The title of this collection aside, there is a certain singularity to the genre. It is a real composer’s test to write a flute solo that stands out from the rest. Debussy’s Syrinx is the supreme example, but Ferneyhough’s Superscriptio, for piccolo, a propulsive altitudinal scrabbling, is unmistakable. Memorable, too, are the fireworks of James Dillon’s Diffraction, also for piccolo, which puts a low note of highest instrument to ingenious use. Chris Dench’s beautifully titled Caught Breath of Time is eloquent; Simon Holt’s Maïastra has a catchily repetitive ending. Ruffer’s playing is fastidious, impassioned and silver-tongued throughout.