whole situation, it becomes obvious and even quite satisfying.

Wyspiański held nature in awe. Probably not quite like some of his colleagues from the Young Poland movement. He may also have been a bit too effusive and filled with mysticism, but it seems that rather he enjoyed the lines and colours themselves. Their self-sufficiency and self-justification. Obviousness, but not simplicity. More like infinite complexity.

Wesele (The Wedding), apart from everything else that can be said about this play (and a great deal of which has been said was not always needed, in fact) is like a wild meadow. It is extensive, dense and buzzing. You can, if you like, take it in at a glance, but you won't see much beyond your own perception of this or that subject. But it is also possible to let go of preconceptions, to look and listen up close. And to allow satisfaction to turn into horror.

(transl. Magdalena Małek-Andrzejowska)