The easiest way to consider the history of the Polish contemporary music is a sequence of simple oppositions. Avantgarde versus reaction, sonorism versus new romanticism, tape versus orchestra.

The case of Andrzej Dobrowolski (1921-1990) undermines these dialectical arrangements and breaks out of order (similarly to the case of Tomasz Sikorski or Roman Haubenstock-Ramati). The composer transfers electroacoustic textures to instrumental ensembles and creates an intense atmosphere with minimalist changes.

Kolejne Muzyki by Dobrowolski for various number of performers presents a very consistent expansion process of his own original sound world. However, these are only seemingly stable and transparent – it is worth listening to them deeper and one at a time. A crystal seen from different angles and with different light – Varèse’s metaphor is also applicable to the works of the Polish composer.