One of my oldest pieces still regularly performed by violinists worldwide, the passagalia came out of a fascination of the passagalia by Biber and the musical language of Messiaen. Important to this piece was also the question of how far or how close can two musical styles be from one another. Can that lead to a new style? It was originally composed as part of a group of musical experiments called ‘Homage à Messiaen?’ for voice, flute, violin and piano, but soon became its own standalone piece.