Penderecki's biographer, Wolfram Schwinger noted that, "Penderecki has indeed admitted, in his programme note for Donaueschingen 1960 when Anaklasis was first performed, that this metrical definition inspired the rhythmic procedure of the central section, and led to the ideas of rotation and arhythmical progressions as factors governing the rhythms generally.

Penderecki uses a large variety of articulations and string techniques to vary the color and texture of the first section which is characterized by continuity of noise and sound.

Groups of strings play clusters of pitch, some definite and some indefinite, which contrast in timbre by the use of harmonics, tremolo, vibrato, col legno, pizzicato, and sul ponticello.

The piece transitions into the C section by reducing the orchestra in sequence until it is only ten violins playing pppp in a tight tone cluster.

[2] The piece is scored for 20 violins, 8 violas, 8 celli, 6 double basses, celesta, harp, piano, and a large percussion section including xylorimba, congas, wooden-drums, vibraphone, bongos, bells, cymbals, glockenspiel, tom-toms, triangle, gong, tam-tam, and timpani to be played by six percussionists.