The Judgment of Paris

Goddesses

The Judgment of Paris

Australian 21st century recorder quartets Isabelle Palmer, Ingrid Fittler, Aimee Brown and Peter Petocz

G o d d e s s e s – T h e J u d g m e n t o f Pa r i s Is a b e l l e Pa l m e r, In g r i d F i t t l e r, A i m e e B r o w n a n d Pe t e r Pe t o c z We formed The Judgment of Paris quartet in early 2016 when we were studying at the Sydney Conservatorium of Music focusing on recorder in the Historical Performance department and taking instrumental lessons from Hans-Dieter Michatz. We wanted to experience the joy of ensemble playing in a stable group dedicated to exploring the recorder quartet repertoire from the Renaissance to contemporary times. Since then we have had a wonderful time planning, rehearsing, performing, travelling and recording together, and with other musical colleagues.

Our group’s name, The Judgment of Paris, refers to the story from Greek mythology wherein Paris, prince of Troy, was asked to judge which of three goddesses – Hera, the wife of Zeus, Athena, goddess of war, and Aphrodite, goddess of love – was the most beautiful and should receive the prize of the golden apple from the Garden of the Hesperides. Sandro Botticelli’s famous painting depicts the actual judgment, although it is difficult to check on Paris’s decision as many of his subjects were based on the same woman – the three goddesses look remarkably similar! Paris awarded the prize to Aphrodite, swayed by her inducement of marriage to the most beautiful girl in the world – Helen of Sparta. Unfortunately, she was already married to Menelaus, who was none too pleased when she was abducted to Troy, triggering the decade-long Trojan War. The title of our album, Goddesses, is also the title of a work composed by Anna Reid in which the names of the group’s three goddesses and the composer are expressed in a musical Morse code.

All four of us had individual and ensemble experience before the formation of the group, but we found a real synergy in working together regularly and intensively. We have performed frequently in concerts given by the Conservatorium’s Early Music Ensemble, including tours in country New South Wales. We have regularly presented our own concerts, as a quartet and with guest instrumentalists and singers, in Sydney and beyond. We have had two overseas experiences. In August 2018 we participated in the 28th International Music Conference at Mateus in northern Portugal, studying with Portuguese recorder virtuoso António Carrilho and presenting a concert in the 17th century palace. In 2019 we won a ‘Henderson Travellers’ scholarship and spent two weeks in Wolfenbüttel, Germany. There we worked with German early music virtuoso Michael Dollendorf and presented performances in the historic Church of the Blessed Virgin Mary and the baroque hall of the Prinzenpalais.

While recorders are most commonly associated with ‘early music’, we have always had an interest in the contemporary repertoire. Not long after we formed our quartet we conceived of the idea of creating a recording of 21st century Australian recorder quartets. We embarked on a program of commissioning works by our colleagues and friends. We performed the first, Ella Macens’ In the Autumn Wind We Sway, at our first public concert in October 2016 – and it is still one of our favourites. Over the next three years we commissioned and requested further works, including them in our performances. Some were developed during a ‘composerperformer workshop’ where our talented composition colleagues wrote pieces for the quartet.

Others were written for specific occasions, such as Gabrielle Cadenhead’s Panels of Light for Sydney’s Vivid Festival. We recorded these compositions in two sessions, in July 2019 and January 2020. The final track was developed by Ivan Zavada, composer and sonic artist, and our recording engineer, as an exploration of the recorder quartet in an electronic soundscape.

Although we describe this collection as ‘21st century Australian’, the pieces come from a much narrower time frame, 2016 to 2020, and all are connected in some way to the Sydney Conservatorium of Music. However, they do represent a wide range of compositional styles for recorder quartets of the very recent past. We have had much fun collecting, rehearsing, performing and recording these pieces, and we hope that you enjoy them as much as we have.

Instruments: Recorders at A 440 Hz, including sopranino, descant, treble, tenor, bass and contrabass, by Moeck (Rottenburg), Mollenhauer (Dream), Yamaha and Paetzold (contrabass).

Track 1: All Change … Guy McEwan (2018) Guy McEwan is a composer and arranger, a graduate of the Sydney Conservatorium of Music – where he works as Venue Operations Manager – and Trinity College London. He has composed and arranged for theatre (Shakespeare Globe Centre – Sydney), film (One Night in London), orchestras (Queensland Symphony Orchestra) and dance companies (Freelance Dance Company). He received a commission from the Theatre Workshop of Nantucket to write the score for Orson Welles’ Moby Dick—Rehearsed, performed each year in the Whaling Museum in Nantucket, Massachusetts. All Change is a bright and cheerful performance piece, written for various combinations of four recorders.

