In the spring of 2015, I wanted to compose a piano piece that I was going to perform on my 2nd Master recital. This new composition was going to be performed next to the works of Scriabin (4 pieces op. 56 and 5 preludes op. 74), Britten (Night music), Debussy (Reflets dans l’eau, Bruyeres) and a Beethoven sonata (op. 90). When I started to compose this new piece, my idea was to write a composition that fitted the theme of my recital. I was searching for a link between Beethoven, Scriabin, Britten, Debussy (and even Schubert and Bach who’s pieces I played on my first recital). I knew the works I was going to play at the concert inside-out, by heart, and I could play them even without thinking. When I was practicing these pieces, my hands often wandered to other keys, and I started improvising: the first motives and phrases of Image-Homage were born.
Working on Image-Homage was a process that completely changed my view on composing, practicing, and performing, and it made me a different musician.