The title of the piece is derived from the (microscopic) recording of very subtle sounds and their playback through speakers. Additionally, copy techniques were used. For instance, the beginning of the piece, or rather its rhythm, is derived from Webern’s 5 movements for string quartet, op. 5. Other than in my String Quartet I, simple time signatures are employed in this work. Additionally, MicrosCopy is a lot noisier, as tones can barely be perceived. Moreover, four stereo microphones are placed around the concert hall. By doing so, the sounds of the environment are transmitted to the concert hall in real-time after being transformed electronically. In this way, the present landscape (or, respectively, the sounds produced there) become/s part of the piece. This uncontrollable counterpoint culminates in the final movement as it comes to fore and the different recordings are interwoven by means of diminuendi and crescendi.