Like interweaving railway lines (reminiscent of Reich’s Different Trains), the four parts constantly switch between different members of the recorder family and different roles as the piece develops. Themes are passed between the initial three descants and a tenor, and gradually each descant changes to a bass recorder until the tenor recorder is playing the top line. One of the basses moves to a treble, another returns to its descant role. The visual effect is clearer in a live performance, but the change in sound as the quartet switches from high to low instruments and then to traditional descant, treble, tenor and bass is intriguing.

The tenor recorder – the original bass line – waits until the very last note to make its own change to sopranino high C, the highest note of the work.

Tracks 2, 3 and 4: Panels of Light … Gabrielle Cadenhead (2019) Transparency and Opacity, Between Solid and Liquid, Patterns Wandering Gabrielle Cadenhead is an inter-disciplinary artist – writer, composer, flautist and educator – passionate about music and poetry as channels for cultivating community through creativity.

She is completing a degree in English Literature, Religion and Composition at the University of Sydney and the Sydney Conservatorium of Music. She is a founding member of Konzertprojekt new music collective, and has composed for various choirs, orchestras and chamber groups. Panels of Light was written for the ‘Light Qualities’ mini-festival, part of the City of Sydney’s Vivid Festival in 2019. The triptych is an exploration of brightness, tracing the movement of light through stained glass windows, affected by the transparency of the glaze, the molecular properties of the glass, and the shifting patterns through time. Each piece ‘warps’ a hymn tune much like filtering light through coloured panels – quoting, fragmenting, harmonising, mapping. Transparency and Opacity is based on the hymn The Bright Wind of Heaven by John Maynard, warping the original 3-4 metre into an energetic 5-8, alternating 3+2 and 2+3, surrounding the tenor tune with distant harmonies on sopranino, descant and contrabass recorders, and dissolving into free motivic repetitions. Between Solid and Liquid is based on the hymn Christ Be Our Light by Bernadette Farrell, compressing the melody and harmonies into a range of a fifth around the central tone A, including quarter tones in all four tenor recorders. Patterns Wandering is based on the Taizé hymn In Our Darkness There is No Darkness with You, O Lord by Jaques Berthier. The original tune is fragmented between the descant, treble, tenor and bass recorders, initially sparse notes decorated with flourishes, but building up to a denser texture, before a final ‘still and sacred’ modified hymn statement.

Track 5: Stroll through a Rose Garden … Fiona Loader (2019) Fiona Loader is a freelance musician – accompanist, singer and composer – a masters graduate in Composition at the Sydney Conservatorium of Music. She has been composer in residence at Trinity Grammar School, Sydney, and has had works commissioned and performed by the Halcyon Ensemble, Ensemble Offspring and the Leichhardt Espresso Chorus. Her works have been recorded for broadcast by ABC Classic and Fine Music, and played during Musica Viva and Four Winds festivals. A recent composition, Lorikeet Corroboree, has been released on ABC Classics on the album Songbirds performed by Ensemble Offspring; it is based on melodic fragments transcribed from the rainbow lorikeet visitors to her garden. Stroll through a Rose Garden was written for The Judgment of Paris as the first of three loosely connected movements on the theme of walking and relaxing. It is scored for the standard descant, treble, tenor and bass quartet, and written in a neo-Baroque/neo-Classical style; the ensemble’s performance decisions were informed by this historical background. The stroll consists of a theme and four variations, sometimes a slower saunter and other times brisk, with the frequent switching from F major to F minor keeping the players on their toes.

Track 6: Light Movements … Kirsten Milenko (2016) Kirsten Milenko is an Australian composer and conductor based in Copenhagen, Denmark.

