The violinist Peter Sheppard Skæved has worked with the Australian composer Sadie Harrison (b. 1965) for some years now, and he introduces and discusses the complicated allusions made and forms in her works and their titles. She, in turn, describes her aims and unravels some of the wordplay involved with this collection of chamber works – respectively for quartet; violin/piano; pianoforte; violin/piano again; and soprano (sometimes unaccompanied) with flute/strings. The 20m title-track, which begins rather like Bartok in Burleske manner, might temporarily be set aside in favour of the more easily assimilated works, such as Traceries (after a window at Waltham Abbey – but without ‘traces’ of the Soldier’s Tale) or the seven contrasting movements for piano, united musically by a tone-row, Impresa Amorosa, named after the secretive tokens exchanged between 15th-century jousting knights and their ladies – Labyrinth; Tortoises (Make haste slowly), etc. Music of real individuality and purpose, in excellent recordings.