With possibly the neatest scheduling ever, the CBSO’s concert at Symphony Hall on September 24 celebrates the centenary to the day of the birth of one of its previous principal conductors, Andrzej Panufnik.

Born in Warsaw into a highly musical family, and with a mother of British origins, Panufnik studied composition and conducting during the years preceding the Second World War. The Warsaw Uprising of 1944 saw the destruction of his works (he reconstructed some later), and after a post-war period conducting orchestras in Warsaw and Krakow Panufnik decided to devote himself to composition.

Hugely patriotic, he loathed the Stalinist regime then prevailing in his native country, and in 1954, whilst in Switzerland conducting recordings of his own music, he and his British-born first wife managed to escape to the West.

In 1956 it was announced that principal conductor Rudolf Schwarz would be leaving the CBSO at the end of the season to succeed Sir Malcolm Sargent at the helm of the BBC Symphony Orchestra, and the hunt was on for Schwarz’ replacement. Rather similar to the process going on now at the CBSO, as they seek a successor to Andris Nelsons, guest conductors were invited to give “audition” concerts, and Panufnik was among them.

His concert early in December 1956 was a brilliant success, and his appointment as principal conductor was announced on January 19, 1957. Later, in his autobiography, Panufnik admitted that he had accepted the position as it would give him British residence and a steady income, entitling him to apply for British nationality.

Andrzej Panufnik’s sojourn at the CBSO was not without its controversies, including a re-auditioning (not requested by him) of all rank-and-file violinists even before his arrival. A looming strike was averted at the eleventh hour.

His rehearsal methods were somewhat hackle-rising, and his inclusion of many works by early English composers (a reflected patriotism perhaps) and baroque masters made his programming a little eccentric.

But he also included many contemporary works, including several UK premieres, and these caused discomfort to many of the old guard of players, dyed in a different kind of wool dating from the 1930s.

The orchestra’s leader, Norris Stanley, who had played in the back desk of violins when Elgar conducted the CBO’s (as it then was) inaugural concert in Birmingham Town Hall in 1920, accepted the invitation to resign, and there were other rumblings among the ranks, some of whom indeed left the orchestra.

Pressure from management to conduct more conservative programmes, plus a desire, with commissions coming in, to devote himself again to composition, led Panufnik not to take up the option of renewing his contract at the end of the 1958-59 season. His achievements during the sometimes difficult two years of his tenure including raising the general standard of orchestral playing and a broadening of the CBSO’s repertoire.

Adopting British citizenship in 1961, Panufnik was knighted in 1990, soon after a return to Poland, where his music was at last being performed again.

His fervent love of his homeland and its music, together with a passionate devotion to the Catholic faith, have been passed on to his daughter Roxanna, herself a much-admired composer.

Roxanna will be present at the CBSO’s concert celebrating her father’s centenary, and she tells me what it was like growing up in a household throbbing with music.

“I was never conscious of growing up in a musical household – I always thought that everyone had music around them all the time! It was only in my teens that I realised that was quite unusual. My father and I were incredibly close – we almost had a kind of telepathy with each other – if I was out and phoned home, he would always say to my mother as the phone rang: ‘That’s Roxanna’s ring’.”

How did Panufnik respond to Roxanna’s own development as a composer?

“He was always incredibly encouraging,” she says, “but as a typical teen as soon as he started making constructive comments that weren’t direct praise and might involve some changes, I stopped listening!

“Also, we never really discussed composition as it wasn’t until my late teens and early twenties that it became my path – but by then I was in “fleeing the nest” mode,and only listened with half an ear. Of course, I really regret that now.”

Roxanna goes on to describe the influence her Polish heritage has had on her work.

“I think my whole style and ethos of composing, which very much wears its heart on its sleeve, is very Polish in its nature. I often work with Polish folk music which I love – it’s quite quirky and huge fun to harmonise. I became a practising Catholic in my early twenties and I think that’s created an extra bond between me and Poland’s profoundly Catholic culture.

“I’m so proud of being a Panufnik. When I was studying composition at music college, a few stray remarks implying nepotism from other students and professors gave me a massive chip on my shoulder and I tried to put distance between me and him (even, at one stage, by changing my name!).

“It took a long time after I graduated for me to be convinced that I had something personal and unique from my father to offer. Now I revel in it – people have started to programme our works together and it gives me a massive thrill. I’m so looking forward to coming to Birmingham in September and it’s the perfect place to celebrate his 100th birthday – I hope as many people as possible will come to Symphony Hall on the September 24 and join in the party!”

* The CBSO’s Panufnik centenary concert is at Symphony Hall on September 24 (details on 0121 780 3333).Two recent CD releases pair the music of Andrzej and Roxanna Panufnik: Dreamscape (songs and trios) from Signum Classics; Reflections (solo piano music played by Clare Hammond) from BIS. Thanks to Beresford King-Smith’s ‘Crescendo’ history of the CBSO.