She completed her Bachelor’s degree at the Sydney Conservatorium of Music and then studied composition at the Royal Danish Academy of Music, graduating from the Master’s program in 2020. She is following this with further conducting studies at the Conservatorio della Svizzera Italiana. Many of her compositions embody the synergy between sound and motion to portray interactions between environmental space and human form. Light Movements is an exploration of the movement of light dappling through the leaves of a forest, constantly shifting in the wind, and saturating the senses with the environmental effects of sunlight through moving leaves. The work opens as dawn breaks and the light begins to sing. After a broad initial section, as light emerges from behind the cloud cover, the pulse quickens and sunlight filters rapidly through the tree canopy. Rhythmic patterns of fives and sixes are set against each other, overlaid occasionally by semiquaver flourishes as the leaves move faster. The conclusion returns to the tranquillity of the opening, ending on extended pianissimo chords. The composer highlights the rhythmic and notational complexity of the work with reference to the ars subtilior, the intricate and refined musical style of 14th century France and Italy of composers such as Johannes Ciconia.

Tracks 7 and 8: Scenes from the Cévennes … Heather Percy (2018) Les Fleurs du Larzac, Le Marionnettiste Heather Percy is an experienced music educator, choral director and composer, based in Canberra, with a Bachelor’s degree in Music Education from the Sydney Conservatorium of Music and a Masters of Music from the Conservatorium of Music, Melbourne University. She has worked widely with children’s and adult choirs, conducting them in prestigious venues such as Westminster Abbey in London and Notre Dame in Paris. Her choirs have represented Australia at ANZAC Day commemorations in London and the Somme. Scenes from the Cévennes is a pair of programmatic pieces written for a descant, treble, tenor and bass quartet, inspired by the time she spent living in the Cévennes region of France in 2017. The pastoral Les Fleurs du Larzac traces the seasonal cycle of the flowers that bloom on the Larzac plateau. The first section, in early spring, depicts the flowers’ delicacy with a lyrical melody in Lydian mode played by the descant accompanied by simple arpeggios.

This leads to a section of rhythmically punctuated chords, and these two ideas recur throughout the piece in varied forms to suggest the changes in season. Winter brings a haunting middle section with sparser texture, minor tonality and fragmented melodic motifs. Reminiscent of a Khatchaturian piano piece, Le Marionnettiste combines a bright tempo, rhythmic vitality and a persistent octatonic scale to create an image of the puppeteer who comes to market day to entertain children. The piece contains various surprises and flourishes, as would the puppet performance, including a waltz-like ‘con bravura’ section representing a dialogue between two of the puppets.

Track 9: Pulsar … Joshua Winestock (2018)

Joshua Winestock is a Sydney-based composer, improviser and multi-instrumentalist, a recent graduate of the Sydney Conservatorium of Music with a Bachelor of Music in Composition with first class honours. He has written music for the Conservatorium’s symphony and saxophone orchestras and the Australian Youth Orchestra, and is a member of several improvising and community ensembles, including the amplified chamber music group Spiral. He is particularly passionate about organising and participating in community-building contemporary performances. Pulsar was composed for the traditional descant, treble, tenor and bass quartet during his compositional studies. The starting point was the minimalist pipe-organ music of Philip Glass, and the psycho-acoustic phenomena that it creates. The work is enthusiastic and animated, with an energy that starts with the very first notes and continues until the last staccato chord, arriving at the conclusion of a section of growing sparsity. Imagined melodies move through the sonic overtones, emerging as a by-product of the notes that are actually played; some sections continue the main themes leaving out some of the notes – the listeners (and the performers) supply the continuation of the melodies. From the players’ perspective, the piece demands a high level of concentration from beginning to end, especially when they are not actually playing notes; it is rather like a complete circuit on a wild roller-coaster!

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Track 10: As Yet Untitled … Stephen Yates (2018) Stephen Yates studied violin and piano at the Newcastle Conservatorium, and composition at the Sydney Conservatorium of Music, where he has been a member of the professional staff for many years.

He has written for theatre, dance and marionettes, but his favourite is writing for small ensembles, especially voice and harpsichord. This not Yates’ first composition involving recorders, though only his second recorder quartet – an earlier piece, Fandangle Indeed Again, is a favourite of recorder players.

As Yet Untitled was composed for a quartet of treble, two tenor and bass recorders. It is a delicate and detailed composition, exploring the sound of a close combination of recorders. The piece begins with a gentle andante with the tenors providing the foundation for the slower moving outer lines. This moves into a more animated allegro, with themes increasingly being thrown between the four lines, culminating in a detailed and intricate arpeggiated passage in the treble, slowing then to a largando section of syncopated chords before returning to the faster speed for the finale. We were supposed to replace the working title with our own choice when got more familiar with the piece – but we decided that As Yet Untitled encapsulates the feeling of the work very nicely!

