When The Tablet wanted to commission a motet to celebrate its 175th anniversary, it turned to a composer with a deep empathy with faith. Brendan McCarthy talked to her about the sources of her musical inspiration Picking our way over wet paving stones, we approach what seems an outsize garden shed. “My husband hates me calling it a shed,” Roxanna Panufnik exclaims. “He prefers ‘well-appointed chalet’!” This is the composer’s studio, cheerfully chaotic, dominated by a Bechstein baby grand piano, on which, improbably, sits a gigantic gramophone horn. Beside it is an old turntable on which, Panufnik explains, she plays an occasional Arthur Askey 78rpm record for light relief (she inherited a set from an uncle who was loath to throw them out). I begi