The two movements of Ruth Anderson’s Prelude and Rondo immediately display the influence of Anderson’s training as a flutist in the French style (as a student of Wummer and Rampal). The first movement begins Andante Sostenuto and allows the flutist to sing through the arch-shape melodic sections, ending with quietly reflective harmonics in the flute. The second movement, in true Conservatoire concours fashion, sees the flutist dance through quick ideas that occasionally break into technical fireworks.