Track 11: Goddesses … Anna Reid (2019) Anna Reid is a multi-dimensional musician and music educator. She studied violoncello at the Sydney Conservatorium of Music and played with various Sydney orchestras. After many musical and academic byways, including a doctoral dissertation on musicians’ conceptions of music and playing music, she is currently Dean of the Sydney Conservatorium of Music. As well as playing violoncello and violas da gamba, she has experience playing bass guitar, organ, recorders and other instruments, and composing. She was commissioned to write an opera, With Heads Held High, for the opening of the new Parliament House in Canberra in 1988. Anna has written Goddesses for a combination of descant, treble and two tenor recorders.

Each line has its own theme based on the rhythm of a name written in Morse code. The idea of using code of some sort in music is at least as old as J.S. Bach’s spelling his own name as a fugue subject in the final Contrapunctus of The Art of Fugue. In particular, Morse code as musical rhythm has some history since its invention in the mid 19th century, mostly in popular music, such as Barrington Pheloung’s theme music for the television series Inspector Morse. It has even been used in reverse; BBC broadcasts during WW2 played the first bar of Beethoven’s Fifth Symphony on timpani, with the rhythm dot-dot-dot-dash spelling out V for victory. In Goddesses the first three lines of the piece use the rhythms of the names of the female members of The Judgment of Paris – Aimee, Isabelle and Ingrid – each playing ‘their’ own line and alluding to the mythical story. For the fourth line, Anna used the rhythm of her own name, as composer and the very special woman in Peter’s life!

Tracks 12, 13 and 14: Spangled Sonata … Lance Eccles (2016) Shower of Amethysts, Crystal Towers, Shattered Moonlight

A whole generation of Australian students have grown up playing recorder ensemble music written or arranged by Lance Eccles, and many have continued playing his music in community ensembles around the country. A keen recorder player himself, Lance has published the largest collection of recorder ensemble music in Australia’s history, much of it written for his own ensembles, but increasingly penned at the request of individuals and groups from around the world. Professionally, Lance is a linguist, and he was a senior lecturer in Chinese, and also a teacher of Coptic, at Macquarie University for many years. Spangled Sonata started life in 1987 as a duet for treble recorders. Although modern in style, it avoided any non-traditional techniques. At our request, Lance reworked the piece into quartet form; he used two treble and two bass recorders, allowing much of the original material to appear in high and low pairs of instruments. Shower of Amethysts is based on the opening of a Gregorian psalm tone, the tonus peregrinus, broken up and repeated at various pitches in a changing time signature of four and five beats. Crystal Towers is a stately and brooding movement, with disturbing bare fourths, fifths and seconds between the four parts. At its conclusion, the four parts rise in parallel through the underlying octatonic scale, each starting at a different point, settling onto a final A7 chord without the third. Shattered Moonlight is a brisk, driving movement using a six-note arpeggiated phrase, constantly re-appearing in full or truncated versions in bars of different length, on the beat or syncopated.

Track 15: Arcadelt’s Bass . . . Diana Blom (2018) Diana Blom is a Sydney composer, originally from New Zealand and with experience living in the US, Hong Kong and Malaysia. She holds a doctorate in composition from the University of Sydney.

She is Associate Professor in Music at Western Sydney University and a keen player of harpsichord, piano and toy piano. Diana has a long list of compositions, commissions and recordings to her name, including previous works for recorder ensemble such as Beebopaloobopawopbamboom. She is co-author, with Damien Barbeler and Matthew Hindson, of Music Composition Toolbox, a textbook for composers at secondary and early tertiary levels. Arcadelt’s Bass began life in 2004 during a visit to the International Museum and Library of Music in Bologna, Italy, when she noticed and copied down an interesting manuscript fragment. Dated 1539, Venice, it was part of a bass line from a madrigal by the Renaissance composer Jacques Arcadelt (c.1507-1568). When we asked Diana to contribute a work to this recording, she immediately thought of the fragment, identified as Desio perchè mi meni? from Il Secondo Libro di Madrigali. At the quartet’s suggestion, Diana used the lower combination of treble, two tenor and bass recorders for the piece. The fragment is stated first by the bass recorder solo, and then by the other recorders in turn. A sequence of quasi-improvisatory solos leads into a driving, minimalist section, including a style brisé interchange between the two top lines, before returning to the calm counterpoint of the introduction and the final stretto statements.

