Uploaded May 2026 | Updated September 2026, 3 weeks ago
Written by Warrant Officer Marielle Audet in 2021, The Flowers’ Prayer was premiered by The Naden Band of the Royal Canadian Navy at Memorial Park Music Fest that same year. This poignant composition draws inspiration from three distinct sources: the first is a traditional song from the prairies’ Indigenous peoples, known as Wild Flower, which was sung to guide children back to the safety of home and community; the second is a Baha’i prayer in Farsi, which seeks divine assistance; the third, which loosely inspired the pieces formal structure, is Rob Dougan’s “Clubbed to Death” from The Matrix soundtrack. This work is a tribute to the missing and murdered Indigenous women and girls as well as all those who suffered under the Indian Residential School system.
The song opens with a traditional drum circle, symbolizing the heartbeat of Mother Earth—their skins and wood are reminders of our ancestors guiding us through life. Afterwards, a recurring theme emerges, weaving together Indigenous and Persian musical elements. This theme builds toward the apex of tension and transitions to the next section with a powerful drumroll. The subsequent section conveys a sense of regret and longing, portraying a plea amidst helplessness.
The denouement begins as a feeble affirmation of being that grows ever stronger as more and more voices join the lead vocalist—including the rest of the band. This crescendo culminates in a unified chorus of voices, symbolizing hope through the expression of unity. According to Audet: “peace and security can only be achieved through a deep and unwavering sense of unity.”
Written by Warrant Officer Marielle Audet in 2021, The Flowers’ Prayer was premiered by The Naden Band of the Royal Canadian Navy at Memorial Park Music Fest that same year. This poignant composition draws inspiration from three distinct sources: the first is a traditional song from the prairies’ Indigenous peoples, known as Wild Flower, which was sung to guide children back to the safety of home and community; the second is a Baha’i prayer in Farsi, which seeks divine assistance; the third, which loosely inspired the pieces formal structure, is Rob Dougan’s “Clubbed to Death” from The Matrix soundtrack. This work is a tribute to the missing and murdered Indigenous women and girls as well as all those who suffered under the Indian Residential School system.
The song opens with a traditional drum circle, symbolizing the heartbeat of Mother Earth—their skins and wood are reminders of our ancestors guiding us through life. Afterwards, a recurring theme emerges, weaving together Indigenous and Persian musical elements. This theme builds toward the apex of tension and transitions to the next section with a powerful drumroll. The subsequent section conveys a sense of regret and longing, portraying a plea amidst helplessness.
The denouement begins as a feeble affirmation of being that grows ever stronger as more and more voices join the lead vocalist—including the rest of the band. This crescendo culminates in a unified chorus of voices, symbolizing hope through the expression of unity. According to Audet: “peace and security can only be achieved through a deep and unwavering sense of unity.”
