One Last Dance is an album that captures all the emotions that make up a life. It moves through reflection, joy, nostalgia, hope, and quiet sadness, inviting listeners to picture life as one big shared dance, where every moment has its own beat. With the piano leading the way, the album dives into life’s biggest questions and its smallest, most touching moments, leaving plenty of room for every listener to find their own meaning in it.
In this interview, we sit down with the composer to talk about the ideas behind One Last Dance and how it continues the emotional story started in their earlier album, The Piano Has Been Dreaming. We talk about why keeping things simple matters so much in composing, the constant search for melodies that feel real and timeless, and finding the right balance between skill and heartfelt expression. We also dig into the composer’s varied musical background, from ambient and orchestral work to retro electronic sounds, and how all of that shaped this new release.
Looking ahead, the composer shares what they hope people will feel after listening to One Last Dance, and gives us an exciting sneak peek into new projects already taking shape.
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One Last Dance feels deeply reflective, moving between melancholy, nostalgia, joy, and hope. What inspired you to explore these emotional states, and was there a particular moment in your life that shaped the direction of this project?
One source of inspiration is the piano itself, because it allows such immediate expression. The starting points are encounters with people, existential emotions, and fundamental thoughts.
Even if that may sound lofty or exaggerated for such small pieces of music, it is about the big questions of life and the small moments within it. It is about what is heavy and profound, but also about what is bright and weightless. About touching and being touched.
The album invites listeners into what you describe as the “ballroom of life.” What does that metaphor mean to you, and how does it connect the ten pieces on the record?
I liked the image of all of us moving through life as if across a dance floor: sometimes lighter and more buoyant, sometimes more weighed down; sometimes alone, sometimes together with others; sometimes more lonely, sometimes very close, even intimate. And the way we live our everyday lives has different rhythms – something music is very good at reflecting.
At the same time, I want to be cautious with interpretations, because every listener can find themselves on that dance floor in their own way, if they wish to. But I even when these pieces may sound melancholy at times, they are ultimately rooted in an affirmation of life.
Your previous release, The Piano Has Been Dreaming, also centred on felt pianos and a concert grand. In what ways does One Last Dance represent an evolution rather than a continuation of that musical journey?
„The Piano Has Been Dreaming“ was shaped by loss, grief, and letting go – even if I was not fully aware of that at first. „One Last Dance“ has a broader emotional spectrum, with more light and more smiles. But at its core, it is still about love.
As a classically trained pianist, how do you balance technical precision with the emotional honesty that seems to define your compositions?
Composing means putting things together, and one is often tempted to keep adding more ideas and embellishing the music or make it technically more complicated; that can be appealing and can define the quality of a piece. At the same time, there is the danger of losing sight of the core, the essence of a piece.
With „One Last Dance“ my aim was to distill that essence. A piece was not finished when nothing more could be added, but when nothing more could be taken away. This is closely tied to the question of how simple a piece can be without becoming banal, but instead, on the contrary, remaining essential.
Melody plays a central role in your work, regardless of whether you are writing for piano, orchestra, or synthesizers. What makes a melody memorable or meaningful to you as a composer?
I try to make sure there is an emotional core within the melody – or that the melody is carried by the emotional statement itself. I love it when a melody sounds so natural and coherent as if it had always existed—and I had simply discovered and written it down.
The album carries a beautiful sense of contrast light and shadow, sadness and joy, nostalgia and optimism. How intentional was that emotional balance during the writing and recording process?
Like I said, it’s about everything life throws at us and how we choose to move through it. Life is made up of these opposing forces, these contrasts. To me, a fulfilling life is one that’s rich and diverse in experience, while still finding a sense of balance overall and staying deeply connected to life itself.
You have explored a remarkable range of styles, from ambient soundscapes and minimal music to orchestral and retro-electronic works. How have those different musical worlds influenced the sound and spirit of One Last Dance?
With every project, every album, and every track, you learn something new. I hope I’m continuing to grow as a musical craftsman. With this release, a big part of the process was having the confidence to express more with less. It’s something I’ve been working on for quite a while, and on earlier tracks as well.
Many listeners describe instrumental music as deeply personal because it leaves room for individual interpretation. When creating these pieces, do you have specific stories in mind, or do you prefer to let listeners find their own meaning within the music?
Sometimes it begins with a very specific moment or a feeling I’ve consciously taken in and reflected on. There are themes I want to explore, but above all, it’s about conveying moods and emotions and bringing them to life. At the same time, music is ultimately an abstract art form, leaving space for every listener to discover their own meaning and create their own story.
Your recent releases, including Nubes Sonorae, The Mirror of Truth, Slow Heat, and The Garden of Make Believe, each explored distinct themes and sonic landscapes. Where does One Last Dance fit within your broader artistic journey?
It’s just another step on the dance floor
Looking ahead, what do you hope audiences take away from One Last Dance, and are there any new creative directions or projects that you are excited to pursue in the future?
I hope listeners connect with it emotionally—and perhaps even lose themselves in the album for a while.
As for what’s next? I genuinely enjoy moving between different genres and discovering that, despite their differences, they’re all part of the same musical journey. Right now I’m finalizing an album with retro synths. I’m also working on ambient tracks that incorporate orchestral elements.