Track 16: Sega Syzygy … Natalie Nicolas (2018) Natalie Nicolas is a composer, performer on piano and voice and music educator. She is currently undertaking doctoral studies at the Sydney Conservatorium of Music having completed a Master of Music in composition at the same institution. She has written for the Tasmanian Symphony Orchestra and the Australian Chamber Orchestra, several nationally acclaimed string quartets (including the Australian, Goldner and Geist String Quartets), and many individual soloists.

She has won many awards, competitions and commissions, including the Flinders Quartet Composition Competition (2017 and 2019) which lead to the world premiere of two of her works and the prestigious All That We Are residency. She was selected for the inaugural National Women Composers’ Development Program in 2016-2018, and during that time accepted a commission to write for us. She decided that the group needed a lively and upbeat piece in their repertoire, and wrote Sega Syzygy for the standard descant, treble, tenor and bass combination of recorders. Natalie based the work on the sounds of the Sega video games that she enjoyed while she was growing up. The piece opens with a haunting sequence of fragmented dominant 7th chords, then sets a driving pace, full of the quasi-random interjections of successful game moves – cross-beat rhythms, and sudden fast semiquaver ‘licks’ and ensemble ‘flicks’. Sections in homogeneous rhythm alternate between unisons and piquant seconds, building tension to an increased frenetic pace. An alternating ostinato in the tenor with rhythmic punctuation from bass and interjections from descant and treble eventually slows to the original tempo. The game winds down to the dominant 7th chords of the introduction and a final descant arpeggio.

Track 17: In the Autumn Wind We Sway … Ella Macens (2016) Ella Macens is a Sydney-based composer and music educator with a particular love for choral and chamber music writing. Her music combines qualities from popular and classical styles as well as from her Latvian heritage. She has received many awards and commissions, and her work has been performed by the Sydney and Tasmanian Symphony Orchestras, the State Choir of Latvija and the Flinders, Goldner and Strelitzia String Quartets. She recently completed a Master of Music in Composition at the Sydney Conservatorium of Music, and was selected for the inaugural National Women Composers’ Development Program in 2016-2018. One of her earliest commissions, In the Autumn Wind We Sway is a beautiful, gentle work for quartet of descant, treble, tenor and bass recorders. The piece was inspired by fond childhood memories of exploring Mount Wilson in the Blue Mountains, with its impressive avenue of European trees, surrounded by natural bushland and rainforest.

The Avenue is particularly stunning in autumn when the leaves turn to reds and golds, whirl in the wind and float to the ground in preparation for winter. This is the picture that Ella paints with her quartet. A mysterious theme is introduced by the tenor recorder and repeated in the other lines, moving to a quiet open fifth D chord. Themes are presented and developed in the following sections, sometimes low and solemn, sometimes whirling high on the descant line, accompanied by pulsing chords in the lower parts. The lines slow down gradually, and settle into a repeat of the original theme, now in the treble, and a return of the open fifth D chord.

Track 18: Fugue in C major … Nicholas Theodorou (2018) Nicholas Theodorou completed an honours degree in Composition at the Sydney Conservatorium of Music, winning the Horace Keats Memorial Prize in Composition in his final year.

Fugue in C major is a visual and audial theatre piece, full of humorous sight and sound gags.

Nick chose a low quartet of treble, tenor, bass and contrabass recorders, as much for sight as sound. The piece opens as a three-part Baroque-style fugue, following the innocuous title; as the tenor, treble and bass recorders enter with the theme, the listener/viewer starts to relax – they know what will come next. However, the contrabass suddenly explodes in a gestural flurry of notes, a real aural surprise, supported in live performance by startled expressions on the faces of the other players. This could be dismissed as an aberration, but in the following long chord the players are instructed to swell the note to forte and back down to piano, letting the pitch change with the dynamic (rather than making the usual adjustment with alternative fingerings).

The fugue struggles on, with increasing flutter tongues and key slaps, while the contrabass interjects with overblown chords and arpeggiations. After a brief pause, contrabass and bass recorders set the rhythm with key slaps and airy notes, while tenor and treble recorders play staccato fours against threes. The fugue returns, but by now the listener/viewer knows that this is far from Baroque. The higher instruments set the rhythm while the basses join in overblown gestures. After another pause, treble and tenor recorders play a section in quasi-unison, with the tenor notes delayed by a quarter beat and lower by a quarter tone! The visual gag of the treble player trying desperately to get the tenor to play in time and in tune can only be imagined here.

