Out walking the dogs along the coastal path, watching the ferry head out into open water, an old familiar tune came into my head.
It was Acker Bilk's Stranger on the Shore, a clarinet standard from almost sixty years ago.
No wonder it had become an earworm. It was so popular, it spent 55 weeks in the charts.
The title so fits the wistful melody, you'd be forgiven for thinking it was written with that in mind.
In fact it only became Stranger on the Shore when it was used as the signature tune for a BBC television series for children about a French au pair living in Brighton and longing for home.
Bilk had originally called the piece Jenny in honour of his daughter, a fact that brought to mind another famous practitioner who'd done something similar.
Emma Johnson, once described by The Times as "Britain's favourite clarinettist" is to her instrument what James Galway is to the flute.
Since winning the BBC Young Musician of the Year in 1984 at the age of 17, she has forged a hugely successful international career as a soloist, with no fewer than 29 albums to her credit.
On her 2004 collection Voyage, you'll find a composition called Georgie, which she wrote to celebrate the birth of her own daughter.
Emma Johnson covers an extensive repertoire, ranging from concertos to recital pieces.
Among her own works are her Songs of Celebration for clarinet and choir which was given its Irish premiere in Dublin last Christmas with Conor Sheil and the Girls' Choir of St Mary's Pro-Cathedral presenting the music in Trinity College Chapel.
It was another star player who got Mozart involved in writing for the clarinet.
His name was Anton Stadler, a champion of what was at the time - the late 18th century - a relatively new instrument.
There had been no clarinets in the first orchestra Mozart had been involved with, in Salzburg.
"If only we had clarinets," he'd written to his father after hearing them in action in Mannheim in Germany, where the local prince maintained one of the finest musical ensembles in Europe.
When Mozart eventually met Stadler, the inevitable result was a collaboration that produced some of the finest music of the composer's final years.
As well as his only Clarinet Concerto and his Clarinet Quintet, there's a trio (known as the Kegelstatt or "bowling alley" trio), and a couple of solos in his opera La Clemenza di Tito - all of them written for Stadler.
The original manuscripts of the concerto and the quintet were lost. Stadler had been keeping them, but when Mozart died and his widow, Constanze, asked for their return, Stadler told her they'd been stolen from his luggage during a trip to Germany.
Constanze wasn't convinced, telling Mozart's publisher she reckoned Stadler had pawned the scores.
The clarinet dates from around the turn of the 18th century. It's generally believed that it was an instrument-maker from Nuremberg, one Johann Denner, who constructed the first one.
Handel, Rameau, and Vivaldi all wrote music for the clarinet, but none gave it the prominence that Mozart did, and it was he who brought it into the spotlight.
The torch was carried by Carl Maria von Weber, an important composer of the early Romantic era, who wrote two concertos and a one-movement concertino for the instrument.
Later in the Romantic period, Schumann and Brahms both composed chamber music for clarinet.
In the 20th century, there were concertos from Aaron Copland and Gerald Finzi.
Mozart's concerto is one of the most widely used classical compositions in film.
Movies as diverse as Out of Africa, American Gigolo, and the King's Speech are just three of the many to have drawn on its richness.