Given neither to misspellings nor malaprops, the reason for Creston's phonetic rendering of the title of this piece remains unclear. What is clear is that it is a series of five dance numbers composed for the Rebekah Harkness Foundation in 1965 and contains writing of more clarity and simplicity than that found in much of the composer's other works. An opening Preamble is a sort of quickstep. The second piece, Sarabandesque, is gently paced and brings on first an expansive oboe solo and then a gliding string transition which leads to a likewise lyrical horn and flute passage. The section also features a somewhat lumpy melody in the lower strings before returning to the oboe to close it out. A short Burletta seems almost to be a series of waggish Til Eulenspiegel-like episodes but absent the demise of the scoundrel at its end. The fourth scene is a tranquil Cantilena featuring song-like flute and horn passages and the final section, a rhythmically tripping Festive Dance, provides a popping ending. ~ Michael Morrison, All Music Guide
