The composer's following works, such as "Riff 62", "Générique", "Diphtongos", "Springfield Sonet" and "Upstairs-Downstairs" allowed him to be considered as a leading representative of the Polish musical avant-garde. A period in his works followed, which Antonina Machowska described as a period of "sonorist constructivism" (PWM Encyclopedia of Music). The critics took to him very enthusiastically. Tadeusz Zieliński wrote, for example, about "Générique": a powerful course of great tension, fascination with the rush of events, energetic work relentlessly in a defined direction, the composer manages tension masterfully and has a phenomenal sense of consequence, the work is a masterpiece (quoted in L. Polony).
Wojciech Kilar’s last sonorist piece was „Przygrywka i kolęda” for 4 oboes and string orchestra (1972). Shortly after this the composer simplified his musical language, and started to write pieces inspired by podhalański folkore which turned to hits across the whole world, almost always rousing geat enthusiasm from the audience („Krzesany”, „Kościelec”, „Siwa mgła”, „Orawa”).