First of all, yes, there are these northern lights, which are extremely impressive, because they run so quickly over the whole sky we see. So, that’s a moment that you feel yourself especially small. And I have seen them during the winter since I’m a small child, and I remember several occasions where I was for example on skiing holiday and visiting my aunt, and so I was keen to play, and suddenly there were these lights, and it was very scary for me. It was always something very interesting. The idea to write a piece inspired by the northern, the inspiration is always the first step. It’s somehow — I think in fact always it’s something that you are already imagining, some music, and then some outer stimulus makes you aware of that. And this was also the case when I was working on Lichtbogen. I was already imagining material for the piece. And then suddenly I saw again these lights in the sky. And that somehow made me aware of the material. So, in fact as strongly as I feel connected to nature, I don’t think that I’m ever really describing it, my music.1 So, after the moment of inspiration, the work becomes in fact very, very technical work, pitches and the instrumentation and the rhythmic material. So, it ends up being very purely musical.