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21st century

Baroque

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20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Panufnik Roxanna

Adler, Samuel

Albert, Adrienne

Amlin, Martin

Arnauts, Dimitri

Bacri, Nicolas

Baksa, Robert

Balter, Marcos

Beal, Jeff

Bilotta, John

Borisova-Ollas, Victoria

Bullard, Janice Maille

Bunch, Kenji

Carter, Elliott

Chamberlain, Nicole

Chyrzynski, Marcel

Clarke, Ian

Coleman, Valerie

Connesson, Guillaume

Costa Roldán, Eduardo

Cueto, Daniel

Dalbavie, Marc-André

Daugherty, Michael

Dehnhard, Tilmann

Desenne, Paul

Dorff, Daniel

Egger, Fabian Johannes

Eggert, Kenneth

Firšt, Nenad

Furrer, Beat

Garrop, Stacy

Ghidoni, Armando

Gibb, Charles

Hailstork, Adolphus

Harberg, Amanda

Hersh, Howard

Hoover, Katherine

Igudesman, Aleksey

Ittzés, Gergely

Kernis, Aaron Jay

Khoury, Houstaf

Kukal, Ondřej

León, Tania

Lias, Stephen

Liebermann, Lowell

Lindberg, Christian

Linthicum-Blackhorse, William

Louke, Phyllis Avidan

Magalif, Eugene

Mitchell, Jonathan

Monroe, Ervin

Mower, Mike

Mucha, Geraldine

Mulleman, Tim

Ornstein, Maarten

Pann, Carter

Panufnik, Roxanna

Pärt, Arvo

Pattillo, Greg

Penman, Katrina

Petrič, Ivo

Price, William

Pritsker, Gene

Pucihar, Blaž

Ran, Shulamit

Rea, Stephanie

Rotaru, Doina

Rozman, Anže

Schocker, Gary

Schwantner, Joseph

Sciarrino, Salvatore

Seif, Sami

Serebrier, José

Skipworth, Lachlan

Sollberger, Harvey

Somma, Victor

Uébayashi, Yuko

Vasks, Pēteris

Widmann, Jörg

Witt, Carl

Woolf, Randall

Yi, Chen

The Conversation of Prayer for solo flute

The Conversation of Prayer for solo flute

By Panufnik Roxanna

Roxanna Panufnik: The Conversation of Prayer for solo flute was written in 2005. The work was commissioned by The Presteigne Festival and dedicated to the flutist Katherine Baker (Principal Flute of the Royal Opera House and later the Hallé Orchestra).
The piece is inspired by the poem of the same name by Dylan Thomas, exploring the contrasting emotions of hope and grief within the act of prayer. Panufnik was deeply moved by the dualistic nature of Thomas’s 1945 poem, which describes two prayers: one of a child for a "quick return" and one of a man for a "quick death", that cross in the air.
In 2005, Panufnik was heavily involved in her "Abrahamic Project," which sought to find common musical ground between Christianity, Islam, and Judaism. While The Conversation of Prayer is a secular poem, her 2005 mindset was focused on sacred and contemplative textures, which translated into the flute's breathy, chant-like lines.
The music mimics the "rising and falling" of breath and whispered words. It utilizes microtones and "shimmering" trills to represent the crossing of the two prayers mentioned in the poem.

Adrianna Lis (flute), 2016, Atoll / Naxos

The Conversation of Prayer

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Panufnik Roxanna

Roxanna Panufnik (1968) is a British composer. Her music is characterized by a "world-music" sensibility, often bridging the gap between diverse religious traditions and Western classical forms.
Born in London, UK, in a family of the legendary Polish composer and conductor Sir Andrzej Panufnik. She grew up in Twickenham, in a house that served as a hub for the mid-century British musical elite. This provided her with an instinctive understanding of orchestral and choral textures from childhood.
After studies at the Royal Academy of Music in London, where she felt discouraged by her professors, who labeled her melodic style as "naïve" and not experimental enough, she spent three years as a researcher for BBC Music and Arts. She worked on high-profile television programs like Young Musician of the Year and the Proms, gaining an immense understanding of the professional music world. Starting from the 1990s, she found herself naturally drawn back to concert commissions.
Her international reputation was solidified with the Westminster Mass, commissioned for Westminster Cathedral to mark the 75th birthday of Cardinal Basil Hume in 1998. A major pillar of her career is the "Abrahamic Project," a decade-long endeavor to find common musical threads between Christianity, Islam, and Judaism. This resulted in major works like Love Abide and Abraham, which utilize scales and rhythms from Middle Eastern traditions.
She often uses shimmering, bell-like chords that create a sense of spiritual space.