No-one familiar with the Gerhard of the Catalan Folksongs, Don Quixote, or The Duenna should have any difficulty in guessing the authorship of the Cantata. Admittedly, its stylization of Catalan popular idioms owes a little to the declamatory writing of Falla's Master Peter's Puppet Show; but it owes very much more to the already typically Gerhardian tonal and free-tonal harmony of the folksong arrangements. The rhythm and modality of the opening flute solo, and of the soprano aria (no. 2) which is derived from it, are clearly of folk origin. But whether in its unaccompanied or in its dissonantly harmonized form, the theme instantly calls to mind the second of Gerhard's 12-note serial Impromptus of 1950.