Composed by Isabel Mundry. Solo instruments; stapled. Edition Breitkopf.
World premiere: Braunschweig (Tage fur neue Kammermusik), November 23, 1998
Music post-1945; New music (post-2000). Performance score. Composed 1999. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9120. Published by Breitkopf and Haertel (BR.EB-9120).
ISBN 9790004182888. 10.5 x 14 inches.
Die Komposition entspricht einer imaginaren Skulptur, teils transparent, teils undurchlassig, die von verschiedenen Seiten An- und Einblick ermoglicht. Flote und Schlagzeug werden hier nicht als instrumentales Gegenuber von Melodie- und Perkussionsinstrument gedacht, sondern als ein komplexer Klangkorper, der verschiedene klangfarbliche Partikel entwickelt und in immer neuen Formationen entfaltet und uberlagert. In diesen Polyphonien kann es dazu kommen, dass die Flote kurze Impulse gibt, und das Schlagwerk ,,singt.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.CD:Carin Levine (flute), Stefan Blum (percussion)Musicaphon M 55715
World premiere: Braunschweig (Tage fur neue Kammermusik), November 23, 1998.
Composed by Isabel Mundry. Solo instruments; stapled. Edition Breitkopf.
World premiere: Braunschweig (Tage fur neue Kammermusik), November 23, 1998
Music post-1945; New music (post-2000). Performance score. Composed 1999. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9120. Published by Breitkopf and Haertel (BR.EB-9120).
ISBN 9790004182888. 10.5 x 14 inches.
Die Komposition entspricht einer imaginaren Skulptur, teils transparent, teils undurchlassig, die von verschiedenen Seiten An- und Einblick ermoglicht. Flote und Schlagzeug werden hier nicht als instrumentales Gegenuber von Melodie- und Perkussionsinstrument gedacht, sondern als ein komplexer Klangkorper, der verschiedene klangfarbliche Partikel entwickelt und in immer neuen Formationen entfaltet und uberlagert. In diesen Polyphonien kann es dazu kommen, dass die Flote kurze Impulse gibt, und das Schlagwerk ,,singt.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.CD:Carin Levine (flute), Stefan Blum (percussion)Musicaphon M 55715
World premiere: Braunschweig (Tage fur neue Kammermusik), November 23, 1998.
Preview: Composition for Flute and Percussion
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