The section culminates in an orgy of overblown chords. A pianissimo chordal passage leads to a final statement of the fugue theme, ending in a long C-major chord that is – following the composer’s instructions – blown slowly out of tune and then back into tune.

Track 19: Le Masque … Ivan Zavada (2020) Originally from Montréal, Canada, Ivan Zavada is a composer, multi-media programmer and sonic artist. He teaches composition of electronic music and sound recording technique at the Sydney Conservatorium of Music. He is a digital artist creating innovative, multi-sensory events out of sophisticated audio and film techniques to express his artistic muse. His musical works explore the relations between recorded sound and abstract visuals in the form of computer graphics, creating an interdisciplinary approach to sound by harnessing the synergy between diverse media. Ivan was the recording engineer for the current recording project, and after the first period of recording he proposed writing a piece for The Judgment of Paris that used the soundscape of the recorder quartet as a building block in a new sonic work.

The players were presented with four abstract moving images and composed fragments of music, and asked to improvise inspired by the visuals and scores. The result is Le Masque, a work in which ensemble recorder riffs delve into a sea of electronic sounds, and electronic music explorations . . . Le Masque was written at the beginning of the Covid-19 world pandemic and reflects upon the condition of the human soul, confronted with other souls wearing masks to protect each other from spreading any possible outbreaks. This work is an artistic apposite to the muted visual representation of The Scream by Edvard Munch, and a converse sonic expression of its visual representation: human expression is emphasised in a similar way but with different perceptual means. We become one – hearing sound, sharing this musical experience invites the listener to reflect on possible unifying actions moving forward into the future . . .

Recording and editing: Conventional stereo microphone techniques were used in conjuction with surround techniques to capture the musical and spectral qualities of the ensemble with ORTF and A-B stereo techniques, whilst the very advanced RØDE NT-SF1 surround soundfield microphone also captured the ambient space of East Recital Hall at the Sydney Conservatorium of Music. These different sound elements were combined in a multitrack setting to create a rich tone quality for the instruments and keep the integrity of each player’s role and stage position for the listener’s auditory perspective. Meticulous sound micro-editing was performed throughout the entire recording to highlight the expressive qualities of each composition. No additional effects like EQ or Reverb were added to colour the tone, only a careful balance between the various microphone takes was considered in the process to create a unique mix, as heard in the hall – yet with emphasis on clarity and the beauty of sound.

Sound recording engineer: Ivan Zavada Sound recording assistants: Sydney Conservatorium of Music international students Christina (Siyu) Zeng, Christina (Ruonan) Deng and further assistance by Naiyana Chaweanghong.

Microphones: DPA 4006, DPA 4011, Rode NTSF-1 Mixing, Editing, Mastering & Graphic Design: Ivan Zavada Cover photo by Anna Reid - location: Yurong, Sydney, NSW Australia ©The Judgment of Paris, 2020. All rights reserved.

Made in Australia

Goddesses T h e J u d g m e n t o f Pa r i s

G o d d e s s e s – T h e J u d g m e n t o f Pa r i s [1] All Change Guy McEwan (2018) Panels of Light Gabrielle Cadenhead (2019) [2] Transparency and Opacity [3] Between Solid and Liquid [4] Patterns Wandering [5] Stroll through a Rose Garden Fiona Loader (2019) [6] Light Movements Kirsten Milenko (2016) Scenes from the Cévennes Heather Percy (2018) [7] Les Fleurs du Larzac [8] Le Marionnettiste [9] Pulsar Joshua Winestock (2018) [10] As Yet Untitled Stephen Yates (2018) [11] Goddesses

Anna Reid (2019) Spangled Sonata Lance Eccles (2016) [12] Shower of Amethysts [13] Crystal Towers [14] Shattered Moonlight [15] Arcadelt’s Bass Diana Blom (2018) [16] Sega Syzygy Natalie Nicolas (2018) [17] In the Autumn Wind We Sway Ella Macens (2016) [18] Fugue in C major Nicholas Theodorou (2018) [19] Le Masque

Ivan Zavada (2020)

©The Judgment of Paris, 2020. All rights reserved.

Made in Australia

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