The title of the piece is derived from the (microscopic) recording of very subtle sounds and their loud playback through speakers. Additionally, copy techniques have been used. For instance, the beginning of the piece, or its rhythm, respectively, is derived from Webern’s 5 movements for string quartet, op. 5. MicrosCopy is different from String Quartet I as I have learnt from my past mistakes and make use of simpler time signatures. Additionally, it is a lot noisier, tones can barely be perceived. Moreover, a very special element is an idea that come to me when I was already in the middle of the composition process: four stereo microphones are used to pick up the area surrounding the concert hall and the recordings are supposed to be broadcast live into the concert space. By doing so, the landscape around the hall (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. In this piece, squeaking, grinding and buzzing noises as well as percussive sounds are predominant.