The composition corresponds to an imaginary sculpture, partly transparent, partly opaque, which allows viewing and insight from different sides. Flute and drums are not thought of here as instrumental counterparts to melody and percussion instruments, but rather as a complex sound body that develops various tonal particles and unfolds and overlaps them in ever-new formations. In these polyphonies it can happen that the flute gives short impulses and the percussion “sings”.

Isabel Mundry (2002)

Isabel Mundry to three questions about her piece (in 2006):

1. “Why did you compose a piece for these instruments?”

Whenever I am asked to write a piece for an instrumental combination that I myself would not have chosen, my first step is to ask myself if these instruments could inspire a new compositional idea. In the Composition for Flute and Percussion, this is what happened. Thus, a new piece was born that went on to develop its own life.

2. “Which importance has this piece within your oeuvre?”

I can not respond to the second question conclusively with regard to any of my pieces. Depending upon what I am working on, I come back to older pieces or put them aside. The treatment of both instruments as identities that can be transformed and taken apart is certainly connected to my general preference for polyphonic structures which can be found in many of my compositions in different variations.

3. “What does the word ‘dialogue’ mean for you?” *

For this piece, I actually thought more of the destruction of dialogue. For me, it had less to do with instrument A and instrument B in conversation than with the development of the sound characteristics presented by the two instruments. It would be more accurate to think of a sculpture which one can observe from different angles and perspectives. As a result, the flute takes on the role of the percussion and the percussion plays the melody.