In Mirror Music for piano and electronics by Stanisław Bromboszcz (b.1980), the central focus is on the piano sound, enriched with an electroacoustic layer, which becomes a multi-faceted medium realising the concept of mirroring. The piece is intriguing due to its extraordinary interpretative potential, which fosters the expansion of associations and the search for references to other fields of art. The present article addresses the contexts that, while not forming the foundation of the compositional assumptions, inspire the search for new meanings and outline a subjective perspective of ‘correspondance’. According to Escher, ‘if music could be illustrated graphically in a complete way, then, generally speaking, its accessibility would increase, and the receptivity of those experiencing it could also grow’. These may be distant echoes, but certain shared elements – such as the intervention in the material that occurs according to specific rules reminiscent of the process of creating his graphics – also characterise the structure of Mirror Music. The act of transcending the boundaries of piano sound itself, constituting a kind of transgression, is highly attractive from a performer’s perspective and allows for broadening artistic explorations by drawing parallels at the intersection of visual arts. A subtle reference to the archetypal motif of Narcissus is reflected in the positioning of the piano sound at the core of the composition. The music possesses an enigmatic quality that evokes the spatial complexity of Escher’s artistic renderings, thereby fostering an intense yearning to traverse and investigate the labyrinthine pathways of the mirror maze.