For much of my working life, my music had a clear function: it accompanied films, documentaries, multimedia projects and other visual work, always serving the story rather than itself.

Now, I am interested in what remains when that function disappears and the music has to stand on its own.

Freed from this supporting role, I approach composing much as I once approached painting: by working intuitively with colours, textures and form. Rather than following a predetermined plan, I begin with small musical ideas and simply follow where they lead.

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I often employ tonality, but can just as easily move towards abstraction, minimalism or modernism. ‘Neo-classical’? I do not see it as a style or genre. For me, it is an unavoidable mixture of musical forms I have heard and analysed throughout my life, shaped neither by nostalgia nor by irony.

What remains is a residue: centuries of musical history filtered through memory and the creative process.