few subsequent Polish performances nevertheless did occur (as shown by the Panufnik scholar Adrian Thomas), with his defection Panufnik became a nonperson, and remained so until 1977. Life in the West Having left Poland without any money or possessions, income from occasional conducting engagements made it hard for Panufnik to make ends meet. He received financial support from fellow composers including Ralph Vaughan Williams and Arthur Benjamin; Panufnik was as heartened by the gesture of professional solidarity as by the money. His old friend the pianist Witold Małcużyński also helped by finding for Panufnik a wealthy patron. "Scarlett" Panufnik published a book about Panufnik's life in Poland and his escape, but its surmises and inaccuracies distressed Panufnik; Panufnik and Scarlett drifted apart, as she craved excitement and society while he wanted only peace and quiet for composing. In 1960, Panufnik visited the United States to visit Leopold Stokowski. Stokowski had given the American premiere of the Symphony of Peace in 1953, and in 1957 he conducted the world premiere of Panufnik's revised version of the symphony, entitled "Sinfonia Elegiaca", which is dedicated to all the victims of World War II. Stokowski gave American premieres also of Panufnik's "Katyń Epitaph", his "Universal Prayer" and "Sinfonia Sacra". Panufnik continued to find it frustratingly difficult to get permission to travel to the States. In the wake of McCarthyism, the staff at the American Embassy in London were unhelpful, and treated him with suspicion: Panufnik was surprised to have to supply fingerprints, and he was pointedly asked more than once whether he had ever been a member of the Polish United Workers' Party. The irony of this difficulty, after his recent public defection to the west, was not lost on Panufnik. Shortly after settling in Britain Panufnik was given an exclusive publishing contract with the prestigious firm of Boosey & Hawkes. They could get no answer from the Polish State publishers as to their long-term intentions for Panufnik's existing works, all of which had appeared under their imprint. Panufnik was therefore advised to introduce small revisions into all his existing works to avoid copyright problems when Boosey & Hawkes took these works into their catalogue. Just after he completed this task, he heard that the Polish State Publishers had finally confirmed that they had no further interest in their catalogue of Panufnik's music. Panufnik bemoaned the time wasted, and indeed the surviving original scores