Clive Strutt

The inspiration for this set of variations on a Sicilian shepherd-tune arose from my conception of the musette as being an essentially pastoral, peasant instrument. Although obligatory to the original conception of the piece, the musette has been written in as an option only, so as to afford more players access to the music. The work is dedicated to Jennifer Paull, who has worked for the the awareness of the rare members of the oboe family.

The opening theme (which has some kinship with one used by Handel in "The Messiah") and movement three, "Corrente", are both single movements, but the remaining variations comprise pairs of mainly Italian dance-forms.

The second movement comprises a Siciliano and Pastorale both very similar dance-forms in compound time, and continuing the gentle rustic idyll conjured up by the opening theme; the latter as here, often has a suggestion of a drone-bass.

The fourth movement is a Pavan and Galliard - a majestic duple time piece followed by a non-rapid dance in triple time, ending with both combined.

The fifth movement consists of a Solfeggettio ( a departure from dancing this, as its title means "a little vocal exercise"), and a Canto Carnascialesce - a gay, processional madrigal, simple, and characterised by having the tune in the tenor register.

In the Finale, a Saltarello (very fast jumping-dance in compound triple time) is paired with the dance done either to cure the bite of the Tarantula spider, or perhaps done as a result of that bite! the Tarantella, a similarly fast and frenzied piece, in six-eight time.

The entire piece has a joke ending.

Clive Strutt
1999

Amoris scores are exclusively available in traditional bound format with global postal distribution and secure payment from Crowther's of Canterbury. Our full downloadable library is being prepared.