Ireneusz Socha about Najduchy:

"In juxtaposing the poetic word with music, I am guided by my own poetic-musical experience, which I jokingly call "literary music ". I have been developing this method from the moment I started writing for the Kirkut-Koncept group. and finding the right musical setting based on the meanings encoded in the text. Sometimes a poem sounds best without music, and sometimes we come to the conclusion that a given piece should not have a voice track to encourage the listener to read it on his own with the music in the background. or without.

In a technical sense, the main core of sound and music illustration rests on sequences previously prepared on the basis of digital sampling. Treating computer parts as obligatory, we add our parts to them, trying to blend as much as possible in terms of sound, texture and form with the backing track. Our instrumental parts are largely composed and predetermined. In a musical-poetic presentation understood in this way, the recitations are given precisely and result from the logic of the composition. However, we try to give priority to the word in the sense of proper loudness and formal exposure. The poet does not repeat any part of the poem and does not adapt it to the music. We're not trying to make a song or a libretto. It is still a poem written on a piece of paper - only when read at the right (musically) time, in the right (musically) place, and it sounds the poet's right timbre while maintaining the characteristics of his voice.

In the case of "Lament Świętokrzyski" I indulged in a well-known formal procedure called cut and paste. I cut the recitation into parts and swapped the stanzas so that they would acquire additional meanings separately as well as in a new context. "

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